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Behind the scenes: Nabila

Stylist: Nabila

Photography: Amean J.

Hair & Make-up: Creative Team @ Nabila’s Karachi

Model: Veena Malik

On the day of the shoot, while waiting for Nabila and Veena to show up, one could see Amean, pacing down the studio, intent on starting the shoot, and anxiously peering out the window every time a car passed by to see whether it was them. Very few words were exchanged and in the post-shoot conversation, I asked him whether he had any apprehensions going into the shoot? “I did because I had never photographed Veena before, so I was not sure. Obviously I took Nabila’s word for it that she is fantastic once you pull out the camera”, he replied and paused for a moment, “and she was so right”.

Forget the voluptuous siren swinging her hips to cheesy filmi numbers, Veena — after she arrived — was completely unrecognisable and would not have been identified had she not been introduced. With hints of the black khol that rimmed her eyes visible underneath the bangs weaved artfully into her hair which framed and complemented her wide-set, strong jaw line, Veena looked like she had just stepped out of a magazine herself.

When shooting, one could clearly see that Veena took direction really well. Right down to the minutest adjustments, she did exactly what was asked of her. Amean would often show her a photograph he’d taken of her to show her exactly what he was wanted from her. Keeping an eye out for detail, under Nabila’s direction, every single stray hair was snipped perfectly out of place, and make-up re-touched wherever it was needed. “I’ve always enjoyed about Nabila because whenever she walks in a shoot, she knows exactly what she wants.

“There are no ifs and buts and it never takes that long to be honest, she is one person who never compromises”, said Amean after the shoot. Talking about what he had in mind for the layout, he said he was inspired by Leonardo da Vinci’s drawing of The Vitruvian Man, “Obviously, I didn’t want to copy exactly what was in Leonardo’s drawings, but just take it as a point. And it’s year 2008, we wanted it to be for the ‘tomorrow’ and not yesterday”.

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January 13, 2008

Bigger and bolder

“We’re building a portfolio. It’s as simple as that”, Hassan Shehryar Yasin talks about what’s in store for HSY

“No time is a good time”, laughed Hassan Shehryar Yasin, the man behind the eponymous HSY designer label when asked whether he was in the mood for a little heart-to-heart. And no wonder because for the past year or so, Hassan has been working somewhat like a maniac, like a man on a mission to rule to world with scissors, sewing machine and sketch book in one hand and a keen sense of business acumen on the other. If there is one thing Hassan understands other than choreography and fashion design, it’s to ‘think’ big and how to ‘be’ big.

He immediately starts off by saying that “I know the country is going through mourning and I don’t want to be talking about my achievements – it sounds cocky. I was in Dubai when Benazir died, and I flew down the next day because I felt disconnected from everyone (at home). I wanted to spend time with my family and it’s a terrible thing that happened. But the Pakistani spirit is to go on despite whatever happens.” And going on is exactly what HSY the brand is doing. With a massive show scheduled sometime in early February in Masqat, on special invitation by the government and having launched several new lines in his recent fashion show, Hassan is sure to have his hands full.

With an eye focused firmly on the Middle East, and with plans underway to establish a large presence there complete with all of his sub-brands, Hassan is quick to state that “We’re building a portfolio it’s as simple as that. If a designer needs to cater to an international market, it needs to have a portfolio of products. It needs to show what it can give, and not just talk about it, but have a product handy”, he goes on to say that “the international market is not just looking for capacity but they’re also looking for diversity. Right now, I can go up to a large company and tell them that we can cater to their needs – good or bad we’ll get it done. We can build an image of more than just Pakistan, but of a brand with a Pakistani base in the global industry.”

He initially mentioned having plans to launch an abayya line, HSY Noir in the Middle East, when can we expect to see Hassan’s twist on Islamic fashion? “We’re still in prototyping the HSY Noir line in the HSY studio in GCC and we have a fantastic team coming in from London to do the interior” he goes on to mention that HSY is also currently in the process of “teeing up with one of the largest luxury brand promoter in the Middle East” as a partner and not as a client. The tone of his voice betrays the obvious excitement he’s feeling at the potential.

