Final night of PLBW brings HSY, Faraz Manan and more to the ramp in Lahore

Designer Hira Ali takes to the ramp alongside model Farwa Kazmi on the final night of PLBW 18.
Updated 08 September 2018
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Final night of PLBW brings HSY, Faraz Manan and more to the ramp in Lahore

  • Pakistan Fashion Design Council’s L’Oreal Paris Bridal Week wrapped up its eighth edition on September 6 with day and evening shows at the Nishat Emporium in Lahore
  • The grand finale of this year’s event featured solo shows by Faraz Manan and Hasan Shehryar Yasin, and group shows featuring Hira Ali Studios, Nickie Nina and Republic

LAHORE: The grand finale of Pakistan Fashion Design Council’s L’Oreal Paris Bridal Week, PLBW for short, arrived decked out in sparkles and shines, with designs featuring modern interpretations and sprinklings of the past.
Day three on Sept. 6 featured runway shows from Republic by Omer Farooq, HSY, Hira Ali Studios, Nickie and Nina, and Faraz Manan. The night also included an appearance by superstar Mahira Khan, who is a spokeswoman for L’Oreal.

Click here to see more photos from the event.

As was the case on day two, the showcases were split into day and evening events. The night-time ramp kicked off with a solo showing from Faraz Manan, who is perhaps one of the most recognizable names in Pakistani bridal couture, his quintessential ethereal creations becoming coveted designs for fashion-conscious brides.
His “AlHambra” collection, which he presented in collaboration with Shazia Deen of Neemar Jewelry, aimed to blend design standpoints from both East and West, specifically taking inspiration from Granada and the architectural styles of the 13th century European Nasrid dynasty. Manan, who has an ever-growing fan base in the UAE, opted for the silhouettes that are sought after in the middle east, mixing modest cuts with his distinctive touches, including colors such as blush, terra cotta, nudes and a touch of jewel tones.
The collection was signature Manan, utilizing iridescent fabrics, intricate but lightweight embroideries and veering toward the contemporary in terms of cuts and hues.
Next up was the group showcase, which kicked off with collections from Nickie Nina, Hira Ali Studio and Republic by Omar Farooq.
Nickie Nina, the brand created by designer duo Aliya Nazir (Nickie) and Nabila Junaid (Nina), is a fixture of the bridal industry, particularly in Lahore where it originated. Their “Noor Mahal” collection was an excellent showcase of the designers’ evolution toward bridging the gap between the expected traditional wedding wear and the aesthetic sensibilities of today. Their designs were a celebration of Punjabi wedding traditions, from the imagery used in the embroidery and block prints to the festive and diverse color palettes, covering the spectrum from bright pastels to rustic earth tones, and the use of classic fabrics such as chunri and jaamivar.Hira Ali of Hira Ali Studios presented a debut bridal show collection titled “Snap Trapped” which reflected “modern-day youth culture.” The collection was a risky move on the (usually) traditional and (usually) expectant ramp, presenting as it did not only bridal garments such as sarees, kameez with pajamas and gowns, but also outfits designed to be worn at pre- and post-wedding events, including cocktail dresses, edgy separates and layered pieces.
Definitely a departure from the type of collections we are used to seeing on the bridal ramp, this playful collection was a cohesive display of individuality that is destined to appeal to fashion and style buffs looking to break the expected molds.
Closing out the group show, with the only menswear collection of the three nights, was Republic by Omar Farooq. A leading name in menswear, he presented a collection, “Hunar,” that was “inspired by the eclectic ancient art and architecture of the subcontinent and aims to bring the intricate detailing and unique artistry of the Mughal era to life.” Special attention was paid to the region of Rajasthan and its historical craftsmanship.
From eastern to western, Farooq’s collection offered a range of options for the groom with an eye for a cut, tailoring and investing in long-lasting style. With subtle detailing such as ombre color work, rich silk fabrics and a focused hand on embroidery, “Hunar” offered grooms who like to dabble in the eclectic, while staying loyal to classic, a chance to find a wedding look that celebrates their day and their personal style.
Before the show, and the event, closed with HSY’s show, L’Oreal Paris presented a showcase from their “Worth It” and “Beauty for a Better Life” initiatives, which ran in tandem with bridal week. It was presented by actor Mahira Khan, a L’Oreal spokeswoman, and model Mehreen Syed, who introduced the concept, a continuation of that which was introduced by the brand at the Cannes film festival this year, and spoke about what both campaigns aim to accomplish.
“L’Oréal genuinely believes in empowering women worldwide to feel confident to control their own lives through education, employment and economic uplift,” said Syed. “This year’s ‘Beauty For A Better Life’ program will enable 500 women from underprivileged socioeconomic backgrounds, including women who are challenged by physical disabilities, to gain free-of-cost beauty training, provide employment opportunities and regain their self-esteem.”
Then it was time for Hasan Shehryar Yasin’s HSY couture house to wrap up the three-night bridal “week” with his collection “Zmarei,” which translates as “lioness” in Pashto, with the models walking the ramp accompanied by live music performed by Indie-folk band Khumariyaan.
The collection is a new addition to HSY’s expanding portfolio, and was created to pay tribute to the “powerful, modern women of today.” Under his HSY Mentorship Program, the designer collaborated with 35 young, creative professionals in universities and colleges to create a collection that was different from his previous offerings. Additionally, it was designed to be affordable, a long-running issue in the bridal world where prices rise season after season.
Styled deliciously with layered jewels and shiny, contrasting turbans, the collection combined the best of HSY with an undeniably contemporary touch not seen on his ramps before. Using organza, a variety of silks and velvet he created a collection that had texture, movement and enough drama to truly embody the HSY aesthetic.
Sehyr Saigol, chair of the PFDC, said: “With each fashion week, we strive to create highly anticipated trends, concepts and talent in the industry, all the while maintaining our authenticity and driving the credibility of fashion in Pakistan forward. Ensuring the integrity of our platforms, we consistently aim to embody the latest innovations in the fashion world each season, with a spirit of continuous evolution.”
With that, another Bridal Week drew to a close. The trends spotted throughout, including Mughal references, dreamy fabric choices and an extra dose of embroidery, will most definitely be making the rounds at weddings come this winter.


