The runway on the second day of TEXPO 2024 pivoted from the bold, exaggerated silhouettes and ideas of sensual ferocity that dominated the opening, shifting to a refined fusion of Eastern wear with modern functionality. Featuring Wardha Saleem, The Pink Tree Company, Humayun Alamgir, PLGMEA, Fahad Hussayn, Parishae Adnan, Zainab Chottani, HSY, and guest designer from Holland Michelangelo Winklaar, the collections stayed true to their roots while also drawing from external inspirations and age-old crafts.
Wardha Saleem
Wardha Saleem’s STARLIT collection sought to capture the magic of the night but began with a hesitant approach. Wildlife prints in neutral greys and blacks dominated the opening pieces, leaving an impression that was more subdued than striking – especially in light of the day before’s already-done animal prints. But as the collection progressed, the designer dialled up the drama with saturated emeralds, creeping dragon motifs, and Grecian drapes pleated and belted at the waist. Embellished with Zardozi, crystals, and beadwork, of all the later pieces, the standout was a striking gold silk saree with an attached paloo, paired with a harlequin blouse and 3D floral accents – a design that finally fulfilled the collection’s promise.
Fahad Hussayn
Fahad Hussayn’s Darker Shades of Hunza crystallised several emerging trends while asserting its own provocative vision. Opening with a breathtaking crimson ensemble, Hussayn set the tone: a high-necked silk blouse paired with an architectural skirt, intricately embroidered with maps, and crowned with a gilded botanical headpiece. It was an unapologetic nod to heritage, reimagined. Streetwear took on the Silk Road with a mint-green coordinate set that transformed topographic patterns into wearable art. Accessories staked their claim as statement pieces, with crystal-encrusted baseball caps and bold, oversized earrings declared power players for the season ahead. For eveningwear, a glitter-bomb dress blossomed with three-dimensional roses, each petal rendered in multicoloured glitter. This showstopper dazzled with its sculptural artistry, the petals seemingly unfurling from bodice to hem in a feat of technical virtuosity in signature Fahad Hussayn style.
Zainab Chottani
Zainab Chottani’s AURA took inspiration from Kantha embroidery, an art form historically used by Bengali women to recycle worn fabrics. Chottani refreshed this heritage with a vibrant colour palette and wearable silhouettes, merging traditional techniques with accessibility. Her pieces: kurti-style shirts, asymmetrically cut tops, jackets, and co-ords – incorporated the Tree of Life motif, a central element that gave the collection cohesion. The brightness of emerald green, fuchsia pink, and coffee brown played excellently off the intricate but monochromatic embroidery. The showstopper, worn by Vaneeza Ahmed, carried a powerful statement: a black waistcoat and lehenga combined with a floor-length green Kantha jacket. This piece dispelled any notion that age-old craftsmanship and fusion wear have to be mutually exclusive.
Parishae
In Under Pressure, Parishae fused 1980s rebellion with modern angst, delivering high-voltage drama in sleek precision. The highlight—a mirrored mosaic crop top with liquid-metal palazzo pants and architectural arm pieces—encapsulated the collection’s balance between constraint and liberation. Inspired by the era of Freddie Mercury and David Bowie, the showcase reimagined rather than replicated the ’80s, favouring a sophisticated punk through Gothic motifs on cream palazzos and baroque-inspired brocade blazers. Fabric manipulation was the collection’s strength, especially in iridescent wide-leg pants that captured light like oil on water. Parishae’s gender-fluid eveningwear stood out, with men in sequined bell bottoms and women in armour-like tops, a nod to evolved, contemporary punk. While accessories like studded chokers occasionally leaned literal, Under Pressure balanced nostalgia with fresh innovation.
The Pink Tree Company
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