Expansion also translates into a bigger team for any fashion house and an armload of designers designing for that label. Even though HSY currently has one of the largest sources of manpower hired by a designer label currently in Pakistan, one couldn’t help but wonder where Hassan puts in his personal creativity at work. “One thing that I still do personally is my favorite: the bridal line. We have to, it’s our bread and butter and it’s essentially us,” he replied, “But the design team I work as a creative director. I tell them which colour, fabric, concept to use and ask them to design and show me the sketches. In fact I’m embarrassed when other people don’t do this as often. It’s happening all around the world”

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January 13, 2008

Ali Azmat: second time round

You will either love the album or hate it. There are no grey areas where Ali’s upcoming album, Klashinfolk is concerned. Although this scribe heard this album right before it was sent for the final mix and master at Digital Fidelity Studios in Lahore and one couldn’t help but think how perfectly nice the raw, live sound that came through during the preview, sounded and discovered that not only had the album been recorded as if it had been performed live, but also that even after the final mix and master, the ‘live’ sound would remain.

Where Social Circus was significant in establishing Ali’s individual sound and in breaking him away from the Junoon-inspired cliché that he was being associated with, Klashinfolk is a completely different ball game altogether. Social Circus was a self-dialogue that Ali had with himself and the music, although rich, embodied an emotional moodiness that reflected the turmoil that was no doubt predominant when writing the material for the album. Klashinfolk, although just as rich, is on a completely different polar end because in this album, we see the lighter side of Ali – the side that wants to celebrate just ‘being’.

The first section of the album hits you with full force from the moment it begins. Ali has officially arrived and he has no qualms about letting anyone know. An eclectic mix of almost everything — think saxophone infused in the traditional rhythm and lead guitar playing and some very powerful drumming by Mr Pinto himself — the album swings off powerfully and has its own share of solos by the musicians who’ve played in it. Where Gumby ends the song by drumming in his own signature style, the second single has a very dominant guitar solo in it.

Interestingly enough the third song carries forward the music started off by the first two singles and is actually a hamd. The only difference is that it doesn’t come across as overtly pious and neither does it comes across as terribly preachy. If there was a song to which one could dance in celebration of God, this would be it.

The fourth song becomes mellow but not just vocally, both musically as well. The only one so far which doesn’t make you dance — this song has a different mood altogether — whereas the previous songs sound completely different but this one has a slightly bluer (not to be confused with the music genre) feel to it. It reflects shades of black and blue as Ali takes you on yet another journey and is perhaps the only song that sounds remotely like local desi pop. The guitar, although also very dominant is used to provide or enhance the overall mood.

The album takes on a darker sound and the next song has a somewhat dramatic air to it. It finds Ali singing in a manner as if warning the listener of something to look out for, ahead and reminiscent of old, heavy rock songs. The sixth song is perhaps the only one that has managed to sound like a conventional rock song – a major step away from the overall sound – and stands out from the rest of the songs in the album. There are two moods very strongly predominant in the song. Oddly enough it is this duplicity in that which makes the song more intriguing. It is not enough that you listen to it once, there can be found something new in every listen, and listen to it again you want to, in order to find the multiple interpretations hidden in it.

Embodying lyrics that go on as ‘Ban Kay Dhuan Urta Raha… Teri Sansoon Mein Jo Aag Thi, Bujhti Rahi… Khud Say Bhi Mein Hairan Nahin, Rahein Yeh Dil Mera Veraan Nahin, Khud Say Bhi Mein Hairan Nahin’ and the chorus line as ‘Mein Jalta Raha, Tu Hasta Raha, Dil Nay Kaha Buhat Shukriya’ is a song titled Shukriya. Ali related that Zeeshan Parwez might direct the video for this song, and upon speaking to the director himself, Zeeshan said that “I’m looking forward to making a video but it is going to take a bit of time because the songs are designed in such a manner that it requires me to think more than I would in a normal manner” adding to it he said, “there are around two three songs from the album that I definitely want to make videos for but for now, I just want to concentrate on one.”

And yes, there is at least one English song in the Klashinfolk. Interestingly enough, a lyric from the album states that You are in me, growing like some disease – definitely romantic, but in a somewhat morbid kind of a way. Following this is a song which goes lyrically as 'Jeena hai kya marne hai kya, tujhay bhula nahin'. There is no noise by excessive instruments being played in the song — the concentration is solely on Azmat’s voice — or on the instrument being played (the lead, the bass guitar and the way, even the soft drumming that builds the crescendo of the song later on) the song ends with Ali crooning to ‘Socho Kabhi’.