Showtime: The best television of 2025 

Updated 26 December 2025
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Showtime: The best television of 2025 

  • From belly laughs to gut punches, here are the must-watch shows of the year 

‘Adolescence’ 

This harrowing drama consisted of four episodes, all shot in a single take. It told the story of 13-year-old Jamie Miller (the debut role for Owen Cooper, who deservedly won an Emmy for his faultless performance), who is accused of murdering a schoolmate, and the aftermath of that accusation for his family. “Adolescence” was the perfect blend of style and substance; you could marvel at the “balletic production processes that must have been involved,” as our reviewer noted, even while squirming in your seat at the painfully raw performances of the excellent ensemble cast. “It may be one of the most upsetting shows released this year,” our review concluded, “but it is also a remarkable work of art.” 

‘Severance’ S2 

Apple’s absorbing sci-fi comedy-drama expanded its universe in season two, as Mark S (Adam Scott) and his team of data refiners dealt with the fallout from their successful, if brief, escape from their ‘severed’ floor — where work and out-of-work memories and personalities are controlled and delineated by a chip embedded in their brains — at Lumon, during which they tried to alert the outside world to the cruelties of their working conditions. “Creator Dan Erickson and director Ben Stiller waste no time in rediscovering the subtle blend of tangible oddness and sinister dystopian creepiness that made the first season such an uncomfortable joy,” our reviewer wrote.  

‘Stranger Things’ S5 Vol. 1 

At the time of writing, we don’t know whether volume two of the final season of this epic Eighties-set sci-fi horror drama — out Dec. 26 — will be able to maintain the quality of this first volume, but all signs are good. As our reviewer wrote of volume one: “The Duffer Brothers lay down a compelling claim to be the current best-in-class when it comes to making thrilling mainstream TV. Is there anyone better at consistently building tension, releasing it a little through comedy, action, or both, then applying the pressure once again? The four episodes fly by.” There was edge-of-the-seat action and high-stakes jeopardy aplenty, but tempered by the moments of emotional interaction that have been crucial to the show’s success. 

‘Mo’ S2 

In Mo Amer’s semi-autobiographical comedy drama, he plays Mo Najjar, a Kuwait-born Palestinian refugee living in Houston, Texas, with his mother Yusra (the superb Farah Bsieso), and his older brother Sameer (Omar Elba), who’ve been waiting more than two decades to have their asylum case heard. In season two, our reviewer said, Amer continued to explore “incredibly complex and divisive topics — family, religion, imbalance of power, exile, mental health, parenthood, multiculturalism and much more — with an artful lightness of touch, without ever taking them lightly.”  

‘Andor’ S2 

The best of the multitude of TV spinoffs from “Star Wars,” “Andor” was only two seasons long, and the majority of viewers would already have known what was coming (spoiler: the events of “Rogue One” were coming). But its story of a population rising up against the erosion of their rights was both convincing and timely. “With ‘Andor,’ (creator Tony) Gilroy and (star Diego) Luna have truly set the gold standard for what future ‘Star Wars’ can be,” our reviewer wrote. “Not just a space opera, but real stories of transformation and beauty.” 

‘The Studio’ 

With “The Studio,” Seth Rogen and his co-creators manage both to skewer Hollywood and remind us why it’s still (sometimes) great (because it can still produce shows like ‘The Studio’). The star-studded comedy about a newly appointed Hollywood studio head, Matt Remick (Grogan), who believes himself to be a supporter of great art, but quickly discovers that he’ll have to park his principles and chase the money, was as sharp a satire as you could wish to see, confronting the inherent silliness of showbusiness but remaining entertaining throughout. 

‘Slow Horses’ S5 

The fifth season of this excellent, darkly humorous espionage drama wasn’t its strongest, but even so, it trumped most of the competition. British super-spy Jackson Lamb and his crew of misfit agents at Slough House were once again embroiled in high-level conspiracies when their resident tech nerd Roddy gets a glamorous new girlfriend who everyone — or, at least, everyone except for Roddy — can see is well out of his league. That led us into a plot covering Islamic extremism, the British far-right, and much more, all held together by Gary Oldman’s scene-stealing turn as Lamb. 

‘Last One Laughing’ 

Putting a group of 10 comedians in a room for six hours and telling them not to laugh isn’t the greatest premise on paper, but this UK adaptation of the Japanese show “Documental,” featuring a stellar lineup of some of Britain’s funniest people — and host Jimmy Carr — was an absolute joy. From Joe Wilkinson being eliminated by Lou Sanders’ whispered “Naughty tortie” to eventual winner Bob Mortimer’s whimsical flights of fancy, there was so much to love about this endearingly silly show. And credit to the casting directors — the mix of comics was central to its success.