“In design I listen to my core, my heart. I go by my instinct entirely – taking a plunge despite a fear of the unknown.”
As I walk into a studio in a residential locale, I am met by the soft-spoken and gentle Umar Sayeed. Expecting to witness a flurry of clothing samples, fabrics and more, instead I am struck by the art-filled walls. Every inch from the foyer, to the hallway and the main studio is covered in works by Pakistan’s finest. A cursory perusal notes numerous Sadequain works, along with Nahid Raza and Tassaduq Sohail, to name a few. Stacked against the works on neatly arranged racks are rows and rows of exquisitely embroidered samples in his signature style. I am clearly amidst a deeply artistic presence around me, his studio representing not just a space of commerce and mercenary activity but a realm of creative nuance, summoning conjecture, contemplation and creativity. Within his atelier, the amalgamation of colours, embroideries, oil and watercolour all build to reveal a microcosm, a speck of the force of creativity that has made Sayeed a household name. As spaces and corners reveal much about those that inhabit them, Sayeed’s space reflects just that – the inner workings of the shy maestro where he dreams and creates for his clients.
Your atelier houses some spectacular art, care to name a few of your favourites?
Umar Sayeed: I love Sadequain, along with Mughees Riaz, Belinda Eaton, and Imran and Aisha Qureshi. I also enjoy Art Fairs, Art Basel, Miami is a favourite although I don’t prefer installations, I like the ambience.
How did you get started in fashion?
US: I used to paint, and I was always interested in arts and crafts. I created my first collection, which was on muslin fabric, and it was entirely hand-painted. I did all the hand-painting myself, and that’s how I started.
Do you have formal training in drawing and/or painting?
US: No, not at all.
What does couture mean to you?
US: Couture is simply a one-of-a-kind, one-off piece. There is a misconception amongst people here where they think a Chanel bag, or a Chanel jacket is couture, a one of a kind piece. But it is pret-a-porter. Couture is what Valentino produces, a bespoke piece created made-to-order. That I feel is being eliminated slowly. It’s becoming extinct. Our arts and craft within the fashion industry, I feel are suffering because of the pret-a-porter industry. The standard of quality just isn’t there anymore.
Is that what you prefer to make then, one-of-a-kind bespoke creations made entirely for the client individually?
US: Yes, exactly. I like to meet with them and understand what they require, and then go about creating a unique piece.
What do you feel then that the fashion industry and your profession lacks?
US: I see a lot more professionalism in the industry than before, however it lacks any form of government support, which I feel is very necessary. Look at the fashion weeks for example, we are going on 10 years of holding fashion weeks in this country, can you name one designer who has received an order of 50 pieces or more at the behest of showcasing at said fashion week? It needs to move forward from being a small-scale enterprise, to something bigger and better. Yes there is a lot of work being put in by the Fashion Council etc, but it’s not getting us anywhere. I feel fashion weeks have become very redundant at this point. This is part of the reason why I don’t show, and if I do it’s very rare, and that’s usually because I succumb to pressure. Obviously there’s no denying the publicity factor, there are benefits of exposure on television, but there is the added downside that because it is made-for-tv therefore caters to a specifically tv-centric audience where they take money from any Tom, Dick and Harry, and more without any oversight or scrutiny of the collection, or even inquiring whether after these four particular pieces will there be a follow-up collection from that particular designer, the way it is carried out abroad. By that I do not mean that you ask veterans for drawings etc. such as myself, Rizwan, Bunto or Sana Safinaz, but of the newcomers who are coming forward to showcase, at least ask this of them.
“I keep asking, where has the quality gone? It has gone down the drain because whoever has the ability to spend, has become a designer so to speak.”
I understand the fashion council has also received their share of flack the last couple years for this very issue, when such newcomers were allowed to show, but that ebb and flow hasn’t really disappeared, is that what you’re criticizing?
US: Yes, exactly.
How do you feel we’ve evolved from an organic industry to a burgeoning one?
US: Not as much as we should have. Look at fashion weeks conducted in other nascent countries and economies. They invite professionals from abroad, from those evolved Western States, to bring in their expertise, which they then adapt. Just like India did. They invited Fern Mallis (of New York Fashion Week) who came in and set modules. She returns every year to ensure all checks are in place and how they are carrying forward. There must always be a check and balance in place, and there are none here at the moment. We are all just playing amongst ourselves.
