Ali Xeeshan takes Aimen Khan into his eclectic and vibrant studio
Tell us about the inspiration behind the décor in your studio.
Fashion is getting too commercial these days. There’s no art value or creativity left. My studio is not a commercial space. When you enter my studio, you are taken on a ride. It’s an interesting experience that I’ve always wanted for my clients and visitors. It’s like a home studio, where girls can come in and feel comfortable discussing their bridals. I’ve always wanted my space to be colorful and have character. I didn’t want it to be like other nondescript commercial spaces that feel like grocery shops or hospitals. I’ve collected momentos from all over the world, each one with its own memory and story. My studio talks to you. It’s welcoming that way.
What significance does your studio hold for you and how does it influence your work?
No matter where I travel in the world, I have to come back to my studio because that’s the only spot where I can generate ideas. It’s my comfort zone. It has everything I need. I have different mood lighting, depending on what I’m designing for (runway, brides. etc) so I can see the same product under different lights. It’s very comfortable for me, like my own room, where I can be myself. I don’t feel uncomfortable in any spot in it.
Don’t become a Part of the fashion or media industries because you want to be famous. Stop thinking about what you’ll wear to the red carpet. Do your job first
What’s the favourite part of your studio, what holds the most significance for you?
My favourite place in my studio is definitely my little forest garden with a huge window overlooking it. On some days, I put my table outside and start operating from there, especially in the winter. I’m friends with all the birds. They come every day.
Tell us about the birds. It shows in your work and your studio that they hold a lot of importance for you.Â
I have always thought that they’re little angels. I think they just come and keep an eye on what we’re doing. I think birds are the most beautiful forms nature has taken.
Do you approach your work with a specific process?
With me, it’s mostly a mental process and then execution. I like to take my time and evolve the ideas in my mind first. When I’m working on a collection, like I am doing right now for PFDC Sunsilk Fashion Week in March, I first think of a name. The name sets the mood for the collection, which then helps me set the colour palette. We take a lot of time with the colours because I feel like they can make or break the collection. From the colours, I decide what themes or trends I’m going to be following. I then put it all on paper. I have a great design team that helps me execute because I can’t be there every second.
Once everything comes out of production we put different things together and see how they look. I usually work on the collection till the very last moment. Sometimes a model is about to step on the runway and I stop her and say leave this, or take that. It’s a continuous process.
For me, the mood is very important. I like to keep the mood in every piece that I design. There has to be a story. The clothes should speak to you.
I was too loud for some people. They wanted me to calm down but you only get to live life once. Why should I stop on account of other people? Why should I shine less? I can’t be sorry for being fabulous
Do you ever face any creative blocks? If yes, what do you do to get out of them?
Of course! I usually just leave the country or city and go away for a while to clear my mind. It’s always a good idea to step away from the situation for an aerial view so you can easily figure out what can be done better. When I was in fashion school, they always told us to a take a break for a while and when you come back, you’ll easily be able to point out your mistake. So that’s what I do.
Do you have trouble working outside of your space?
Usually, yes. But sometimes when I’m travelling or I’m in a plane or sitting in a restaurant and I get an idea, I just grab my phone, a piece of paper, or even a napkin and draw it on there.
You’re an exceptional painter. Do you see yourself branching into that industry in the future?
I honestly think that art is a pure blessing and gift from your maker. I might get into that but part of me is always reluctant, because I feel like there shouldn’t be a price to art. It feels like giving your baby away. That part of me is stopping me from branching out commercially. I haven’t given much thought to it from a business perspective. Lots of friends and people want to buy my art. I think art is above and beyond that. But who doesn’t mind some extra cash? Ha-ha!
Where do you feel most inspired or creative in the world?
Europe. Probably a train ride from Paris to Amsterdam or Rome, any place that has history and rich culture. Since I grew up in Lahore, I take a lot of inspiration from here, Old Lahore too. It has British Raj history, Mughal influence and also contemporary art. It’s festive and has so much energy. Any place that has character. I’ve never felt inspired in Dubai or Manhattan.
What is your favourite project that you have worked on in the past?
My favourite has yet to come but all my shows, especially shows that I do for PFDC are my favourite because I feel like my brand grew up with PFDC. Their first show was my debut show. Whenever I’m showcasing at PFDC, it has a different feeling altogether. People might think I’m too out there on the runway, but that’s my moment. I work really hard for that moment, so let me enjoy it! I actually never thought I’d dance on the runway but it automatically comes out. I want to dance. We work really hard! You can’t take that away from us. Whenever I come out on the runway to take a bow, that’s my moment.
