Pallavi Puri
Founder and designer, Pallavi Puri
Shisha, the Hindi term for glass or mirror, is one of India’s most captivating handicraft techniques, rooted in the state of Rajasthan. Hundreds of these tiny shards are often worked into the hand embroidery of elaborate bridal ensembles, perpetually glistening as lights reflect through them. With a flair for fusing her heritage into contemporary silhouettes, Dubai-based designer Pallavi Puri incorporates mirror work into ready-to-wear, where it embellishes the borders, necklines and even head-to-toe designs of jalabeyas, capes, kaftans, jumpsuits and palazzo trousers. It also features in her upcoming Diwali collection, which Pallavi has launched through a pop-up at Bloomingdale’s Dubai. “Expect a stunning collection of colour and fashion-forward Indian wear,” she tells MOJEH. “Diwali, the festival of lights, symbolises the triumph of light over darkness and good over evil. It’s a time for family gatherings, prayers and festive celebrations. The occasion calls for glamorous outfits as a way to honour traditions, celebrate prosperity and add to the joyous and vibrant atmosphere of the festivities.”
Pallavi launched her eponymous label in New Delhi in 2007, and relocated to the UAE in 2021, establishing her label here and introducing a dedicated UAE collection to coincide with Ramadan. “I not only embraced a new traditional style but fell in love with the Middle Eastern culture,” she says. Now, in addition to creating Indian ensembles such as saris, lehengas, anarkalis and shalwar suits, Pallavi makes Arabian-inspired garments, from heavily-embellished kaftans to printed trouser and abaya sets. Earlier this year, Pallavi exhibited at the Tashkeela exhibition in Riyadh, organised by Saudi 100 Brands. Amid homegrown labels selling minimalist linen dresses, tailored abayas and patriotic fine jewellery, her sorbet-coloured, head-to-toe embellished kaftans made a powerful statement: that femininity and elegance need not be subtle or understated. “Saudi Arabia is a key market,” says Pallavi. And while her brand may be rooted in the East, it has global aspirations. Some of its campaigns are shot in the Arabian desert, while one was produced in Paris, with the iconic Eiffel Tower in the background.
When she sets out to design a new collection, Pallavi studies both the current market as well as historical influences, merging the two to create looks that are contemporary yet classic. “Collaborating with skilled artisans, I oversee the transformation of sketches into exquisite handmade pieces,” she says, adding that each piece is crafted in India. “This commitment to craftsmanship ensures that every piece is not only a luxurious item but also a unique work of art.” Her dedicated UAE collection comprises silk georgette dresses, lace-infused kaftans and printed trouser-and-tunic sets. At a recent Qatar pop-up, the spotlight was on the label’s stunning range of eveningwear kaftans, such as one design with a chainmail shoulder piece, a shamrock-hued kaftan adorned with oversized gold flowers blooming across its torso and an ethereal white kaftan with glistening silver, pink and crystal-studded thread work, reminiscent of a chandelier.
In addition to the ready-to-wear that she sells on her website and at private events, Pallavi offers bespoke services to ensure pieces are tailored to her customers’ requirements. Her client list boasts names of Bollywood actresses like Madhuri Dixit and Karisma Kapoor, and local fashion personalities such as Rosemin Manji and Lojain Omran, in addition to members of royal families across the region. She tells MOJEH that one of the most extraordinary pieces she’s ever created was a custom gown for a member of the UAE royal family, which took over 2,000 hours to make. “It was a true labour of love,” she recalls. “Crafted from the finest georgette, the gown was adorned with exquisite crystal hand embroidery. Every element, from the delicate neckline to the flowing train, was meticulously designed.”
Indian heritage remains a consistent element within all of her designs, be it through colours, craftsmanship, silhouettes or storytelling. “I have a keen eye for detail and a passion to weave intricate stories through my creations,” explains Pallavi. “In an industry known for its relentless pace and changing trends, we stand for timeless elegance and innovation.” Discover the collections
Dania Ali
Creative director, Lajwanti
Two months ago, India and Pakistan each celebrated their independence days from Britain. Prior to 1947, they, along with the land that is now Bangladesh, made up the wider nation of India. And while patriotism runs high in both India and Pakistan, there are many facets of South Asian culture that highlight the unity between both sides of the border — fashion being a focal area of likeminded inspiration and expression.
Exemplary of this testament is the fact that this October, Pakistani brand Lajwanti launched its first-ever Diwali collection, titled Raat ki Rani, or ‘Queen of the Night’. Creative director Dania Ali tells MOJEH that the collection tells a tale of opulence and grandeur, imagined in the iconic Belgadia Palace, which echoes the whispers of pre-partition British India. “Raat ki Rani seamlessly blends the cultural tapestries of India and Pakistan into a harmonious symphony of style,” says Dania. “From handcrafted ivory to alabaster, the intricacies each creation embodies set narratives that transcend borders, redefining traditional fashion with a modern flair, yet preserving the soul of the subcontinent.” She believes that designing for Diwali is an important occasion for any South Asian designer — akin to Eid festive wear for Muslims. “Given the shared fashion heritage between India and Pakistan, it feels natural to create a collection that honours this significant cultural occasion,” Dania explains.
