Dear bakra mandi owners,  This letter is to express my absolute stupefaction over your outrageous, albeit devious, marketing tactics, yet again, at Eidul Azha this year. The prices of goats and cows have escalated to a level that is beyond the financial capacity of the middle class group to afford. Even the lower upper class is having second thoughts about fulfilling this necessary religious obligation. More and more people are forced to take shares in cows. For me, as well as for millions of other like me, I’m sure, taking shares in cows is extremely embarrassing because it openly screams of the fact that I cannot even afford to buy even a small goat. Even if I scrap up the money by pinching from the various other already tight household budgets, it is always a choice between getting a sacrificial animal or paying half a year of my child’s school fees. My husband is least concerned with my plight during this sensitive time of year. Of course, it doesn’t matter to him since he is not the one who is forced into humiliation and mortification in front of sisters-in-law and brothers-in-law who buy not one, but two goats and show off in front of me deliberately to make my already woebegone life even more miserable. My mother-in-law says it is my fault because I squander her son’s money recklessly the entire year and hence do not have enough for a goat at Eidul Azha. I would love to remind her that her son does not make a six figure salary and raising a family in Pakistan within the income he makes is nothing short of a God sent miracle. However, I decide to keep these facts to myself. The one thing that really makes mothers-in-law show their fangs is when a daughter-in-law bad mouths their darling son. So I save this fight for another day. Right now I have greater issues to resolve. Such as trying to figure out what kind of country I live in that makes religious obligations a matter of life and death to fulfil. My children start whining and imploring a whole month prior to Eidul Azha about getting an animal that they, too, can decorate and parade up and down the street. I get heart-broken telling them that we cannot afford it. Even they realise by now that taking a share in a cow means that their parents don’t have enough money to buy a goat. This inferiority complex causes havoc with their poor young hearts and minds. I suspect it will worsen every year because our government is so busy gorging itself on national coffers filled with the life blood of the common man that they are least bothered by the continually worsening bakra-plight of the average citizen. Buying a qurbani (sacrificial) animal has become so much of a status symbol in our deplorable social system that it is just as aggravating as the mania of designer dresses. Just like no one wishes to award you with a second glance unless you are wearing a ludicrously expensive designer dress, you are branded a pauper for life both within your family and among your acquaintances unless you have a couple of goats or a cow for Eid. I often plan to raise my own goat for a whole year and sacrifice it on Eid but that entirely kills the purpose if one is planning to show off on the grand day; everyone knows you raised a baby goat to save money and you get scoffed and snickered at behind doors. The people who buy phenomenally expensive animals on Chaand Raat are the ones who gain the most respect, awe and admiration from everyone. I hate the women of this country too, who judge everyone else on the basis of their buying power and wealth. But right now my problem is my inability to salvage my family name this Eidul Azha. Pathetically enough, over half of my country’s population lives below the poverty line and can’t even afford to eat meat for the rest of the year. But for the few that are left in the fast shrinking middle class, of which I also happen to be a heavily struggling member, buying even a tiny, frail animal is financially perilous. It is quite shameful how my dear country men use religious occasions like Ramazan and Eidul Azha to fill their cash boxes. A close friend of mine, who gives me suggestions that are often morally dubious in nature, told me that my husband should start taking money ‘under the table’ three or four months prior to Eidul Azha as that is the only way a middle ‘classia’ can afford a qurbani animal or even a share in a cow. She herself gets a big, fat, healthy goat every year. Now I know why. This year she has bought two goats. I am suspecting that this year her husband has not only taken money under the table but over and around it as well. Otherwise there is no way a middle class family in present day Pakistan whose children can barely afford a decent pair of shoes from Bata can afford a fat and healthy goat. I could fill pages and pages with the complaints I have against you guys. But I have yet to write an open letter to the designers of the country who are robbing the women blind on Eid through their marketing scams selling disgustingly designed and stitched dresses for thousands of rupees in the name of fashion. I hope you will address my situation immediately as there are still a few days left before Eid and I still might be able to keep my head up respectably within the family and on the street by obtaining at least one, even if tiny, goat. Sincerely, Aalia Suleman

