Cultivating the warp and weave of indigenous craft

 

The fuss-free, contemporary Khaadi installation displayed how traditional fabric can be incorporated into the future of fashion

 

If you’re in Karachi and you’d rather reconnect with the intimate charm of an old world instead of giving in to the hustle bustle of the metropolis, then a visit to the Mohatta Palace is essential. Far from the madding crowd, the exhibition titled A Flower from Every Meadow opened this week and is a visual smorgasbord of almost two centuries of craft from this part of the world. Over 100 garments charter through the warp and weave of time, narrating stories of civilizations that have reigned in the region and whose crafts may be dying with them. It’s a serene space, beckoning for attention without any of the hysteria that is often associated with fashion these days.

That said A Flower from Every Meadow connects the glorious past with an equally compelling, contemporary present. The last segment of the exhibition features the mastery of several notable revivalists: you get to witness Bunto Kazmi’s intricately embroidered cashmere shawls, Nilofer Shahid’s tributes to poets, writers and warriors of Central Asia; these are themes she has been working with for three decades. For those who have never seen the works of the now reclusive designer, who’s considered more of an artist, this is an opportunity that must not be missed.

Revivalism takes a modern turn: The Mohatta Palace Museum saw an assembly of fashion greats, including Nilofer Shahid, Shamaeel, Faiza Samee and Sonya Battla

 The installations take us through Faiza Samee, Rizwan Beyg and Shameel’s ornamental heirlooms, leaving one with an optimistic approach to tradition via contemporary styles. Maheen Khan, Khaadi, Sonya Battla and Sana Safinaz bridge the gap most gloriously, lending a minimalist edge to an aesthetic that is best described as opulent.

– Aamna Haider Isani