What are you currently working on?
I’m branching into lawn with Wardha and also working on pret stores. I’m really excited and nervous about that.
Have you hit any barriers in your career that have led you to where you are now?
There were lots of barriers. It’s a cut-throat industry, you’re not easily welcomed but I’ve been lucky that way. People, who were fashionably evolved and open to ideas, could see where I was coming from. Of course there were hardships and barriers. I was too loud for some people. They wanted me to calm down but you only get to live life once. Why should I stop on account of other people? Why should I shine less? I can’t be sorry for being fabulous.
Do you have any words of wisdom or advice for upcoming artists?
I would just say be true to yourself. Look within you. Stop finding your future over the Internet or in someone else. Everyone has something special. I know it’s a cliché but its true. Don’t become a part of the fashion or media industries because you want to be famous. Stop thinking about what you’ll wear to the red carpet. Do your job first. Work on your strength. If you have it, please bring it on. If you don’t, then don’t cheat. The market is already very saturated. Don’t be a mediocre designer when you can be a top of the line engineer or doctor. Don’t settle for less.
By Mahlia Lone
Long thought of as a confirmed bachelor, news of George Clooney’s impending nuptials with London-based barrister Amal Alamuddin sent shock waves through his legion of female fans. Overnight he went from being public domain to the committed partner of one. It was a move that he himself could not have foreseen; claiming he was just not marriage material and made “a lousy husband†after a short lived marriage to actress Talia Balsam in 1989 floundered in its early days. He also went against type when choosing a wife, going against the model/cocktail waitress type that he generally dated. On top of that, his chosen woman was of Middle Eastern descent and, gasp, a Druze Muslim!
Born George Timothy Clooney on May 6th 1961 in Kentucky, he is a suave, debonair and handsome Hollywood leading man of the Cary Grant variety. Additionally, Clooney is thoughtful, intelligent and a committed humanitarian with a broadcast journalist father and a mother with both beauty and brains, having served as a beauty pageant queen and city councilwoman. He has also descended on his mother’s side from the same stock as President Abraham Lincoln. We can rightly imagine then that politics and current affairs rather than show business dominated the dinner table conversation at the Clooney household of his childhood. A young George must have absorbed all that talk like a sponge and filed it away for future use. Growing up in a fervent Catholic household, George attended Catholic schools and was even an altar boy for a time. Rebelling against his childhood and with big dreams in his head, George dropped out of college. First, he tried out to play professional baseball for the Cincinnati Reds, but he did not make the team. Then, he moved to LA to pursue an acting career, like his aunt Rosemary Clooney, who was also a famous cabaret singer.
His first jobs were women’s shoe and door-to-door insurance salesman, construction worker and tobacco cutter. These minimum wage jobs supplemented his meager income from playing bit parts on TV while he was a student at the Beverly Hills Playhouse acting school for five years. Then came hit TV show ER in the early 90s, on which he played Dr. Doug Ross with Juliana Margulies (currently starring in The Good Wife on TV) as his nurse love interest, catapulting him to instant stardom. Handsome George became a household name and the object of lust for millions of women around the globe. During his five year run on ER, Clooney was lured to the silver screen. His first film was Robert Rodriguez directed From Dusk till Dawn in which sultry Mexican siren Salma Hayek famously does a sexy snake dance. Then, he did a romantic comedy, One Fine Day with established star Michelle Pfeiffer and the action thriller The Peacemaker with the then Mrs. Tom Cruise, Nicole Kidman. Rising star George Clooney was next cast as a superhero in Joel Schumacher’s Batman & Robin (1997) with Chris O’Donnell playing Robin and Steven Soderbergh directed cops and robbers flick Out Of Sight opposite a newly famous Latina, Jennifer Lopez in 1998. Next step was mega stardom with the Ocean’s Eleven trilogy. With a stellar ensemble cast, this heist movie was box office gold, a remake of a 1960 film starring Frank Sinatra. As Danny Ocean, Clooney led a modern day Rat Pack, including Brad Pitt, Matt Damon and Don Cheadle, to name just a few of the actors bringing their combined star power to this fun blockbuster series.