In this capitalist world, everything is for sale. Every season, every holiday, every occasion can be commercialised. Christmas Day sales, Black Friday, Thanksgiving sales, Diwali discounts, Eid collections; you name anything and there will always be a person making money off of it. In Pakistan, Eid and Ramazan are probably the most celebrated occasions, no surprises there since this country is the Islamic Republic after all. As soon as the month of Ramazan closes in, prices of food elevate to another level. From your fruit vendor to your butcher, everyone demands more money. And then there are of course those gazillion iftar and sehri deals. This carries on to Eid, when clothing brands start releasing their ‘never-seen-before’ Eid collections. However, all of this, as unfeasible as it is for the consumers, makes sense overall because of the celebratory nature of these festivals. However, what doesn’t make sense is when this 'collection craze' makes its way into the month of mourning. As Bari Eid season ends, the Islamic calendar sees a new beginning. Muharramul Haram marks the beginning of the Islamic New Year; however, it also reminds us of a great sacrifice. Around the world, the Shia sect mourns the loss of the Prophet’s (pbuh) family almost 1400 years ago. It is a month to remember them and their sacrifice to save Islam. When we think about Muharram, we picture people wearing black clothes; the colour for us is symbolic of grief and simplicity. However, what we do not think of is people making money off of someone’s grief. Unfortunately, Muharram collections have now become a trend. Clothing brands, albeit subtly, make sure they launch their 'black collection' as the month of Muharram nears. They of course don’t blatantly label it as made for Muharram, but the timing and the colour does make one wonder about the connection. And unsurprisingly, we fall into their trap and buy from them, encouraging them to do the same thing next year. Not only are these collections launched, they are properly advertised on billboards and in magazines, and even have separate racks in stores. Since there is a certain demand for these clothes, brands make sure they are profiting from this by raising their prices. As a Shia, I do see the necessity of having black clothes for Muharram to be worn throughout the period and specifically for majlis. However, buying them as a sheer necessity is different than buying it exclusively from designers or brands for the sake of looking different and being the best in the gathering. The whole purpose of the sacrifice made by Imam Hussain (ra) and his family was to promote simplicity, innocence and brotherhood; however, I feel the whole essence of Muharram is somehow lost now. We like to think of black clothes as a dress code for majlis. The idea was never to show off any extravagant clothing and dressing, in fact it is to learn the lesson of sacrifice and generosity, to help the needy, oppressed and people in pain. It’s actually a protest against the brutal massacre of the Prophet’s (pbuh) grandson and his family. Indulging in this commercialisation seems disrespectful to the concept of mourning. As women, I believe one of the greatest sacrifices for us is to give up our desire for materialism (clothes) but, unfortunately, I don’t see that happening. The events of Karbala should have been a lesson for us and encouraged us to be better people, however, these brand collections have diverted our minds and faith somewhere else now. Such concept of brands launching Muharram collections was never witnessed before, the maximum one would do in dire need of clothes was to go to Aashiyana and buy simple black material to get it stitched. However, now we see fully embroidered shirt collections, in different designs and there are even ones with chiffon dupattas. While I agree that brands have to cater to the needs of their customers, I still believe there must be a certain code that should be followed in order to give respect to these days. These days are to mourn the loss and should not be treated as a festival. ‘To each, their own’ is a concept that should generally be practiced, but I feel that if these brands were a bit more respectful, we need not have a problem with this. Instead of launching black clothes as a collection and advertising them endlessly before Muharram, they could just simply put them on racks, just like other clothes, for people who would need them. And instead of pricing them such that one has to sell a kidney to buy them, they could price them a little more feasibly, so it does not feel like they are feasting off of this month. Moreover, to preserve the essence of this holy month, they could perhaps refrain from lavishly designing their black collection and maybe take a simpler approach. As consumers, we too have certain responsibilities and are equally to be blamed. All of us must maintain and serve a sense of responsibility towards this sacred month, where we must try and kill our worldly desires and think of the huge sacrifices that were made for Islam in the event of Karbala. If today we have started accepting this, tomorrow we might end up doing a lot of things which would affect the sanctity of this month, hence, we must sit and comprehend now until it’s too late.

This is one real life story Bollywood will likely never make into a blockbuster, for after all, it involves one of their own. Actress Tanushree Dutta’s accusations of sexual harassment against veteran actor Nana Patekar have been met with diverse reactions within the industry, but the most deafening is the sound of silence by most of Bollywood’s bigwigs. On the one hand, some of those who have reacted should have just kept quiet. For instance, 66- year-old Shakti Kapoor, who himself has a dubious reputation, thought it was appropriate to joke about the matter. https://twitter.com/ANI/status/1047316158339276800 Then there is the big man of Bollywood, Amitabh Bachchan, who responded by saying since he is neither Dutta nor Patekar, he could not comment on the matter. Actress Parineeti Chopra was no different, saying that since she wasn’t there, she couldn’t really take sides. Be it Salman Khan or Aamir Khan, they all offer the same response on repeat. Dutta, who seems to be more determined now than she was 10 years ago when she reported the incident for the first time, has taken a dig at them all in an interview, saying,

“The stars and the superstars of our country are just a reflection of our society. They are not aliens from outer space.”

“This is the price you pay for speaking out against harassment, humiliation and injustice in India”, says the actress.