Can you attribute this behaviour/phenomenon to a certain possessiveness within the industry?
US: Yes, exactly. We are opening the industry up to an extent, but like I said earlier, there are no checks in place, for quality and more. It is a strange convolution. There are fashion weeks all over the world, look at Sri Lanka for example, they are so far behind us as a nation, look at Bangladesh, they are now both so far ahead of us now. In fact, our formerly burgeoning export industry has also considerably shrunk.
How so?
US: Because the government is not taking any initiatives in this respect, not even the Pakistan Business Council.
How do you think then we should proceed? Suppose you were appointed head of the Fashion Council, what would be your first move? More importantly would you accept?
US: No, I would not. On a consulting basis maybe, but I wouldn’t want to take on the task. My advice to them would be to invite people from outside of here.
How do you feel about pret-wear?
US: What’s happening the world over now is because of the need for instant gratification, people buy a piece of clothing, either that remains in one’s closet or is worn once and then discarded. The sense of belonging or a piece or clothing as keepsake does not exist anymore. We are treating pret-wear as Kleenex, even the price point. Because of this the quality is constantly deteriorating, where one item is worn by thousands. We are a nation of followers, not leaders. I will see a floral print by the multitude that will hurt the eyes. It is definitely convenient for those who are producing it, even those who are buying and selling it, but we are going to have to break out of our comfort zones.
But pret-wear by its very virtue is meant to be affordable, easy to wear and easy to pick up, wouldn’t that defeat the purpose though?
US: Why can’t it just be a simple black top? Why does it have to be a print? Why not a nicely stitched tunic, that you can dress up or down. How much mileage does one get out of so much print?
Tell us then, why did you create a lawn collection, which by its very essence is a design reproduced by the thousands?
US: It is, absolutely. I don’t agree with the phenomena at all. But I created it due to peer pressure. It’s necessary in order to keep your name and brand relevant in the market, to compete with the myriad names on billboards across town. Look abroad, you have large conglomerates like LVMH dedicated to their brands, and building their business base. It’s a multibillion-dollar industry. Here we don’t have any investors and they are just beginning to realise it. Here Khaadi has investors and more who I don’t want to name. My point is, if you don’t have investors or government support in any form, you cannot work on that level.
In recreating bespoke pieces or designs in a mass produced manner, do you feel it ebbs away at your creativity and quality?
US: Absolutely, of course it does. In order to maintain compatibility and remain competitive with the market, we have to match an existing market price point, inevitably, at the expense of quality. For example, so many pieces cannot be made by hand, or we cannot use machine embroidery here, let’s use print instead, you know, so in that way we are already compromised.
So don’t you feel that challenges you as a designer more? For example looking for ways to bring your expertise into a mass-produced garment?
US: That does, it really did. In the sense that the quality we are expecting does not come out.
Then how do you bridge the gap between couture and pret to bring something affordable to your customers?
US: That only leaves Lawn as the best possible option. Whether we want to do it or not, it leaves really no choice.
Do you feel it increased your clientele in any way?
US: No, but we became a household name.
How have your designs evolved over time? Do you feel like your clients have helped you evolve in that way?
US: Both really, it’s a mutual enterprise. Learning comes from all angles, and I do really value my clients’ opinions. Often, the client educates us such that they leave everything entirely to us so that becomes a huge responsibility. When someone comes in picks a colour, a motif and type of embroidery, they basically do half the work for us. But that is not something I appreciate. When you go to a brain surgeon you do not tell them with your brain open, how to take a stitch or what to do. Here, we have been in this business for 27 years so we know such things. Of course they should give us their opinion and let us know what they want, but telling us how to create the garment for them entirely – we are known for our quality, our tanka, our craftsmanship, our finishing, so you should leave it up to us. Yes you can tell us the colour, you can tell us the design, then just leave it up to us.
You create bridal couture, care to tell us about any bridal diva moments you have encountered?
US: Yes, there was one such bride, she paid a premium for my designs. She wanted a design created for her from scratch, to which I agreed. She then went on to specify that she would like to own the khaaka (sketch) of the original also, stating that they will belong to her, and that I am not allowed to show them to anyone else. She took the entire folder of her jora when she picked up the outfit. So it was a diva moment for me, as I tried to understand just what she wanted exactly.