In 2003, in opposition of the Iraq War, he said prophetically, “You can’t beat your enemy anymore through wars; instead you create an entire generation of people seeking revenge… Our opponents are going to resort to car bombs and suicide attacks because they have no other way to win… I believe (Secretary of Defense under George W. Bush) Donald Rumsfeld thinks this is a war that can be won, but there is no such thing anymore. We can’t beat anyone anymoreâ€
Not content to rest on his acting laurels, in 2001, Clooney co-founded Section Eight Productions with Academy Award winning director Steven Soderbergh and the following year Clooney proceeded to venture into directing with the biographical spy thriller Confessions of a Dangerous Mind, earning favourable reviews for his direction. In 2005, Clooney won his first Academy Award for Best Supporting Actor in the Middle East based political thriller Syriana that was inspired by the memoirs of former Central Intelligence Agency (CIA) agent Robert Baer of his posting in the Middle East. In 2013, Clooney received the Academy Award for Best Picture for producing yet another political thriller Argo. As an actor, screenwriter, producer and director, Clooney is the only person so far who has been nominated for an Oscar in six different categories.
In 2006, Clooney started another production company named Smokehouse Pictures. That same year, Clooney received the American Cinematheque Award, honoring his “significant contribution to the art of motion pictures.†In the recent past, Clooney has co-starred with Sandra Bullock in the 2013 sci-fi thriller Gravity, as well as produced August: Osage County, starring the Academy Award winning actresses Meryl Streep and Julia Roberts that same year.
A serial dater, Clooney dated in succession the actress Kelly Preston, who went on to marry John Travolta, actress Ginger Lynn Allen, French reality TV personality Céline Balitran, British model and TV presenter Lisa Snowdon with whom he had an off and on five year relationship, Hollywood star Renée Zellweger, actress Krista Allen, reality personality Sarah Larson, Sophie Dahl English model, IT girl, author and granddaughter of children’s books celebrated author Roald Dahl, Italian lingerie model and TV host Elisabetta Canalis, and even a statuesque former WWE (World Wrestling Entertainment) wrestler Stacy Keibler. Showing them off at award shows as arm candy, when his girlfriends, enjoying the limelight and the glamorous life on the arm of a Hollywood idol, became serious and wanted marriage he would promptly break up with them, politely reminding them that wasn’t part of the deal. Soon it became a running joke that just as one of his movies was named Good Night and Good Luck, so did that come at the end of a date with Mr. Clooney.
In September 2013, when Clooney met human rights lawyer Amal Alamuddin at a charity fund raising dinner in Venice, he was discussing Middle East politics with the ease of a man who effortlessly commands an audience. She, however, was not impressed and quickly put him in his place. He was naturally intrigued, so used to women throwing themselves at him willy nilly
Clooney has admitted publicly that he greatly admires and looks up to his father Nick, so it was just a matter of time that he espoused worthy causes as a political activist and humanitarian. He supported the Democratic Party and President Obama in both his campaigns for the 2008 and 2012 presidential elections. George is a staunch supporter of gay rights. In 2003, in opposition of the Iraq War, he said prophetically, “You can’t beat your enemy anymore through wars; instead you create an entire generation of people seeking revenge… Our opponents are going to resort to car bombs and suicide attacks because they have no other way to win… I believe (Secretary of Defense under George W. Bush) Donald Rumsfeld thinks this is a war that can be won, but there is no such thing anymore. We can’t beat anyone anymore.â€
As a humanitarian, Clooney is involved with Not On Our Watch Project that focuses global attention and resources to stop and prevent mass atrocities, like the Armenian genocide, along with Brad Pitt, Matt Damon, Don Cheadle, etc. He has raised funds for the 2004 Tsunami, 9/11 New York attack and for the 2010 Haiti earthquake victims by organizing the Hope for Haiti Now telethon to collect donations.
His most significant contribution has been to the Darfur conflict in Chad and Sudan to date. With his father he travelled to Africa in 2006 and made the TV special A Journey to Darfur, showing the dire situation of Darfur’s refugees. Then, he was the executive producer and narrator for the documentary film Sand and Sorrow, on the Darfur crisis. Additionally, he addressed a Save Darfur rally in Washington, D.C. in the same year, and at the UN Security Council alongside Nobel Prize-winner Elie Wiesel appealed the UN to find a solution to the conflict and help the people of Darfur. Clooney appeared in Don Cheadle produced 2007 documentary Darfur Now, to appeal to people all over the world to help stop the Darfur crisis. Clooney and Don Cheadle received the Summit Peace Award from the Nobel Peace Prize Laureates in Rome. In his acceptance speech, Clooney said, “Don and I … stand here before you as failures. The simple truth is that when it comes to the atrocities in Darfur … those people are not better off now than they were years ago.†The United Nations announced Clooney’s appointment as a UN Messenger of Peace in 2008.