Lajwanti was established as a female-owned Pakistani bridal couturier in 1995 by Ana Ali. Dania, her daughter, studied at London College of Fashion, and took the reins of label in 2019, becoming creative director and infusing the brand with a contemporary perspective while honouring its rich legacy. She launched her own luxury prêt label Laj by Lajwanti under the umbrella of the fashion house in 2023. Dania tells MOJEH that her experience has brought valuable insights and exposures to the brand, which blends local craftsmanship with global influences, colour forecasts and silhouette trends. Yet heritage is foundational to the label, which once recreated a 150-year-old heirloom bridal ensemble that belonged to Dania’s great-great-grandmother. “This painstakingly handcrafted piece reintroduced the world to a forgotten design language, blending history with contemporary artistry,” she says.
Pre-monsoon and winter wedding seasons are busiest at Lajwanti, causing the studio to vibrate with action and artistry. “Clients fill the space, and the factory hums with the energy of productive chaos,” says Dania, who explains that entire families travel from across the country for weddingwear consultations. Clients in India, Bangladesh, the USA and Canada, meanwhile, book virtual consultations through video calls. “While we strive to make virtual consultations as seamless as possible, nothing compares to the in-person experience,” says Dania, adding that this year, Lajwanti will start taking bridal appointments at its newly-opened store in Dubai. Of her many career highlights, which include dressing Indian and Pakistani actresses such as Jacqueline Fernandez and Sajal Ali, Dania names the Dubai store opening as “the crowning achievement.” The local presence not only allows the brand to connect with Arab consumers — who Dania says deeply resonate with South Asian couture and tend to gravitate towards pieces with flowing fabrics, drapes and an overall sense of grandiosity — but also to become a middle ground to better serve its longtime clients in India and Bangladesh.
Each bridal ensemble takes a minimum of eight months to create among a team of six artisans, and prices for these outfits start at Dhs40,000. According to Dania, the brand’s most lavish and sought-after outfits are the bridal designs crafted from chickan kari, a traditional hand-spun and hand-embroidered textile sourced directly from the artisans of Lucknow, India, and further embellished with decadent gold and silver threads. “We use the No.26 and No.28 single-thread Resham hand embroidery, using the finest needles in the world. These techniques date back to the pre-partition era, and have become the hallmark of our craftsmanship,” she says.
Mirror work is also featured in many of Lajwanti’s bridal ensembles — elements that Dania says are undeniably beautiful, but also hold deep personal and mystical significance. “In the past, mirrors were believed to ward off the evil eye, serving as protective talismans,” explains Dania. “So, a bridal ensemble adorned with mirror work becomes more than just a visual delight — it’s also a symbolic garment, designed to shield the bride from negative energy on her special day.” Discover the collections
Sania Maskatiya
Creative director, Sania Maskatiya
Tigers prance amid romantic pink leaves against an azure background, while lemons and flowers are paired with rainbow-hued borders on pure cotton. Alongside a range of kaftans in equally exquisite prints, these relaxed shirt-and-trouser and tunic-and-shorts sets are new to Ounass, coming all the way from Karachi-based brand Sania Maskatiya.
The eponymous label is something of a household name for fashion-conscious Pakistanis, who flock to Sania’s seasonal exhibitions and trunk shows at events like Ensemble Dubai and Dina Zahran’s Dina’s Picks pop-up, often stripping her rails bare within hours.
Known for both intricate craftsmanship on weddingwear and trendy, modish prints within her ready-to-wear line, Sania Maskatiya draws a crowd whenever she exhibits in Dubai — and so her partnership with Ounass is a natural extension of establishing her presence in the Middle East. “We spent a lot of time thinking about how to develop a collection that fit, yet excited the various consumers that shop on Ounass,” Sania tells MOJEH. “We knew we wanted to make it timeless, with the ability to be worn throughout the year.”
Not only is Sania Maskatiya the first Pakistani fashion label to land at Ounass — but it also became the first to showcase at New York Fashion Week, in 2018. The label launched in Karachi in 2011, helmed by Sania and her brother Umair Tabani. With a background in textile design from Indus Valley School of Art and Architecture, Sania oversees the creative aspects of the label, while Umair looks after the operations and growth of the business, alongside finance, marketing and manufacturing verticals. Everything is produced in Karachi, with an emphasis on sourcing local fabrics while championing intricate embroidery and focusing on craft revival throughout its prêt, luxury prêt, formal and bridal lines.
Seeking to make impactful contributions beyond fashion, the brand ethos imbues ethics alongside glamour, committing itself to corporate social responsibility initiatives such as collaborating with Indus Hospital for cancer awareness and partnering with non-profit eye hospital LRBT to combat blindness. The label is favoured by actresses and politicians alike, and has even been dubbed “the unofficial designer for Presidential events” by a Pakistani newspaper.
