Karachi hosts scaled-down Lux Style Awards as industry reflects on recognition, evolving formats, inclusion

Actor Hania Amir speaks during an interview with Arab News at the 24th Lux Style Awards in Karachi, Pakistan, on December 11, 2025. (AN photo)
Short Url
Updated 12 December 2025
Follow

Karachi hosts scaled-down Lux Style Awards as industry reflects on recognition, evolving formats, inclusion

  • 24th edition of prestigious awards held at historic Mohatta Palace after the ceremony in May was canceled
  • Awards introduce new Digital Content Creators category amid changing entertainment and media landscape

KARACHI: Pakistan’s entertainment industry gathered in Karachi on Thursday for a smaller, more intimate ceremony marking the 24th Lux Style Awards, as artists reflected on the importance of recognition, evolving formats and broader inclusion across creative fields.

The awards, considered Pakistan’s longest running and most prestigious entertainment honors, were held at the Mohatta Palace, a departure from previous large-scale events at the Karachi Expo Center. 

Actress Sanam Saeed, who co-hosted the evening, described the ceremony as “small and intimate,” a tone echoed by several attendees.

The scaled-down format followed an unusual year for the awards. The 23rd Lux Style Awards, scheduled to take place in Lahore in May, were canceled amid the brief war between Pakistan and India, with winners announced digitally and trophies delivered to recipients’ homes.

Among the prominent stars attending this year’s ceremony were Fahad Mustafa, Hania Aamir, Mawra Hocane and Yumna Zaidi. Aamir, who won Actor of the Year – Female (Viewers’ Choice), for the hit television drama Kabhi Main Kabhi Tum, said award platforms play a vital role in sustaining creative industries.

“It’s extremely important to appreciate the art that comes out of your country,” she told Arab News at the red carpet. The drama, she noted, resonated beyond Pakistan, trending in Bangladesh and India during its broadcast.




The picture shows entrance of the 24th Lux Style Awards in Karachi, Pakistan, on December 11, 2025. (AN photo)

Addressing fans abroad, Aamir, arguably Pakistan’s most popular celebrity internationally, said:

“Thank you so much for loving beyond borders. We love you as much even more. So thank you so much for appreciating all the hard work that we do.”

She also called for broader recognition across productions. 

“I’d like Lux [Style Awards] and every other award show to have a lot more diverse categories to appreciate every single person who is a part of the team. [And] who actually makes the project come to life.”

The Lux Style Awards have long attracted debate over transparency and credibility, a recurring discussion whenever nominations and winners are announced. 

Still, many artists said the platform remains essential for motivation and visibility.

“Whenever we discuss the awards, no award will be fair because some people will have certain reservations with it,” producer Abdullah Seja of iDream Entertainment told Arab News. “These might be the most authentic awards in Pakistan [but] obviously there is room for improvement in everything.”

Reflecting shifts in Pakistan’s creative economy, the awards introduced a separate category this year for Digital Content Creators. The inaugural trophy went to real-life couple Rabya Kulsoom and Rehan Nazim, known online as ‘Ron and Cocco’.

“The credit goes to Lux [Style Awards] for introducing the category because content creation is not easy,” Nazim said. “Whoever is doing it, it’s a difficult job. And now it has become a full-time job. You can’t take it lightly and do it on the side. So, we need to recognize the people who are doing it.”

Actress Yumna Zaidi, who won her first film award for Nayab, described the ceremony’s return to Karachi as significant. 

“I am so glad that it’s happening in Karachi because it’s been a while,” she said, adding, “Lux [Style Awards] are the strongest because it includes nominations from all the channels and it’s the strongest [competition].”

Mawra Hocane, whose drama Jafaa was nominated for TV Play of the Year (Critics’ Choice), said meaningful storytelling mattered more than trophies. 

“Platforms [like these] are very very important but more than that what’s important is that a project strikes a chord with the audience,” she said.

“I do my projects so that we can work on the position of women in society. [And] somehow elevate them, somehow create some space for them. And I think ‘Jafaa’ has done that.”




Actor Sona Rafiq is posing for picture at 24th Lux Style Awards in Karachi, Pakistan, on December 11, 2025. (AN photo)

Music remained a central draw of the evening. 

Co-host Sanam Saeed said she was particularly looking forward to live performances. 