In September 2013, when Clooney met human rights lawyer Amal Alamuddin at a charity fund raising dinner in Venice, he was discussing Middle East politics with the ease of a man who effortlessly commands an audience. She, however, was not impressed and quickly put him in his place. He was naturally intrigued, so used to women throwing themselves at him willy nilly. He asked for her number, which she refused to proffer, thinking him a serial womaniser. Finally, after much cajoling, he managed to get her email address. After doing some homework on her, he sent her this flirtatious email: “I think the reported hottest man in the world should meet with the hottest human rights lawyer in the world.†In her mid thirties and single, Amal had been voted the hottest barrister in London in 2013 by the blog Your Barrister Boyfriend. George Clooney has not only has been voted People magazine’s Sexiest Man Alive on more than one occasion and No. 1 on TV Guide’s 50 Sexiest Stars of All Time list in 2005, but has also been included in 2009’s list of Time (magazine) 100 “Most Influential People in the World.†Amal that had prior to this in London been crying over several glasses of wine that she may never find a husband to her best friend, who later included this in her toast at the grand Clooneywedding, was being courted by the world’s Most Eligible Bachelor, as he was dubbed by the press.
The chase was on. Shrewdly playing hard to get, Amal was cool at first, not responding to his emails. Then, finally, she replied. She couldn’t resist the heady allure of Clooney’s charms for long. They met for a dinner date at London hotspot Berner’s Tavern where they talked about a surveillance satellite program over Syria. On Valentine’s Day, they came out as a couple at a special White House screening of Clooney’s World War II movie The Monuments Men, where the two were photographed coyly holding hands. Not content just to wine and dine her, Clooney whisked off Amal to a string of luxe holidays at exotic locales from Seychelles to Tanzania (on a safari) and Mexico. His only stipulation to her was that she quit smoking, which she promptly gave up cold turkey.
Within six months they were engaged with a 7 carat, £500,000 emerald-cut diamond set in a platinum band. Clooney proposed over a home cooked pasta meal that he himself prepared. The engagement was celebrated at celebrity haunt Nobu in Malibu, where he had invited his friends, i.e. Cindy and Rande Gerber, Emily Blunt and John Krasinski, and Edward Norton, to meet his fiancée after which he took her to Bono’s (lead singer of U2) party.
The world was agog with curiosity about how a regular non-celeb had achieved the impossible and got George Clooney to propose. His former girlfriends had sweetly smiled, appeared accommodating and non-demanding to no avail. The readers clamoured for information, which the press happily provided. Paparazzi followed the barrister around town as she quickly upped her style game.
Amal was born in February 1978, in Beirut to a businessman father, who belonged to a prominent Druze famil,y and a Sunni mother, who is a foreign editor of an Arab newspaper and a PR professional. Druze is a closed sect, the members of which may or may not be considered Muslim. This offshoot of the Ismaili sect has elements of Judaism, Christianity, but primarily of Islam. The Druze community is tightly knit due to constant persecution historically and no one can convert to the religion, you have to be born to it. The family moved to London in 1980 to get away from the Lebanese civil war.
Amal graduated in 2000 from St. Hugh’s College, Oxford University with a BA degree in Jurisprudence. An extremely bright and hard working girl, she received the Exhibition and Shrigley awards there. The following year, she enrolled in the Masters program at the New York University School of Law, where she was a clerk at the International Court of Justice. There, she received the Jack J. Katz Memorial Award for Excellence in Entertainment Law. She returned to London and was called to the bar (Bar of England & Wales, Inner Temple) and started working as a barrister at Doughty Street Chambers, specialising in international law and human rights. Her client roster reads like a Who’s Who of international political players, such as WikiLeak founder Julian Assange, former Prime Minister of Ukraine Yulia Tymoshenko, imprisoned Canadian-Egyptian journalist Mohamed Fahmy, the former Libyan intelligence chief Abdallah Al Senussi, the King of Bahrain, the State of Cambodia, Greece, and currently the former President of Maldives Mohamed Nasheed. In 2013, Amal was appointed by the UN as an adviser to Special Envoy Kofi Annan on Syria and as counsel to the 2013 Drone Inquiry by into the use of drones in counter-terrorism operations. It was just after this that she met Hollywood crusader George Clooney and corrected his facts about the Syrian geopolitical situation.


