Sunday Plus

December 18, 201110 Sunday PluS

The Trousseau collection has

been created specifically for

the upcoming wedding season.

Expect a lot of bling and again

expect the comfort that the

brand represents.


rendezvous


IntervIew

By Sadaf Pervez & BishakhaKunwar

CELEBRATING DICKENS’ BICENTENARY

While growing up, Dickensian characters like David Copperfield, Oliver Twist, A Christmas Carolcertainly intrigued our childhood imaginations and his classics like A Tale Of Two Citiesand Great Expectations definitely provokedour thoughtsat some point of our lives with his depictions of the social classes in the Victorian London.

Owen Calvert-Lyons

Charles Dickens

s part of the Dickens’s 2012 celebra-tions, British Council is honouring the 200th bicentenary of Charles Dickens, one of the widelyread novelistsfrom the Victorian period. As a collective effort to work in over 50 countries worldwide and

organize a series of events, British Council re-cently announced the launch of ‘Dickens 2012’. In Pakistan British Council collaborated with Owen Calvert-Lyons, Creative Learning Manager at the Arcola Theatre Company London, who joined hands with 14 young Pakistani theatre performers to relive the Dickensian character of Oliver Twist through a 3-day Performing Arts workshop titled ‘Practical Approaches to Creat-ing Theatre with Young People’ in Lahore. These young artistsin-turn are expected to impart their skills, taught by Owen, to other junior perform-ers and students to prepare for their dramatic performances that will be showcased in January 2012 in the Dickens’ Performing Arts Festival to be held in Lahore in coordination with the Knowledge factory.

When you meet him, he looks like a fairly or-dinary young man, but this talented director has made a big splashat the theatre scene in London by directing plays for and by children and young people. Gone are the days when children’s theatre only happened at Christmas. His passion for theatre is evident. He is also on the board of the National Association of Youth Theatres and has worked internationally in theatre projects all over the world. Anyone who has seen his most recent productions will know that he is making all the right acts and moves. His directorial credentials include The Uncommercial Traveller (Arcola &Punchdrunk), Boy with a Suitcase and Exotic Tastes (Arcola), I am a Camera (Rose-mary Branch Theatre), The Children and The UN Inspector (York Theatre Royal) and Alice’s

Adventures in Wonderland (The Courtyard).Marking Charles Dickens’bicentenary on 7 February 2012, Owen will once again return to Pakistan and take the helm.

On this recent visit to Pakistan, Sunday Plus got an exclusive opportunity to talk to Owen Calvert-Lyons about his excitement to work with young talented theatre professionals of Pakistan and prepare for their dramatic perfor-mances for the upcomingDickens’ Performing Arts Festival.Owen On COMInG tO PAKIStAn:

This is not my first time in Pakistan. I have been in Lahore before in 2007 and kept return-ing for different workshops. British Council in London was very keen to make Pakistan as a partner for this project. The project began in London and it was restructured to make the idea functional across the world. Also Dicken-sian connection to the South Asian countries is a good one. The writings of Charles Dickens are read all over the subcontinent as a part of the school curriculum, whereas back in UK it is being read at the University level. So for my un-derstanding Dickens is more of a big tradition in Pakistan which became one of the main reasons to choose Pakistan.Owen On tHree-DAY wOrKSHOP:

It is part of a bigger project in February and I will be back in February for a period of ten days. In a way I do think it is enough. I spent two days in Karachi with NAPA students and six days in Lahore. This intensive workshop was conducted for three days starting from 10 in the morning to 4 in the afternoon. The level was quite rigorous for which we have devoted ample time to let the participants grasp and rebuild.Owen On HIS eXPerIenCe wItH tHe PArtICIPAntS OF tHe wOrKSHOP:

I encountered a range of people; some are

December 18, 2011 19Sunday PluS

IntervIew

Owen Calvert-Lyons, Creative Learning Manager at the Arcola Theatre Company London, who joined hands with 14 young Pakistani theatre performers to relive the Dickensian character of Oliver Twist through a 3-day Performing Arts workshop titled ‘Practical Approaches to Creating Theatre with Young People’ in Lahore.