The album is an eclectic mixture of all kinds of music – this kind of experiment could either have ended with wonderful results or could have crashed down on experimenter’s face - but has the energy that is characteristic of Ali’s personality. Klashinfolk is intense, but happy and takes you on a wild journey involving the intricate moods of simply being in a state of celebration. Yes, admittedly so, the sound is nothing like what has been done before and is a clear reflection of how sound, and most importantly music can mature if allowed to be. And Ali’s music is definitely a seasoned product of what desi pop-rock would have been today had it been allowed to flourish and continue with consistency when it first tried forming its roots in the local industry. Klashinfolk truly is Ali-en.

-- Photograph by Izdeyar Setna

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January 13, 2008

Haute and happening
Winter is the season to celebrate. It is the season when budding socialites take out their best party wear gowns and/or schedule a meeting with their favourite designer and have their winter wardrobe redesigned. You never truly know what to wear for winter in Karachi, the night can go from being simply cool, not requiring any layering, to considerably chilly without a warning. In the middle of the sophisticated nightlife that this Metropolitan enjoys, a set of four designers teamed up to show their best for the season. What’s more is that the event launched a cellphone designed after a personality synonymous with the most elegant and sophisticated fashion itself: Georgio Armani.

There was an interesting mix of designers on the panel that was showing. It included up and coming designer Maheen Karim who has been wooing both members of the fashion fraternity and those interested in it for some time now. Ammar Belal of the infamous ABCD brand was another, showing off his journey into semi-casual menswear. It launched Khaadi Khas, an off-shoot of Khaadi where we see the popular fashion retail brand experiment into the realm of western wear and party dresses for women. And last, but definitely not least, it gave the audience the opportunity to experience the charms of Sonya Battla’s elegant designs and skillfully cut outfits.

The event was organised and choreographed by Catwalk, the attendees instructed to dress in either black or beige, with the main area showing a simple black runway with a grid of plasma screens in the background. With a song that pays tribute to fashion itself, Maheen Karim opened the show on a remixed version of Vogue by Madonna with Nadia Hussein modeling the cellphone while adorned in a white Kaftan from Maheen’s Bijoux (Jewel) collection. The opening model modeling the phone before each collection was shown was to become a recurring feature in the rest of the show. Interestingly though most of Maheens models wore leggings underneath the outfits. Maheen later explained that the models weren’t comfortable walking barelegged on the ramp. The black and gold version of the Kaftan was also modeled.

Fayezah followed in another knee-length white creation with large cicular rings filled with diamantes lining the neck. The black and flowered shift dress was also modeled as were some outfits from Maheen’s prior collections including a v-cut colourful hemline dress stitched into a black blouse cut in a similar manner. The thing about Maheen Karim’s designs is that every single outfit is a masterpiece and is worth keeping. The Bijoux collection on its own is chic and would make the wearer feel beautiful even if she wore it ten years from now. Maheen Karim is extremely talented and, provided she continues the quality and dedication evident in her work, will go far. However, the outfits shown in the collection, including Bijoux, have been seen time and time again some of which have been hanging on her rack in Labels for a couple of months now.

Ammar Belal’s ABCD brand is popular for its collection of casual wear for men. Ammar Belal the designer is a fashion accessory in himself: everything about his appearance is immaculate perfect. It would make sense for such an individual to delve into designing. However the opening section of his formal to semi-formal wear wasn’t anything special. There were the same old black pants and coat over a white shirt and grey suits with pink and mustard ties. The suits were cut in a less-than-perfect manner and weren’t anything out of the ordinary. According to one attendee the fact that one of his models was wearing black shoes under a brown suit was a fashion crime in itself. Such small details need tending to.