In an interview, George said of why he fell in love with Amal, “She’s an amazing human being. And she’s caring. And she also happens to be one of the smartest people I’ve ever met. And she’s got a great sense of humor.â€
But it was only after she became Amal Clooney that she was chosen by Barbara Walters, American TV’s foremost interviewer, as the Most Fascinating Person of 2014.
When she made her red carpet debut at the Celebrity Fight Night charity event in Florence as Clooney’s fiance, the tall, slim and elegant brunette wowed in a black strapless silk gown with dangly gold earrings. A tuxedoed Clooney got onto the stage and declared, “I met my lovely bride-to-be here in Italy, whom I will be marrying, in a couple of weeks, in Venice, of all places… I would just like to say to my bride-to-be, Amal, that I love you very much and I can’t wait to be your husband.â€
They filed for their marriage license in London and the notice was put up, as stipulated by English law, on the Chelsea Town Hall public board. In September, the wedding of the year took place. The happy couple arrived by a speed boat named Amore in Venice waving to the waiting crowds and a throng of eager photographers. Amal was clad in cream Stella McCartney wide legged trousers, short sleeve top wide brimmed hat with black ribbons in her hat and at her waist, and carrying a beige envelope clutch, while George was dapper in a grey Armani suit and black tie as they proceeded to the Venice City Hall for a civil ceremony. On the 26th, they celebrated the last night of singlehood at their respective bachelor and bachelorette parties. His was a seven course meal at Ristorante de Ivo restaurant where copious amounts of Casamigos tequila, owned jointly by Clooney and Rande Gerber (Cindy Crawford’s husband) and vintage wine, were consumed by the groom and five of his closest friends. The £3000 bill was waived by the restaurant owner for his famous frequent customer.
At the rehearsal dinner held at the Belmont Cipriani Hotel (where the entire wedding party was staying at the cost of £40,000 per night), Amal wore a fiery red waterfall cut (high-low) silk Alexander McQueen dress designed by Sarah Burton (who also designed Kate, Duchess of Cambridge’s lace wedding gown) that put her toned legs on display. She had a matching scarlet pout, left her luxuriant hair loose with a bouncy blow dry and wore black pumps and big diamond earrings. He wore an open neck white shirt and navy suit.
The next day on 27th September, the wedding ceremony took place at the 7 star Aman Canal Grande Hotel, which Clooney had volunteered to pay for but her father refused his help. However, Clooney footed the bill for the rest of the weekend long affair, including travel expenses of all the guests. Amal wore a white French lace and tulle Oscar de la Renta off-the-shoulder wedding gown embroidered with diamante and pearls with a circular train, a wide neckline and a cathedral length veil, costing £10,000. It was one of the last dresses that the late de la Renta was personally involved in designing. She wore simple natural white pearl earrings with square cut diamond accents. For the reception, she wore another de la Renta, a beaded and tiered short gold flapper dress more fit for dancing. George wore a Giorgio Armani tux. A Tuscan feast was laid out for the A-lister guests, such as American Vogue editor-in-chief, Anna Wintour and actor Bill Murray. Ravioli with Lemon and Ricotta, and a Lemon and Blue Lobster Risotto comprised the first course. The second course was a Chianina Tuscan Beef, and dessert was a Chaud-Froid (hot-cold) with Zabaglione (custard). The Chocolate Wedding Cake was equally decadent with intricate gold leaf decorations.
The next morning the bride wore a Giambattista Valli cream heavy lace short dress with colourful floral appliqués, while her new husband wore another grey suit. The weekend festivities ended with the couple departing on Monday, her in a monochromatic striped dress carrying a hat box and him in yet another grey suit with open neck shirt. Clearly, the barrister chose her wedding wardrobe as skillfully as she fights her cases. It was her moment to shine with the world’s spotlight on her and shine she did! Though Amal’s father in his wedding speech asked the newly to quickly have children, the couple have not chosen to do so as yet. They have adopted a basset hound named Millie. The Clooney’s main residences are: a 7500 square foot house in LA, a $10 million charming and historic villa on Lake Como, a holiday home in Los Cabos, Mexico, and a Grade II-listed, 17th century manor Mill House on the Thames in Oxfordshire that he bought her for £10 million pounds. The estate is a 40 minute drive from her chambers.