A3-day performing arts workshop in Lahore


IntervIew

The project began in London and it was restructured to make the idea functional across the world. Also Dickensian connection to the South Asian countries is a good one. The writings of Charles Dickens are read all over the subcontinent as a part of the school curriculum, whereas back in UK it is being read at the University level. So for my understanding Dickens is more of a big tradition in Pakistan which became one of the main reasons to choose Pakistan.

Owen Calvert-Lyons

Oliver Twist


IntervIew

YOUnG tHeAtre PerFOrMerSWe also interacted with Daniyal Malik and

MahnoorShahid, the young Pakistani theatre performers at the Performing Arts workshop that Owen conducted. Here is what they had to say about the workshop.

Daniyal Malik:I recently Graduated from Government

College and have been doing theatre for the last six years. The sole purpose of this

workshop was to build a networking op-portunity with the senior and amateur artists. Performing Arts in Pakistan lack the support and it is hard for the enthusiasts to nurture their interests. But when we meet like-minded seniors like OmairRana and Ayesha Alam who are in the same workshop sharing the similar passion, then we might develop a platform from within. In terms of energy, we had eight hours of grueling workshop and covered all aspects of theatre which was a great experience.

MahnoorShahid:I am an A-level student at Lahore Gram-

mar School. This workshop provided a serious platform for us to build a network with other young artists internally and internationally. The main aim was to train the students and sort of pass it on to other young profession-als. The best part was that we could relate to all this and feel that we are a very strong part of this. Workshops like these provide a pivotal platform for theater amateurs like us.

currently studying in colleges, universities and some are graduates and fewer are working around in the same profession. I am really impressed by the same level of energy and enthusiasm from a very diverse group of participants by harnessing the level of skill and knowledge which facilitates in judging the group balance. The par-ticipants were all capable enough to pick up, get hold off, develop and make their own. Owen On PreFerrInG teACHInG LOCALLY AS COM-PAreD tO StAGInG HIS Own PLAYS:

Teaching is a big part of my work in the UK. Teaching those who are going to teach is the most exciting experience. Apparently, it was only three day workshop designed for a bunch of people but when you think about transferring their knowledge to other junior performers, it forsakes the opportunity costs: I spent three days with these participants and they will spend fifteen days with the younger group and at the end about 45 young people get involved and influenced by. If this was built and rehearsed in UK, it would have been a very London piece of play. What we are going to create in February is built and made with and for the local performers. Every script will be written and done by the students here locally.

Owen On HIS eXPerIenCeS ACrOSS tHe wOrLD:People are people the world over. The only difference is the

level professionalism. There is an instillation of a bigger feeling in

training the young ones there as they will become the profession-als for sure. In Pakistan, a huge professional industry is lacking but fortunately this time I met those enthused people who are as passionate about it and opted theatre as their careers. Over here the fact is that there isn’t huge professional theatre industry, so if these young talents go on to pursue their career in theatre, it would be an achievement. Owen On PreFerenCe tO wOrK FOr CHILDren/ YOUtH tHeAtre:

The idea of working with the experienced and professionals does not seem that interesting as they already have a certain level,

it will be about complicating what they know. With the young people around, it excites to maneuver with different energies. There is a variety of experiences and charged up learners around ready for experimen-tation. The young ones just need a good beginning which I tried my best and hope it will be a good startup for all these participants to continue through.

Owen On tHe eXCHAnGe PrOGrAMS:British Council is very keen to support the move-

ment of artists from the UK to other countries to develop the network that can go on. Then there are institutions like Churchill Foundation and many others who offer such opportuni-ties.

In terms of energy, we had eight hours of grueling

workshop and covered all aspects of theatre which

was a great experience.

Daniyal Malik, Owen & Mahnoor


feature

By Navirah Zafar

a child’s mind is a Pandora box filled with inno-cent wonders of early age, to tame and give this mind a direction is the foremost responsibility and concern of a parent. Throughout the history of Pakistani television no such effort has been taken to educate and inspire

the young ones and that too in the country’s regional lan-guage. Foreign produced programs have always dominated

the primetime and early morning slots nurturing the young minds and guiding them to an alien path which is not justified with regards to our culture and religion. Faaizan Peerzada, Rafi Peer Theatre Workshop’s Chief Executive Office was of the view that, “children programming could not be sustained in early days as lack of funds and corporate sponsorship were seldom provided for the timeslots of children programming”.