Following that we see his more ‘experimental’ side. Blue denim jeans (which he does best) under a white and black horizontally stripped shirt and white coat with maroon hanker-chief, or blue jeans with red shirt and white coat with blue trimming and a red and white polka-dotted hanker chief… sounds confusing? It was just as confusing seeing it. The outfits didn’t seem to be going in any concrete direction. Perhaps one outfit which was decent enough to mention was a brown coat worn with a brown, green and yellow striped tie on a white shirt and blue jeans. The outfit had been modeled by Anatoly but even then I simply failed to see the ‘creative design’ part of it. Ammar Belal should definitely go back to what he does best: casual to semi-casual. Or concentrate on the fine details regarding how a coat is cut so it doesn’t end up with little bumps showing as it did with his models. He’s better off hanging the different components of his outfits separately in his outlet than trying to bring them together himself.

As a label, Khaadi has always been associated with, well, Khaadi. And Khaadi is always something that has mostly been worn in the daytime, to lunches or work… in short, its forte has always been casual wear. With the buzz surrounding Khaadi Khas, it’s alternative, westernized, geared towards party-wear line, having been generated for several months now, one eagerly looked forward to what the Khaadi king had to offer.

Overall the concentration of Khaadi Khas, when it came to dresses has been on the waistline. Every outfit had a belt, but in contrast to the large bold belts dominating the global fashion scene currently, Khaadi Khas went small and sleek with them. The overall colours in the collection ranged from silver, black, white, golden, brown and a delightful red. Khas played with high necks, halter necks, frills at the hems of skirts, down the front-middle of a dress to dominating the entire skirt altogether (often threatening to make the model look somewhat like a plucked chicken).

A dress that stood out wonderfully was a black wrap around gown knotted by the same material at the waist and sleeves pulled up, worn by Fayezah. It stood out from the rest of the collection also because it didn’t seem to be connected to the rest in terms of fabric as well. In a post-show chat with Shamoon revealed that all of the fabrics in the collection have been woven at the Khaadi mills themselves.

Khaadi Khas seems to be developing an interesting philosophy. There is creativity evident in the deigns themselves but whether it will work or not, I’m not entirely sure. But one thing can be said for sure: any woman donning a Khaadi Khas outfit from this collection may easily be considered bold and seeking some attention because whether good or bad, none of the outfits are boring.

From the moment the music changed to a classic, slow, Elvis number, the Queen of Cuts, Sonya Battla enthralled all those present. Every single model transformed into an equestrian lady that didn’t walk, but glided on the ramp. If there is one thing that she understands, it’s the art of creating a presence without creating a hoopla.

The outfits were typically Battla, but definitely embodied a richness and maturity in design that brought finesse in garment and how they are designed to a completely new level. She was very European, very elegant and very flowy in her creations. In some there were layers that were masterfully cut to reveal them without making them look shabby, there were others, for example a white gown with a gold and red lined neck worn under a white chicken shift, where for a moment the model seem lost in the fabric itself but emerged with poise and just as fluidly as the outfit seemed to command from her. Every step of the way, Sonya enchanted and lived up to her reputation of being the Queen of Cuts.

What was interesting to note is that other than Maheen Karim, who is just beginning to establish herself and Sonya Battla, who enchanted with the depth of her maturity in design, the other two featured collections namely, Ammar Belal and Khaadi Khas, showed the two designers in a transitionary phase. Where one is of the opinion that Ammar Belal’s venture into formal menswear isn’t going to generate any credible waves, Khaadi Khas on the other hand, as crazy as some of the designs were, might just be on to something.

-- Photos by Fayyaz Ahmed

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January 6, 2008

Penniless Paris

ParisAccording to the law of the nature, bad behaviour gets punished badly. In the world of the Hiltons’, it costs you most of your inheritance.

William Barron Hilton, grandfather of infamous socialite Paris Hilton, recently announced that he is donating 97 per cent of his 2.3 billion dollar fortune to charity. The money will be placed in a trust and will be used to benefit the Conrad N. Hilton Foundation. The foundation works towards education for blind children, shelter for the mentally unwell and clean water in Africa.

Paris Hilton hasn’t issued a statement yet, but according to Jerry Oppenheimer the author of the House of Hilton, Barron Hilton is “embarrassed by the behaviour of his socialite granddaughter, Paris, and believes it has sullied the family name”.