Having kept up her busy law practice fighting high profile cases, in a recent televised interview, Amal spoke of using her newfound celebrity for a good cause, “If there’s more attention paid – for whatever reason – to that, then I think that’s good….I think there is a certain responsibility that comes with that. And you know, I think I’m exercising it in an appropriate manner by continuing to do this kind of work.â€Â In addition, she is a visiting Professor at Columbia Law School. She has also partnered with the global initiative 100 Lives and founded the Amal Clooney Scholarship, whereby one female student from Lebanon is sent to the United World College Dilijan each year for a two-year International Baccalaureate program.
Meanwhile, George has been busy with upcoming movies releasing in 2016, such as the Coen Brother’s Hail Caeser, in which he plays a 1950s Hollywood fixer, and Jodie Foster directed thriller Money Monster opposite Julia Roberts.
The couple juggles their hectic careers and have made a deal with each other not to spend more than a week apart. “I’m a much happier person and we have a very happy life. We enjoy many of the same things and I very much enjoy the projects that she takes on because they have real consequence,†said Clooney describing their married life in glowing terms and how he is more fulfilled now than ever before: a recipe for marital success.
Well-educated, sophisticated and good looking, Aijazz Aslam has been a successful actor and model for more than a quarter of a century. Aijazz started modeling in 1989 and got his big break, two years later, with a commercial for shaving cream. In 1993, he made his television debut with the serial Kashkol and has worked in dozens more in the years that have followed. In an exclusive interview for GT, Aijazz Aslam talks to Ally Adnan about his friendship with actor Faysal Qureshi, the state of show business in Pakistan, the abuse of newcomers in the field, the importance of professionalism, and his fears for Pakistan’s television industry
You started as a model and moved into acting. A lot of actors have followed the same path. Is acting the next step for models in Pakistan?
No, it is not. The trend of models moving into acting is dying nowadays. In the past, people used to find it easier to enter the field of modeling compared to acting. A good face, a well-built body, and some friends in the industry, used to be all that was needed to become a model. Therefore, a lot of aspiring actors started out as models with the hope of eventually making it to acting. Things have changed now.
How have they changed?
Modeling in Pakistan has evolved as an industry. It is no longer a hobby, or a stepping stone, but a proper vocation. Models need a lot more than good looks these days. They require: a dynamic presence, charisma, good posture, an understanding of one’s strengths and weaknesses, strong runway walk, individual style, professionalism, proper training, etc. People who succeed as models today are also hard working, talented, focused and professional. Gone are the days when just about anybody could become a model and flirt with the profession of acting. Show business has come of age in Pakistan. Models need to plan a career in modeling and actors need to focus on acting.
Is a career in show business viable and respectable today?
Yes, absolutely. In the early days, actors used to find it easy to become famous. A few that were talented, or lucky, or both, would also gain respect, but none became rich working in this field. Today, actors make good money and are able to find fame, fortune and respect simultaneously. This is new in Pakistan and not everyone is able to handle it with dignity, maturity and class.
Why do you say that?
There are a number of actors, mostly new ones that are trying to exploit the boom of the industry for short-term, personal benefit. Popular actors have far too many opportunities available to them. The ones that are smart, respectful and professional are enjoying the good times as well but are not letting success get to their heads. Others are under the impression that their popularity is permanent and that they will always be able to get away with holding producers and directors hostage. They make unreasonable, sometimes obscene demands of producers, sponsors and production houses. Since there is a dearth of good actors in the industry today, their demands, albeit ridiculous, are often met with acquiescence and acceptance. This will not last. The industry will eventually find better and more professional actors, good conduct will become necessary, and greed would be considered an undesirable characteristic in actors.
The young actors, who misbehave today, will soon get their comeuppance. I believe in professionalism and value the attributes of decency, dignity and propriety. People who have these attributes and are committed to their profession will prevail in the long run.
You are now producing television plays. Is production a difficult business?
Terribly, but it does not need to be. A lack of professionalism, commitment and discipline on the part of some actors makes it a very difficult business; otherwise, production would be rewarding and a lot of fun.
Why do you think some actors act irresponsibly?
There are several reasons for their misbehavior.
One, they have let success in a few projects go to their heads and have become arrogant.
Two, they do not understand the business well enough to know that their irresponsible behavior affects a lot of other people negatively and results in huge losses for producers.
Three, they believe that successful actors must always conduct themselves with arrogance, haughtiness and pride. They think that showing up on time and being disciplined will lower their stature as stars.
Four, they believe that the situation where we have more opportunities than actors is permanent. As a result, they believe that they can get away with anything. They will, of course, eventually come to their senses but, until that happens, they will hurt the industry. The unprofessionalism of a few stars has a very corrosive effect on the entire team working on a project. It should never be tolerated or allowed.