Few years back a project was advertised by The United States Agency for International Development (USAID) on education bringing the famous franchise ‘Sesame Street’ to Pakistan. Rafi Peer Theatre Workshop participated and won the competition as it provided complete multimedia program to construct an image of a

is here!

Faaizan Peerzada

feature

Pakistani Sesame Street. Sesame workshop best known as Sesame Street had already developed a frame work which lend an easy hand for Rafi Peer Theatre Workshop to construct their infrastructure in accordance with country’s social, regional and educational setup. The pro-gram is targeting children from age 4-9; this age bracket has never been touched upon by any media institution in past years as the target age bracket for children has always been higher.

Rafi Peer Theatre Workshop, in collaboration with Sesame Workshop, held a national content seminar and four provincial workshops to gather educational advisors from various fields to provide direction for the educa-tional framework for the Pakistan Children’s Television (PCTV) project. The participants included representa-

tives from both regional and federal government entities, academicians, performing artists, civil society members working with children, representatives from Sesame Workshop, USAID and the Federal Education Secretary. The discussions and input of the advisors helped inform the fundamental framework, which the PCTV and Sesame Workshop education teams used to establish a Statement of Educational Objectives (SEO) for the project Sim Sim Humara.

The Pakistan Children’s Television project recognizes the importance of building capac-ity among parents and caregivers to educate children in fun and creative ways, and to foster curiosity and critical thinking. Therefore, the project aims to model the positive and encouraging role of adults and caregivers in the lives and development of children. Sim Sim Humara will emphasize on various topics including: gender equity, celebrating diversity, self esteem and self worth, emergency preparedness, and the joy of learning. These will be represented both explicitly and implicitly in the program content.

Based on the national and provincial seminars and the “National Curriculum for Early Childhood Education, 2007” by the Government of Pakistan, the Statement of Educational Objectives for Sim Sim Humara

There are about 18-20 prominent personalities from all over Pakistan providing linkages to all five provinces. The National Technical Committee advised the content managers of RPT on the skin tone, character description, backdrop of the scenes and themes for all three seasons.


contains the following six broad educational areas: language and literacy; mathematics, science, and cognition; health, hygiene, and nutrition; child, family, and social relations; understanding, respect and diversity and art, culture and social studies.

“Sim Sim Humara is a four year funding project by USAID; one and half year has been utilized for preparing the content. The programme has been divided into two phases and is a four-year project. The budget for the first phase is $10 million. There are about 18-20 prominent personalities from all over Pakistan providing linkages to all five provinces. The National Technical Com-mittee advised the content managers of RPT on the skin tone, character description, backdrop of the scenes and themes for all three seasons. There are 3 seasons; each will have 26 episodes giving a sum total of 72 episodes. The language used in the episodes will predominantly be Urdu with a wide window of 13 episodes in the country’s four regional languages. When asked why the introduction of regional languages in Sim Sim Pakistan, Faaizan Peerzada elaborated “ as each province wanted their language to be heard, they listed out their needs and subject matter. The content of 26 episodes

has been written and production of many is under way. The main aim of having all the 4 province languages was too inapt the view-ing audiences (who are children) and impart in them the information which is in their language. Prominent cities and provinces know and understand Urdu, but far flung areas in Baluchistan and Kyber Pakhtoon Khawan don’t understand Urdu. For them to feel associated with Sim Sim Humara, their regional language was opted”. To add further he said,” Sesame’s presence is in 40 coun-tries, this the first time that regional languages are being taken up by any country”.

The motto behind Sim Sim Humara and Rafi Peer Theatre Workshop is to prepare, inspire and make the child ready for school; this window is open for 2 days a week which is a stepping stone for a child to be well

prepared before entering any educational system. We have made it as beautiful and dreamlike so a child can find him/herself somewhere on inside being a part of Sim Sim” added Faaizan Peerzada.