“Music is the kind of genre that bonds people together and puts Pakistan on the map,” she said. 
“We become one when it comes to music, forgetting all the distance, limitations and borders. [And] Our music does that.”

Singer and songwriter Hasan Raheem, popular among younger audiences, also performed during the ceremony and reflected on the value of such platforms. 

“These [platforms] are important, honestly,” he said. “I feel like things like these should happen because the real present and the gift that I personally get is the love from people that is the epitome of all the awards. I can never get a better award than that.”


Review: Netflix’s ‘The New Yorker at 100’

Updated 14 December 2025
Follow

Review: Netflix’s ‘The New Yorker at 100’

  • Directed by Marshall Curry, the documentary opened the doors to the publication’s meticulous world, offering viewers a rare look inside the issues within the magazine’s issues

Out this month, Netflix’s “The New Yorker at 100” documentary marks the centennial of the weekly that has brought forth arguably some of the most compelling long-form journalism in my lifetime.

As a ferocious reader with an insatiable appetite for print, I vividly recall picking-up a copy of The New Yorker in Saudi Arabia after school as a teen, determined to read it cover-to-cover — only to find myself mentally, intellectually and physically exhausted after deciphering a single lyrical and Herculean-sized long-form piece.

Reading The New Yorker still makes one both feel smarter — and perhaps not smart enough — at the very same time. Just like the documentary.

Much like Vogue’s 2009 documentary, “The September Issue,” which followed (now retired) editor-in-chief Anna Wintour as she prepared for the September 2007 issue; this documentary largely centered on the making of the Feb. 17 & 24, 2025 multi-cover edition.

A quintessentially New York staple that readers either love or loathe — or both — the magazine has long been seen as a highbrow publication for the “elite.”

But The New Yorker is in on the joke. It never did take itself too seriously.

Directed by Marshall Curry, the documentary opened the doors to the publication’s meticulous world, offering viewers a rare look inside the issues within the magazine’s issues.

Narrated by actress Julianne Moore, it included sit-down interviews with famous figures, largely offering gushing testimonials.

It, of course, included many cameos from pop culture references such as from “Seinfeld,” “The Good Place” and others.

It also mentioned New Yorker’s famed late writers Anthony Bourdain and Truman Capote, and Ronan Farrow.

As a journalist myself, I enjoyed the behind-the-scenes peeks into staff meetings and editing discussions, including the line-by-line fact-checking process.

While lovingly headquartered in New York — and now based at One World Trade Center after decades in the heart of Times Square — the magazine has long published dispatches from elsewhere in the country and around the world.

I wish there had been more airtime dedicated to Jeanette “Jane” Cole Grant, who co-founded the magazine with her husband-at-the-time, Harold Ross, during the Roaring Twenties.

Ironically, neither founder hailed from New York — Grant arrived from Missouri at 16 to pursue singing before becoming a journalist on staff at The New York Times — and Ross came from a Colorado mining town.

Perhaps more bizarrely, Ross, who served as the first editor-in-chief of The New Yorker — known today for its intricate reporting and 11 Pulitzer Prizes — had dropped out of school at 13. He served as lead editor for 26 years until his death, guided by instinct and surrounded by talented writers he hired.

As the Pulitzer Prize-winning journalist and the magazine’s fifth editor-in-chief, David Remnick has held the role since 1998. “It is a place that publishes a 15,000-word profile of a musician one week, a 9,000-word account from Southern Lebanon, with gag cartoons interspersed in them,” he said in one scene.

It also offered a glimpse of the leadership of his predecessor, the vivacious and provocative Tina Brown, who served as editor-in-chief for six years starting in 1992.

No woman has held the top editor position before or since her tenure.

Some of the most compelling moments in the documentary, for me, showed journalists scribbling in reporter notebooks in darkened movie theaters, rocking-out in dingy punk shows, and reporting from political rallies while life unfolded around them.

These journalists were not sitting in diners, merely chasing the money or seated in corner offices; they were on the ground, focused on accuracy and texture, intent on portraying what it meant to be a New Yorker who cared about the world, both beyond the city’s borders and within them.

While Arab bylines remain limited, the insights from current marginalized writers and editors showed how the magazine has been trying to diversify and include more contributors of color. They are still working on it.

A century in, this documentary feels like an issue of The New Yorker — except perhaps easier to complete.