You have been in show business for almost twenty five years and been successful throughout your career. You, however, have never had the roaring success that actors like Fawad Khan have seen. Why?
The roaring success that you refer to is a very recent phenomenon. Traditionally, Pakistani actors have been content with getting appreciated for the histrionic ability, gaining popularity, and not much else. I have starred in a large number of extremely successful television plays and continue to get good roles. I like to play my age and stay away from making poor choices based on vanity. My desire was always to be an actor and not necessarily a star. I enjoy the perks of being a celebrity but true satisfaction comes from acting well.
Show business is known for the sexual, financial and emotional abuse of newcomers. How does one avoid the abuse?
One must always remember that people who ask for financial and sexual favors are invariably fraudsters and never give anyone the opportunities they talk about. One must also be confident in their own abilities. If he is lacking in any one area, he should work on improving his craft instead of giving in to abuse. A lot of newcomers feel that allowing abuse will get them on the fast track to success. This is patently false. No good director or producer will hire a person who lacks talent and ability no matter how many people he has slept with and how many palms he has greased.
How do you hire actors for your own productions?
The channels dictate casting for major roles. They provide us with names of actors they wish to have in the serials we produce and we try to cast them. Casting for other roles is up to us. My company does not have the proper set-up for auditions. I, therefore, rely on casting through talent and casting agencies.
There is more money and less risk in television compared to films. Yet everyone in Pakistan seems to be focused on making and working in films. Why?
Cinema has always had more glamour and allure than television. It is considered to be a step up from television. The appeal of films is immense. The sheer size of the screen is fascinating. People are automatically drawn to cinema. A lot of people who have made a name for themselves in television, are moving to films because they consider it to be the next logical step in their career progression.
There is a hidden danger here. A lot of talented people from television are moving to cinema. Veterans of the television industry are seen to be looking down at television these days.They declare their preference for doing films unabashedly. This is a dangerous trend because the television industry will die if all talented people move to films. Historically, Pakistan has been known more for its television plays than for its films. We cannot and should not let the popularity of cinema hurt our well established and well regarded television industry.
The intensely competitive world of show business is not known for friendships, Yet you have had a strong and enduring friendship with fellow actor Faysal Qureshi.
Yes, I have. Our friendship has lasted primarily because both of us are very secure individuals. We do not feel threatened by each other, or by anyone else, for that matter. There is enough work for all of us. Faysal and I have both had very successful runs as actors and continue to be popular and in great demand. There is no reason for us to compete with each other. When one of us performs well, or bags a prestigious project, or wins an award, the other is happy. Jealousy never comes into play.
 I have other good friends in the industry as well. Humayun Saeed is a very dear friend as are several others.
Photographs by
Yaseen Lakhani
Australia based artist Nazia Ejaz’s work is current and thoroughly expressive on many levels and touches upon relevant queries regarding identity and culture in an expatriate lifestyle. She talks to Saba Ahmed about her art, life in Australia and her mother Madam Nur Jehan’s influence on her
What influences drive your work?
Two distinct narrative threads run through my work: one is my response to my lived experience and another parallel one is about the exploration of the medium and engagement with global art discourse. I think that both investigations work side by side. On the one hand, you can engage with your emotions and everything that’s happening around you and try and interpret that through your work, the conceptual matter. On another level, I try to engage with what’s happening in the art world today. The materials that I use and their limitations and the way I test those limitations informs my work as well. I think both aspects are very important and interesting to me and they keep me engaged, the conceptual and the material.
How do you decide between mediums, such as paintings and installations and what informs your decisions?
I really enjoy the idea of working between mediums. In fact, the work itself is about being in between. The conceptual premise of the work is about being inside and outside. If you’re inside something, then you’re outside something else. The fact that my work moves between mediums also fits in with the concept and it doesn’t limit itself to any specific medium like sculpture or painting. I’ll photograph something and then I’ll paint it and then take a photograph of that painting and then I’ll do something else with it. As far as the medium is concerned, my choices fit in with what I’m thinking about conceptually as well. That’s what I find interesting at the moment.

My love for Lahore I think is connected to my relationship with my mum (Madam Nur Jehan). She’s not the focal point of my work but she’s linked to everything that influences it. We’ve always had eyes on us being so and so’s children and this perspective is something that I’ll be looking into for a long time through my work
Which mediums do you most commonly work with?