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January 6, 2008

Madonna's debut

The directorial debut of Madonna will have its world premiere in the Berlin Film Festival next month. Titled Filth And Wisdom the film stars Eugene E. Grant, Stephen Graham and Eugene Hutz. Interestingly enough, the movie will be shown “out of competition” meaning that it wont be eligible for judging and receiving the festival’s awards.

The Pop Queen is also expected to be inducted into the US Rock and Roll Hall of Fame this year. Candidates are included, among other criteria, only if 25 years have passed since their first official recording. Madonna scored her first record deal in 1982.

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January 6, 2008

Jay-Z parts with Def-Jam

It’s true: ace-rapper and one of the most sought-after producers in the American music industry, Jay-Z is stepping down from his post as President and Chief Executive Officer of Def Jam Records. And with everything that involves Jay-Z, this move also has its own share of controversies.

“It’s time for me to take on new challenges” said the rapper in an official statement. He has just recently released his tenth studio album, American Gangster, via Def Jam and according to a separate, long-term contract that Jay-Z held with the record label, as an artiste, and is to release two or three albums with the label. Jay-Z who came out of retirement in 2006 and released an album titled Kingdom Come, was often criticised for his seeming interest in promoting his own work than of the artistes signed up with the record label he was overseeing.

Despite the accusations, Jay-Z single-handedly raised Def-Jam Records back to its initial formidable height as one of the most powerful house in rap. During his tenure Kanye West released two highly-successful albums, Late Registration and Graduation, Fabolous with From Nothin’ to Somthin’, he signed on Ne-Yo and Rihanna, the latter who he converted into an international superstar. He helped bolster the careers of Rick Ross, Nas and Jadakiss and launched Young Jeezy’s career as well.

Although Jay-Z declines rumours circulating that he stepped down from the post on monetary terms, citing that he was looking for newer business models for selling records, an anonymous source from Universal – the company that owns Def-Jam – stated that the company was letting go of the Jigga Man because under a renewal of contract that Jay-Z was seeking required Universal to pay him, provided he met some financial goals, over 10 million dollars.

Some may argue that Jay deserves it, but an alternative argument could be that since the record label industry has been experiencing a radical decline in monetary benefits due to rampant piracy and stark declined in CD sales, and coupled with Jay’s own share of controversies, Universal may have decided that renewing his contract wasn’t a feasible option for them. It is unclear whether Jay-Z’s position will be filled immediately after his departure.

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December 30, 2007

Kami in K-town

He was once quoted as saying that he’s dedicated to making everyone’s life “fabulous”. Kamiar Rokni is the fashion industry’s blue-eyed boy and favourite success story. His ‘divorce’ (as he likes to call it) from Karma, the label he helped set up and designed in for roughly around seven years, left no doubt in anyone’s mind that he would be able to make it on his own.

Since the breakup, Kamiar’s individual line has been eagerly awaited by almost everyone in or remotely interested in the fashion industry. No one could truly predict what it would be like, but the general consensus was that it would be “utterly fabulous”.k2.jpg

The one thing that is immediately noticeable about Kamiar is that he tends to dress conservatively but with a flair (think black-and-white pant suit with bright red shoes) — he embodies the chic-yet-funky ’70s glamour, brings it to the current decade and makes it his own. Armed with a charismatic smile and devil-may-care attitude, this fashion magician launched his collection at the recently established Ensemble in Karachis Old Clifton district.

Kamiar was originally supposed to launch himself via the indefinitely postponed Pakistan Fashion Week, but has decided to start small by stocking in multiplexes, first at The Boulevard in Lahore. He is perhaps testing the ground and working on the feedback before arriving with the proverbial big bang. Kamiar confirmed this by saying: “With Ensemble I will be providing my ready-to-wear line on a regular basis and in the spring (2008), sometime in late March, I will be coming out with a couture collection. And hopefully I’ll back that up with a show as well.”

k3.jpgStanding side-by-side, with collections by fashion icons in the subcontinent — from India there is Tarun Tahiliani, Sumar Dugar, Rohit Bal and Ritu Kumar; and from Pakistan there is Faiza Samee, Umar Sayeed, the recently relaunched Shamael Ansari and fashion talent Sadaf Malaterre — is now Kamiar Rokni’s prêt-a-porter collection and couture line. Keeping it simple for the winter party season, Kamiar plays with bold motifs, appliqués and mesh embroidery on colours ranging from deep turquoise, mustard, hot pink, white, beige and black. The cuts are straight and simple and nothing is over-the-top. An outfit that stood out was a black ‘tuxedo dress’, longer on the backside and relatively short in the front, no doubt meant to be worn with pants, and with a simple white checkered neckline.