“He (Patekar) is also a social activist who has done tremendous work for the state. You just cannot level allegations against anybody,” the minister said.

Pakistan has an abundance of talent, and young Pakistanis continue to make their homeland proud internationally. One such Pakistani is Wajiha Pervez, a Pakistani artist, interdisciplinary designer, materials enthusiast and traveler. Qatar Foundation (QF), a conglomerate of academic institutions including campuses of many international universities, houses the Virginia Commonwealth University School of Arts (VCUQ). The university hosts a high-profile event, Tasmeem Doha, which hosts renowned artists and speakers from all over the world. Up until now, the board of the event only consisted of either key faculty members from the parent campus in Richmond or top local faculty. However, this year, for the first time, Wajiha has been added to the board as a co-chair of the prestigious Tasmeem, the first entirely student-led edition of the event. She is the first Pakistani to have achieved this honour. Born in Karachi, Wajiha received her BFA degree from the University College of Art and Design, Lahore, with a specialisation in textile design. Currently living in Doha, this 29-year-old achiever went on to acquire her MFA in Design from VCUarts Qatar in 2017. In this exclusive interview, she talks to ET Blogs about her life, her journey, and her achievements. Why did you opt for studying design at the university level?

Growing up, I was surrounded by family members and friends who were creative. I used to watch my grandmother’s stitching and was struck at how a piece of cloth, a few strands of thread – and skill – could create something beautiful. My mom has always been my biggest support and cheerleader. I get my energy and drive from her. Besides, I felt it was the right time – Pakistan’s fashion and design sector was coming alive. We had our own design institutes. Also, design suits my personality. Everything is fluid and evolving in design, which means that it’s unpredictable. As a person, I’m quite comfortable with that element of unpredictability, with allowing things to evolve in their own time. Design is not merely about clothes and accessories; there isn’t a facet of life that is not touched by design. Even the most sophisticated technology needs an element of design to make it appealing and marketable; from forks and forklifts, to hospitals and homes, a designer’s fingerprint is on almost everything you use.

There is still a degree of uncertainty in Pakistan when it comes to studying anything that does not lead to a ‘prescribed path’. And my case was no exception. It took quite a bit of persuasion and arguments with my family, to convince them of my decision.

As a millennial from Pakistan, I would say that things have changed a lot. The youth of Pakistan doesn’t accept answers blindly; we want to know the reasons behind a decision. As a woman from Pakistan, I feel empowered because I have been raised by women who were independent and strong; never in my family have I seen a woman not being given an equal voice as her male counterparts. I know that there are other women who may not be as fortunate as me. But then again, I’ve also been inspired by women who have faced their circumstances and gone on to achieve what they set out to. So I think women in Pakistan are in a far better place than their mothers and grandmothers were, and they know that.

An appreciation of the finer elements of fashion and design has always existed in Pakistan. But it wasn’t given a voice and projected out onto a platform. We didn’t give it the sort of publicity that we do now. Compared to the fashion scenes in other countries, we’re still in our infancy. We are a regional contender, but we have yet to mature, or be elevated to a position where we are a global leader. I see this as an advantage – especially for people like me. It gives us more room to explore and establish our own styles.

My special interests are in material innovation. Now I make footwear and active wear mostly and consult companies on patents for sustainable materials and technologies. I also like to explore globally-endangered textiles through contemporary materials and techniques, so that traditional textiles continue to live on. I want to continue my research in the circular economy, sustainable fashion and ethically-produced textiles. I’m also keen to put together more conferences, events and festivals like Tasmeem.

Today, the experience seems surreal. I met so many incredibly talented people. Incidentally, the theme of this year’s Tasmeem was Hekayat (stories) and that was apt. The participants were a combination of rising and famous designers and artists, but they were also people who had struggled to reach where they are now; to get things done, to get their voices heard. It was inspiring to learn about what it took for each person to reach where they are now. For me, that was the biggest take-away of my experience – that I helped bring these inspiring designers to Qatar, and, in turn, inspire those in Qatar.

As a woman, what has struck me as amazing was the female leadership in Qatar and the QF. Nowhere else have I seen such remarkable female leaders as I have in QF’s Education City. I have always looked up to amazing women back in Pakistan, but in Qatar, the level of female-led leadership is something else; every big institution or organisation has a female in one of the topmost positions. In Qatar, another factor that stands out is the multiculturalism. I’m blessed to have chosen a country that respects and values people from Pakistan. And not just to me, this country gives a voice and place to people from other countries also who call Qatar their home.

I would say the very first thing is to define yourself to yourself; you cannot move a step forward unless you know what your heart wants. Secondly, make sure you don’t take up anything that you don’t feel really strongly about. Then, step out. Because once you know the reason, the motivation and direction finds its way and then nothing can stop you. God doesn’t give you a challenge if He feels that you don’t have what it takes to overcome it. You need to hold firmly on to that belief, because there will be times when that will be the only thing that stops you from giving up and going back.