The jaali (screen) is what has inspired these paintings. The jaali was in turn inspired by some paintings I had done earlier. So, you see, the work moves back and forth. I use materials that are at my disposal and use whichever medium I feel like working with at that time. It keeps me interested in the work. More recently, the screen has translated into grids and patterns, which I’ve used metaphorically in the three wall paintings in my most recent show.
Apart from traditional mediums, like photography, painting and sculpture, I use things such as plastics and mirrors, and light and shadow. I plan to use mirrors in future works, because mirrors are also about here and there and I enjoy playing around with the philosophical implications of that.
Tell us more about the jaali and being the ‘other’.
The installation of the jaali fits in with my concept of the experience of our environment. I feel that the experience of our environment is a mediated experience in so many aspects of our life, whether it’s gender, nationality or religious affiliation. And to anything that is different, we respond through these affiliations. So the jaali is almost like a screen which is there almost all of the time, especially in our interactions with other people. Being ‘the other’ myself, living in Australia and coming back to visit Pakistan, where I’ve lived away from for 11 years and before that for 4 years when I was away at college, I find that I’m very deeply rooted within this society, but at the same time I’ve always been on the outside of it.
The jaali is multipurpose and, in my work, it also refers to how sometimes truth or reality can get covered up deliberately or sometimes unwittingly. The jaali is also used extensively in Islamic architecture. Throughout South Asia, you can see it used as a shield. I’ve used that as a metaphor for talking about separation. It also directs the gaze, making it an interesting metaphor with which to work. At the end of the day, it’s about the shifting perspectives, because everything depends on which side of the jaali you are on, either you’re inside or you’re outside and, on both sides, the perspective is very different. It becomes a major concern when you come across it all the time. Once you start realising that, you begin to notice it everywhere and in everything. It’s not other people but it’s your own personal journey and how you respond to these situations that determines who you are. That has been a main area of investigation for me.
What time of the day do you like to work?
Well, I’m a mother of two, which means that apart from taking care of my children, I work all the time. When you’re younger and single, you have the luxury of choosing what time of the day you work as opposed to when you have children you work at whatever time is available to you. I do like to paint during the day because I need natural light, so I’ve got to work around my children, especially since I live abroad and don’t have the support system that we do back home. When my kids are at school, I paint and do other work while they’re asleep.

How is your work received differently in  Pakistan and abroad?
The work was very well received in Australia. Obviously it takes time for people there to understand the metaphorical implications, but there are people there that can engage with the work. Where I exhibited was a non commercial hub of galleries and is frequented by a number of people that are connected to the art world and already engage with art, art history and what’s happening now in the contemporary art scene. It’s not difficult for them to take in the symbolism in my work. However, some of them are not well versed in Indo-Islamic art history where some of the features of my work are coming from. But thankfully so far I’ve received a good response.
Lahore is home territory for me and it was really important for my colleagues in Lahore to see my work as well. It’s a lovely feeling. The responsiveness of the art world and the community that was present and supportive was heartening.
What role did your mother (Madam Nur Jehan) play in your art?
She always encouraged whatever I did and she was always an inspiration for me in terms of her attitude towards my work. My sisters and I are all hard working and that comes from our mother because we’ve seen her work ethic and how hard she worked throughout her life. For me, my work is strongly connected to Lahore and, again for me, Lahore is all about her. My love for Lahore I think is connected to my relationship with my mum. She’s not the focal point of my work but she’s linked to everything that influences it. We’ve always had eyes on us being so and so’s children and this perspective is something that I’ll be looking into for a long time through my work.



How do you feel about the current art scene in Pakistan?
Take miniature painting, for example, and the boost it’s gotten from internationally acclaimed artists, such as Shahzia Sikander. Pakistani artists are a force to be reckoned with all over the world. We have so much young creative talent and institutions support it, but I would love to see some support from the government as well. In Australia, a lot of artists would not be able to produce art without the grants they receive. They’re doing non commercial work all through government grants or public artwork commissions.
I recently saw that fantastic Birdhouse commission outside NCA and I think it’s great. I believe that art belongs in the public domain and would love to see it come out of galleries and be displayed in public spaces. In a gallery, only a select few get to see it. An artist’s job is to think about life and to illustrate it in the way a historian might document it or a writer might interpret it. It becomes richer with interaction because you need the viewer to complete the work.



































































