k4.jpg

“I was thinking in terms of re-thinking,” said Kamiar when asked about his inspiration for the line. “The inspiration was to re-think silhouette, embellishment, form and colour, and so I’ve done a lot of things I’ve never done before: a lot of appliqué, large motifs and a lot of graphic stuff. I also haven’t done that much of beading and crystals. The inspiration really was rebirth, a rethinking my design philosophy.” About whether he has a favourite piece from the collection, Kamiar says, “I do, actually. It’s sold. It’s called the Mod Squad outfit which is this A-line shift with black-and-white trim at the hem, that’s one of my favorites from the collection. Also, I love my warp and weft embellished tops from the same line.”

k5.jpgThe launch saw the likes of Safinaz, Umar Sayeed, Rizwan Beyg, Nomi Ansari, Deepak Perwani, Faiza Samee, Sadaf Malaterre, and also brought out the shy Iman Ahmed (formerly Imranna Ahmed, of Body Focus) and model Nausheen Shah.

When asked how they felt about Kamiar’s collection, they were full of praise. “Kami’s clothes are very well-cut, the choice of fabric is excellent and perfect for the Karachi weather. The colour coordination, piping, the little details and the finishing is very nicely neatly stitched. I think Kami will do very well in Karachi,” said Nomi Ansari.

Despite having a stock in Ensemble herself, Sadaf Malaterre enthused: “I picked up one of the shift tops myself. I like the simplicity in them and I adore him.”

Zeba Hussain of the Teachers’ Resource Centre and whose daughters are managing Ensemble was of the opinion: “I think Kamiar’s taken Karachi by storm. I’ve always admired his work and I’m really happy that he’s here with us. I’m looking forward to working with him.”k6.jpg

According to Deepak Perwani, Kamiar’s collection contains “beautiful stuff. I love the kaam as it’s quintessentially Kamiar: It’s playful, it’s fun and the embroidery is beautiful. I’ve always thought that Kami has a very strong sense of design, in terms of how he sees his women. And he definitely sees his women beautifully.”

Judging by the response the launch generated, Kami may well be on his way to replace the ‘K’ in Karachi by that in Kamiar.

Photos:

1. Model, Nausheen Shah going through the collection

2. A view from outside

3. Kamiar with Iman Ahmed (formerly Imrana Ahmed of Body Focus) and his publicist, Selina Rashid

4. Kamiar walks Freiha Altaf through his collection

5. Batul Rizvi, Omar Sayeed, Kamiar Rokni, Faiza Samee and Zeba Hussain

6. Rizwan Beyg and Faiza Samee examining Kamiar’s work

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December 20, 2007

DJ Sheru on the move

Hasan Shehryar Yasin is working on expanding his empire, with plans to establish the “largest Pakistani presence” in fashion design in the UAE by opening up an outlet in Dubai in March next year. It will feature a diverse range of HSY originals from his prêt a porter, couture, denim (HSY Denim) and sportswear (HSY Active) collections. He also plans to introduce a new line, HSY Noir through the launch as well which sees him feature his abayya collection. HSY Denim and Active will also be shown at a show in Lahore today, from a collection he had previously shown in the Dubai. For those who may have missed his last performance, DJ HSY is expected to be found working his turntables after the show.

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December 16, 2007

Dream with in a dream...

Entering the Commune Artiste Colony sometime last week, I was surprised to see a larger-than-life-sized brown wooden stool near the entrance. Upon peeking inside one could see that there was a massive video shoot taking place inside.

Parts of the gallery space had been converted into a set with screens and the occasional sofa and soon enough, one caught the haggard and weary-looking Umar Anwar directing some of his crew to making small changes in the set.

One also saw Haroon sitting on one of the chairs watching everything as it progressed, waiting for ‘shooting’ to resume. This writer immediately caught up with what the prolific music video director was up to.