At its recent September 2024 exhibition in Dubai, Sania Maskatiya presented a Diwali capsule featuring vibrant shades with traditional gota and mukesh work, targeting clients who seek outfits for festivities such as Karva Chauth and Navrati, which also fell in October this year. “These are important moments in our design calendar,” explains Sania, adding that her contemporary pieces, infused with South Asian heritage, attract both younger and older clientele. “From unique and daring silhouettes to traditional three-piece suits or saris, all of our collections are customisable and adaptable, suitable for the various types of events during the festive season.”
At its Middle East trunk shows, the label showcases a range of abayas, jalabeyas, kaftans and two-piece sets. “For the Khaleeji clients, we developed beautifully embroidered kaftans that suit henna parties and Eid festivities, whereas our Levantine clients really love the matching sets and the versatility of being able to pair them together or apart,” explains Sania. “In turn, we have started to see our South Asian clients, in the UAE and abroad, gravitate towards similar silhouettes for their day-to-day.” This October, Sania Maskatiya will launch its resort wear line, called Tiya. “It’s for the contemporary and cosmopolitan woman, yet heavily inspired by the maximalism of Pakistani streets and art, which is never seen on global platforms,” she tells MOJEH. “After the incredible response to our debut in Dubai and across platforms like Gigi Concept Store and Ounass, we continued to see clear demand for year-round resort wear on a global scale. This, paired with my love for travelling and the gorgeous garments I’ve collected across the globe, inspired me to create a fresh, easy-to-wear line that sits on par with international resort wear brands, imbibing a sense of frivolity, joy and wonder.” Discover the collections
Anamika Khanna
Founder and designer, Anamika Khanna
At the viral Indian wedding of the decade — or perhaps century — which took place this past summer, bride Radhika Merchant combined a golden Dolce & Gabbana corset with a sari-style dress from Indian designer Anamika Khanna. While the resulting look was shared across social media as a revolutionary new style, it’s an approach that Anamika has long pioneered in Indian fashion. Since launching her eponymous label in 1998, the designer has been seamlessly fusing Eastern and Western design inspirations. Her signature dhoti pants and draped saris have given the traditional nine-yard sari a new flavour and functionality, in an aesthetic now frequently emulated by other Indian designers.
A former classical dancer and painter, Anamika has taken her brand to international catwalks, debuting at London Fashion Week in 2005 and Paris Fashion Week in 2007. At Bvlgari India’s 2014 launch, models were decked out in Anamika Khanna ensembles, accessorised with the Italian Maison’s stunning jewels. Her designs have graced the Cannes red carpets on Bollywood actress Sonam Kapoor, and have also been worn by Oprah. Last month, she became the second Indian designer ever to launch a collaborative collection with H&M — the first being couturier Sabyasachi, whose pieces with H&M never landed in UAE stores. Anamika’s, meanwhile, sold out within an hour at Dubai Mall. Kaftans, blazers, trousers, skirts, kimonos and cropped tops featured a tapestry of kaleidoscopic patterns, and the collection was completed with a fringed cape, bedazzled clutch and chunky jewellery.
For Anamika, Indian culture cannot be distilled into a few symbols, prints or textiles. “Cultures are adapting; we’re becoming this one, big thing. And in India, there are so many cultures already, so I look at everything as this one cultural melting pot,” she tells MOJEH. “With the prints, I may take something from the eye of an elephant, and something may come from a particular Banyan tree that we have, or reference tribal art that we’ve done.” Anamika adds that the tribes of India give her endless inspiration: “Sometimes we amalgamate a lot of colours, or we make it vintage, or bright — we mix it with all sorts of things, but tribal is a space that’s permanent for us.”
The influences are evident in her jewellery designs for H&M, where gold chokers dangle with chains and coin-shaped motifs, and statement bangles can be worn individually, or stacked together in the style of the designer herself, whose forearms are covered in a variety of bracelets and bangles when we meet in Dubai. “I don’t want to be limited. I want to take pieces, and I want to layer and layer and layer. And it shouldn’t matter whether I’m putting an international brand with some very tribal Indian pieces that are made out of copper — fashion should be fun,” says Anamika, dressed in a pair of distressed blue trousers with gold embroidery, and an asymmetrical white blouse. The latter, a wardrobe staple, is a canvas for endless accessorising for Anamika, who mentions the traditional maang tikka, or headpiece that sits in the centre hair parting, as an accessory that she aspires to make more accessible. “For centuries, it has had this whole Indian significance, and I wanted to take that away and say, you could be wearing a white shirt and wear a maang tikka with it,” she explains. “For me Indian heritage has never been ethnicity — it’s about mystery, and making it contemporary, modern and more relevant.”
Versatility is a key design criterion for Anamika, who has a special fondness for the kaftan silhouette. “It’s the ease of it — it allows freedom,” she says. “You can take it to the beach, wrap it around and put a belt on it, pair it with boots and go to work, or dress it up with jewellery and wear super high heels with it. I could wear it in India for an auspicious Diwali occasion very easily, but at the same time I don’t mind dressing it up and wearing it for dinner outside of my country — it works everywhere.” Whether the designer will be donning a printed kaftan from her recent collaboration this month for Diwali remains to be seen, and depends on if she is able to score the sold-out pieces. “I hope I can get my hands on them,” she says, still waiting for her designs for H&M to land in her personal wardrobe. Discover the collections
