Building up couture | Instep

#Building #couture #Instep

With each generation a new consciousness emerges, and with it, a new conscience. You could argue that fashion is meant to be fun and lighthearted. Self-expression, an acknowledgment of the luxury of time and resources to invest in that expression. Let’s agree to disagree. Fashion is fun, but it’s not just an heirloom wedding dress, or a bold geometric gown. Fashion is also all about heirloom pieces and carefully crafted clothing.

Every piece created in the designer’s studio has a history. And in the case of Preshe Adnan’s work, it has a longer history than most. The 27-year-old designer isn’t just presenting a collection of materials, shapes, and designs – she’s reclaiming old pieces, and turning them into ideas.

“None of the pieces I showed. [at the showcase of the Un-gaze collection]can be recreated. Not exactly the same piece; They were all one-sided,” says Adnan.

Un-gaze, while not Adnan’s first collection, is a collection that has now set strong expectations in its place, anything less than what we have seen with this collection would be unacceptable.

Adnan first showed his work for Aamir Adnan’s Fashion Pakistan Week showcase in 2017. “It also used upcycled material,” says Adnan. Then, before the absolute event of the century, the pandemic and the resulting lockdown, he launched Awami, a very promising ready-to-wear line that Adnan talked about. shows doing. The work, however, went nowhere public for such a promising start. Adnan remains unconcerned. With her own eponymous label, she will do things differently.

The first thing he’s done differently this time around is putting his name on the label. “Sometimes things happen in a person’s life that teach them that they have to fully back up and own what they’re doing.” With Awami, Adnan noted that she wasn’t quite ready to fully invest.

One of the biggest frustrations of young designers is a lack of planning. That’s where what’s presented as a very well-thought-out collection ends. Many times we will see that there was no plan for accommodating the orders, no set point of sale, whether physical or digital, and no forecast as to what would happen. How to raise and roll the capital that will keep the business afloat. You’ll find that these designers have either become very niche, catering to a very niche clientele in their social networks, or have disappeared entirely.

Preshe Adnan is in the business of upcycled couture. The pieces shown as part of Un-gaze were once other items of clothing. A sherwani turned into a kurta. A turban was carried over the saree. Adnan says, “The red sari was a turban. The history of the pieces used is also important. A turban is primarily an accessory for men, and it represents their honor, lineage – it is passed down from one man to another. “I took a turban that was made in 2004, opened it up, and used the pleated part to cover the chest.” In the world of Preshe Adnan, every move is deliberate. Every stitch, drape, and cut tells a story.

Adnan is confident that this will not happen to him. “It’s in my blood,” she says, referring to her parents, who are also both designers. “I grew up around clothes and sewing and machines. Around the people I’m working with now. There’s no way out.”

The most incredible thing about Parisha Adnan is that she is actually approaching her trade like an artist. Yes, she has the advantages of available infrastructure, but the biggest quality she brings to the table is her passion and vision for design, especially design for women.

“For the uninitiated, I spent two weeks with all the women who walked for me,” she says. “I got to know them well, what they thought and believed and informed all that I prepared for them.

“When you come to me, you’re not ordering a dress, you’re ordering an idea. We’ll work together to create something that speaks to you and for you.

What Adnan is in the business of is upcycled couture. The pieces shown as part of Un-gaze were once other items of clothing. A sherwani turned into a kurta. A turban was carried over the saree.

“The red sari,” says Adnan, “was the turban. The history of the pieces used is also important. The turban is primarily an accessory for men, and it represents their honor, lineage – it’s passed down from one man to another.” It is transmitted to man.

“I took a turban that was made in 2004, opened it up, and used the pleated part to cover the chest.” In Preshe Adnan’s world, every movement is deliberate, every stitch, drape and cut tells a story. One of the things she talks about on her personal social platforms is how designing for women is difficult. She’s quick to point out that it’s not about the designer’s gender, but that they determine what’s beautiful, or stylish, or desirable.

“Who decided that what women want is soft and delicate?” she asks. “It’s not about whether the designer is a man or a woman; a woman can just as easily make clothes that sexualize the woman wearing them from a man’s perspective.”

Of course, there is a market for soft florals and delicate pastels, which is why they exist. What Adnan ultimately delivers is strong on cut and drape, not so much on embellishment, and makes a statement. You might say that Preshai Adnan is for strong personalities, but given that the designer wants to create pieces that reflect the wearer, we’re sure his floral, pastel, delicately textured creations are just as flattering. It will be powerful.