Taking a break from directing commerials, Umar Anwar is back in the realm of making music videos with Haroon’s Nahin Hai Yeh Pyar. Tired of doing commercials, Umar was eager to get into something that would exercise his creative side.

Shot as a “dream within a dream within a dream”, according to Umar, the video is about a person who “is in denial. When someone lives in denial, he tends to create his own fantasy world around him.”

The video of Nahin Hai Yeh Pyar featuring Haroon is expected to hit the airwaves sometime later this month.

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December 16, 2007

An Ali-en concept



One of the first things you will notice about Ali Azmat is that not only is he a wonderful entertainer, he is a very gracious host and makes sure everyone around him is fully tended to. The second thing you’ll notice is that despite the entertaining he does off-stage, cracking jokes and striking up conversations with those in his presence, he is always watching and observing everyone and everything around him. You can run, you can hide, but his quietly inquisitive eyes will find you wherever you are.

In the mid-afternoon that this interview took place; however, we see a different side of Ali. He is still the gracious host but is somewhat quiet and almost lazy – a trait he repeatedly identifies himself with. His second album, titled Klashinfolk, which has been generating a buzz for over a year now is in its final mixing stage before being complete for a commercial release. He’s also recently come back from a trip to India where he’s considering working on a couple of projects.

In an exclusive heart-to-heart with Images, Ali talks about what all he’s been up to, how is album is coming out and on him as a producer.

Word has it that you’ve recently agreed to produce a couple of songs for Indian films. What specifically are you working on?

AA: I’m producing a couple of songs for them. I did one for a movie called Tera Kya Hoga Johnny which is my friend’s Sudhir Mishra who has also made Hazaron Khuahishain, Chambeli, etc and is a very good director. I did two songs for a movie called Mumbai 11. It’s basically 11 directors shooting 10-minute movies. I also did a soundtrack for Rahul Dholakia, who actually won the Indian National Award last year for Parzania, the movie it stars Naseeruddin Shah among others. And I’m doing another movie for Akash Ghutnaam and there are numerous other projects.

They are basically independent film-makers, who are away from the pressures of Bollywood or of casting the ‘right’ actors.

Now that you’re a supporter of independent cinema, does that mean you won’t be producing music for commercial films?

AA: No, actually I spoke with powerhouse directors such as Nadiawala. I’m in touch with everybody but it really depends on the kind of projects I should take, because I’m not going to write dhoom dhamaka music, that’s not what I do. Around five of the songs from my new album are already being used as soundtracks to Indian films. I’ve shot around two music videos in Bombay and one in Goa.

Why shoot them in India?

AA: Because cheaper to do it there and you get all sorts of facilities like cheaper film, cheaper cameras, and developing is not a problem. So from that point of view, it’s a little more convenient, rather than in Pakistan where, when you shoot a video, you have to worry about sending a guy to Thailand or Dubai to finish it. It sort of works out, if your already going to be there.

But you do plan to make music videos in Pakistan as well?

AA: I’m planning to make a lot of videos this time around. I did four videos last time and I was on my fifth video, but I realised that my new album is ready and I was shooting songs from the old album, it doesn't make any sense. I might as well spend some money on the new one.

With you having directed one of your videos so far (Mein Challa), will you be directing any more on your own?

AA: I’m doing all of them on my own. I directed one video, and the whole thing is about getting an idea right. And I’m not much of a visual artist which is why I rely on people like Zeeshan (Parwez) and Saqib (Malik), etc. It has to be visually relevant for them for them to come up with something. I can write concepts. But I’m not a visual artist and I don’t know anything about shooting/camera/lights etc.

Why call the new album Klashinfolk?

AA: I thought it was perfect for the kind of culture we indulge ourselves in. We’re all about guns and bombs and we're totally desensitised to the AK47 culture. Kalashnikov to humarey culture ka ek hissa hai. Agar aap kay pas Kalashnikov nahin hai to phir aap mard nahin hain.

So I got myself a Klashinfolk, to shoot people around with the music.

What does the new album sound like?

AA: I really can’t explain what it is. For me, the musical genre is Ali-en (alien), it sounds cheeky but that's my genre. But it still sounds like rock and roll. In this album we’ve tried, stuff like country jazz and reggae and a sort of rock and roll thumris.

What are the songs in the album predominantly written about this time around?