After Tasmeem 2019, for the first time since the biennale was staged, we are taking it out onto an international platform. The Tasmeem space will be set up as part of the upcoming London Design Festival in London Design Week. I’m in the process of putting together the exhibits and merchandise for that. After that, we plan to present a talk about it in Amman in Jordan. As for my personal circular fashion research, I am devoting more time to it now and we will see where it takes me.

Modern day fashion retailers have adopted the phenomenon of ‘fast fashion,’ which is characterised by the quick turnover of designs that move at breakneck speed from the ramp to the stores and eventually, into the garbage bin. Retailers aim to increase profits by focusing on key elements of the supply chain with an emphasis on increased manufacturing speed at lower costs. The concept of fast fashion has resulted in a changing industry dynamic that boasts a quick response ideology that has inculcated the capacity and ability of retail brands to generate quick merchandise turnover. A popular Spanish retailer that has 1,600 stores in 58 countries was one of the fastest to catch on. They now produce an average of 450 million units of their products, boasting over 10,000 unique designs each year and the capacity to produce them within an average of three weeks, thus becoming the benchmark model for fast fashion by slicing time between design, production and supply. The decreased time period adds to the variety of products available to the consumers which in turn increase the amount of original customers. However, as corporations in the fashion industry capitalise on increased turnover and consumers are busy ‘reaping the benefits’ of lower prices, we fail to see the mammoth cost this trend comes at. Clothing production has roughly doubled since the year 2000. Despite purchasing 60% more clothing items in 2014 than in 2000, consumers retained those purchases for half as long. European fashion retailers went from showcasing and selling two collections annually in 2000 to almost five in 2011. Some brands offer even more. The aforementioned Spanish fashion giant releases a whopping twenty four collections on average annually. To get a rough idea of the environmental cost of this fashion upheaval, it is interesting and equally displeasing to note that 85 % of textile based production is discarded into landfills. Simultaneously, regular laundry cycles release 500,000 tons of microfibers into the sea annually which is estimated to be roughly equal to disposing 50 billion plastic bottles into the ocean. These fibres are often polyester which is a plastic that 60% of garments possess. Carbon emissions released from the production of polyester are three times more than those released in the production of cotton. What makes it even more dangerous for our environment is that polyester does not break down in the ocean. The International Union for Conservation of Nature published a report in 2017 that contained an alarming statistic which stated that an estimated 35% of micro-plastics originate from the washing of synthetic textiles. The fashion industry is also contributing considerably to the water crisis, seeing as how it is the second largest consumer of water globally. It is estimated that 700 gallons of water are involved in the production of one cotton shirt. The fashion industry contributes 10% to the world’s carbon emissions, more than what airlines and maritime shipping emit together. If the fashion community continues to exhibit such blatant disregard to the environment, its share of carbon emissions could potentially increase to an abysmal 25% by 2050 as predicted by the Ellen McArthur Foundation. According to WWF Pakistan, the textile industry in our country utilises more water than is actually required after which the chemically affected effluent is left untreated and discharged into local water bodies. This was pointed out back in 2017 when the All Pakistan Textile Mills Association held a seminar to discuss sustainable strategies for water conservation textile industries. Unfortunately, such seminars are few and far in between, doing little to actually alleviate or address the problem. Pakistan is a water stressed country and so, with the ideology of fast fashion sweeping a nation whose exports primarily consist of textile products, it is foreseeable that this will only increase our water crisis. Certain brands have begun to look for solutions to reduce their environmental footprint. A leading Swedish fast fashion company, who is one of the main corporations behind the influx of inexpensive clothing in the world, is now choosing to recycle their merchandise in the countries where they are produced. The fabric, instead of being thrown into landfills, is reprocessed into different goods, like blankets, insulation, carpet padding and pillow stuffing. Regardless, while some indicators have shown promise that fast fashion is decreasing, solitary adjustments by limited companies will not create a noteworthy impact as long as most corporations refuse to take socially responsible environmental initiatives in the wake of high consumer demand. Local Pakistani retail brands are also contributing to the problem, having chosen to jump on the money minting fast fashion bandwagon. This is exemplified by year round clearance sales where local commercial fashion giants seek to get rid of their ‘old’ stock because their new line is ready to burst through the door. Recently, in an attempt to go ‘green’, a local textile giant launched its eco-friendly canvas bags that would replace plastic carrier bags, their CEO stating that:

“After oil and gas globally, fashion retail is the second largest plastic polluter. Therefore, rather than shy away from this glaring fact, we wanted to be honest in addressing it. We wanted to demonstrate that being green can be good for business too. ”