What advice would you give your 20-year-old self?
US: To be business-savvy, which I’m not. I’m not a business person, if I were I would’ve done an MBA perhaps but my head doesn’t work that way.
What was your dream job as a kid and why?
US: To be independent and not work for anyone else, and that’s what I’ve done.
Who has been your greatest mentor/s?
US: There are so many. One can learn something from anyone. Travelling on a bus, somebody can tell you a story that can inspire you.Without them I’m really nothing.
“I’m thankful for the people I’ve encountered on my journey, you’re nothing without people. My friends have always been there for me; they are an integral part of my journey.”
Challenges you have come across?
US: There are so many things I would like to do. I would like to design furniture, I want to do crockery, there is so much I would like to do, but do not have the time, or the resources. For example Rohit Bal is designing crockery, weddings etc. Others are designing hotels, aircrafts etc, there is so much scope – within the realm of design one can do so much. Karachi has so many external distractions, along with no government support, we’re not able to move forward. A thread colour, a fabric that once runs out is then unavailable in the market, one has to alter their mind-set to adjust to these restrictions.
Any plans then to expand your empire in those directions?US: No, not at all. I don’t consider myself that business-savvy. What I would want to do is a collaboration with a design house that will allow me to lend my creativity.
You don’t think such collaborative opportunities are available here?
US: No, not as yet.
Have you looked to hire foreign business advisors or consultants for your own business?
US: I have but they need a large conglomerate to be able to do so. It’s futile to come in and advise a small fashion house.
Biggest risk that has paid off?
US: It’s always my instinct. I have many voices around me, but in design I listen to my core, my heart, I go by my instinct entirely – taking a plunge despite a fear of the unknown.
Would you call yourself a revivalist?
US: Yes.It looks entirely different now. So lots of examples such as that.
“I have innovated and invented also, but at the same time I have also taken existing embroideries and turned them around. For example, marori kaam used to be created in only gold thread.”
Do you feel enough designers are doing that these days, I feel we have only a handful of couturiers who can call themselves revivalists. Considering our embroideries are better this side of the border, do you think our industry is doing enough to keeping our heritage crafts alive?
US: No, they aren’t. The craft that we have here doesn’t exist anywhere else in the world. If we don’t make an effort, then once the current generation of craftsmen die, the craft will die with them. A lot of people are trying to revive it, but that level of work just doesn’t exist anymore.
You mentioned earlier how you would like to write a book one day. Tell us more about that.
US: I would like to do a fashion book one day, comprising of our crafts, our tankas, our revivals, where have we reached in 70 years, the journey of fashion I guess.
Thoughts about international expansion?
US: It is a drawback within my own self. As spoken about earlier, considering our circumstances, we are unable to acquire the professionalism required of them. We are too laid back, and an international entity is a bit too demanding.
Proudest moments in your career?
US: Whenever anyone appreciates my work
What are your future plans and goals?
US: Just to remain relevant within this market. There’s a lot going on in terms of fashion bloggers etc, which I don’t quite understand, nor participate in, so just to remain relevant.
Rapid Fire
Name one thing you can’t live without
US:My iPad.
Favourite designer local or international
US:Bunto Kazmi, Rizwan Beyg, Faiza Samee, Marchesa, Valentino and Armani.
Who would you like to dress if you haven’t yet?
US:Charlize Theron, she’s so elegant and tall, and has a personality of her own. It would be very challenging to dress her.
Favourite person living or dead/someone you admire or look up to?
US:My mother.
Favourite destination/s?
US:Italy and Turkey.
Favourite book?
US:Qurrat-ul-Ain Hyder’s, Gardish-i-rang-i-chaman and Rohinton Mistry’s A Fine Balance.
How do you unwind?
US:Reading, music.
Most overused phrase?
US:“Jurat hai aap ki”.
Personal motto?
US:I have no motto as such, I want to become a better human being, learn things, sometimes even have to unlearn things, but just strive every day to become a better person.
INTERVIEW: FAIZA VIRANI
PHOTOGRAPHS: KASHIF RASHID