AA: It’s about everything and nothing. It’s not really a conceptual album; it’s a record and a labour of love. It’s coming from the point of view of the kind of person I was a few years ago when I wrote Social Circus and this is the kind of person I am now. The music I’m writing is about the kind of state of mind that I’m in currently.

Songs are songs, at the end of the day you have to treat them as songs. You can’t state a song in a certain way; it will kill the listeners’perception of what that song is about. This is the lesson I learnt when I used to listen to Pink Floyd. Because you believe for years a certain song means something and then you find out what it was actually about… it kills it. As artistes we leave that area open for interpretation.

Also the kind of music you listen to is what’s going to inspire you to come out with. Like Social Circus was an inspiration from a band called Live. It goes from dark tones — with no extra guitar solos — to simple song-writing and it sort of worked out for that point in time. The album survives on itself on different levels. Social Circus was a dialogue with oneself. Most of the album was written in a very depressive state-of-mind because I was out of a relationship, I was out of a band, I was falling out with my parents and friends and so there was a whole phase where I was by myself and basically At war with the world.

But Klashinfolk is not like that. It is coming from a different state of mind. It’s varied and it’s perky and it’s not depressive.

You had fun making the album?

AA: Yes, and I had around 48 songs out which I only recorded 11.

And did they come out the way you expected?

AA: More so than I expected them to be. This also moves up my confidence as a producer because I never produced before Social Circus and I’ve won awards for that. I’m loving it because I can produce and I have an ear for that. I’m going after it like nobody's businesses.

But I’m enjoying producing my own records; the sound, the guitar parts, the vocal harmonies, drum sound, guitar sound etc. You’re producing on top of everything else, right from the beginning.

So you’re enjoying the control you have over the album?

AA: It’s not even about control, it’s about pushing into the deeper end. What’s the other choice: whose going to produce it? If I don’t make a decision then nobody else is going to do it. In Junoon there was a power struggle and those guys thought that they were much better musicians so they would do what they thought was right. But what they didn't have was an ear for production.

When you listen to the album you'll understand what I’m talking about because the sound-scapes, they (Salman Ahmed and Brian O’Connell) couldn't create it. Salman Ahmed is a good songwriter but he was not a good producer. I don't own any Junoon music, I can't relate to it. From a production's stand-point, that is not what I want to hear.

Because you’re individual sound is very different?

AA: Yes. And I want to make it more different.

You’re not interested in developing a signature sound?

AA: Not at all. I don’t want to be stuck in a rut and make a parody of myself. Junoon was basically caricatures of themselves and it sort of irritated me. I don't want to be stuck as a sufi soul singer. I’m not sufi, I’m just goofy. Because your growth needs to be documented and this is my growth (as a musician) being documented.

-- Photography: Amean J.

First Published:
Images
December 9, 2007

Behind the shoot: Maheen Karim

Designer: Maheen Karim
Photography: Rizwan-Ul-Haq
Hair&make-up: Fouzia Ahmed @ Mubashir Khan's salon
Model: Nausheen Shah
Fashion Editor: Madeeha Syed

You can never be absolutely sure how a concept for a shoot will turn out till it actually happens. The concept itself was inspired by the understated glamour and sophistication embodied by the classic sensation, Twiggy. Keeping that in mind, the idea was to shoot a model in her natural environment, at work, literally ‘acting’ as a model. As it would turn out, it’s much easier for someone in front of the camera to assume a character than ‘act’ natural — with the exception of reality TV stars.

The hair and make-up, directed by Mubashir Khan was kept very simple with no added glitter anywhere. What was interesting to note was that when ever the model, Nausheen, did not intentionally pose was when she fit perfectly into the character that we were trying to portray. There were moments when she took a small break and casually sat down on the couch we’d asked her to freeze for a frame or to improvise on what she was already doing.

Almost every single person participated, including Maheen, the designer (who at one point, instructed a somewhat brilliant pose to the model — something which the model couldn't quite catch on to) and the hair and make-up artist who along with Maheen helped contribute as extras in some of the frames. Despite getting into it not knowing fully what to expect, at the end of it all, with the collective efforts of working with everyone involved, it turned out just as well, if not better, than what we had expected.
First Published:
Images
December 9, 2007