The project has a fully-equipped studio, a permanent set, a separate sound studio and separate puppet, animation, set design and post production department as well. The staff of over 200 has been employed from various parts of the country. The show does not have any agenda.RPT controls all the content and is purely to educate Pakistani children through

our own methods and traditions.Rafi Peer Theatre Workshop wants

to stop the pollution of foreign media into our homes, it has completely

disintegrated our belief system, a child watching an Indian mythol-

ogy content would think of it as its own and that being

on a repetition would further confirm his/her belief. Our aim is to cut out what is shown

with regards to Indian content and make our rich traditions rooted in the realm of every

Pakistani’s home.


feature

The motto behind Sim Sim Humara and Rafi Peer Theatre Workshop is to prepare, inspire and make the child ready for school; this window is open for 2 days a week which is a stepping stone for a child to be well prepared before entering any educational system. We have made it as beautiful and dreamlike so a child can find him/herself somewhere on inside being a part of Sim Sim” added Faaizan Peerzada.


up & rising

Pakistan’s Rising staRs:

sehyRanis

How long have you been in the industry?

Sehyr: One year

Did you always know this is what you wanted to

do?Sehyr: No, I did have a passion for clothes but

never knew will pursue it as a profession

How easy/hard has it been breaking into the

industry?

Sehyr: With multi-brand stores promoting new

designers in today’s age, not too hard.

What are some of the problems/hurdles you’ve

faced?Sehyr: Some issues with a few nagging

clients who don’t bother paying on time or in

some cases at all, other than that it has been

smooth!

Do you feel the industry welcome’s new comers?

Sehyr: Yes, absolutely!

What inspired you to take the leap and join the

industry?

Sehyr: The gap for affordable, chic,

minimalist ensembles with more focus on

cuts and less on embellishments

What advice would you give to others trying to

break into the industry?

Sehyr: Be creative and don’t be afraid to

experiment!

What styles/themes do you work most with?

Sehyr: More focus is on the material and cuts.

Do you have a particular style or do you prefer

experimenting with everything?

Sehyr: Experimenting but yet keeping it

simple and chic

Who do you look up to in the industry?

Sehyr: I love Sana Safinaz and Ayesha Farooq

Hashwani’s work.

Looking back, do you wish you’d done anything

different when it comes to your career?

Sehyr: Not really!

What comes next?

Sehyr: Since it has only been a year, I hope

lots more new collections, new experiments

and some more focus on retailing!

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hollywood

Q. you’ve had two films out in cinemas the last few months, one of which you also directed in ‘The Ides of March,’ which character was more challenging for you?

George Clooney: The character in ‘The Descendants’ was a lot more challenging to do as an actor. When you are directing yourself, you are really only just doing a part that you know exactly what needs to be done in it, I’m sort of just filling a gap that I need in the film – which is I needed that Candidate, I knew what he needed to be and I felt I fit the bill so I knew how to do that. This is a character that you are in a very uncomfortable zone, but with very comfortable people, it’s a tricky role to play. This was a more difficult part, but I had a much better director so I was very lucky in those terms (laughs).

Q. This is very human performance, mixing emotion with humour, there’s a lot of depth to it. how hard is it to get that right balance?

George Clooney: First you have to have a really good script, that does all of those things for you, and then you have one of the best directors in the business handling that. Then you just kind of put yourself in his hands and say, “Too much? 15% less existential realism?” He really takes care of all of that. I found it challenging only in the sense that I wanted to serve the material very well. It’s a tricky piece, the movie

basically starts with the death of your wife. It’s like a coming of age film, unfortunately the person who’s coming of age is a 50 year old man (laughs). Whenever the script is really good the work is a lot easier.

Q. you can see that so much is going on with your character internally, how did Alexander Payne’s direction help with that?

George Clooney: Alexander Payne helped a lot. You can make a really bad movie out of a good script, but you really can’t make a good movie out of a bad script – it starts with the screenplay. It was a really well written screenplay, then you surround yourself with wonderful actors, then you sort of put yourself in the hands of a director, he or she says, “More this, less of that, try more of this, try less of that.” When you see the film, Alexander’s specialty is his ability to switch on a dime funny to really sad – it’s hard to do, it’s really hard to do well. It’s hard as an actor to judge that, only the director knows what he or she wants….you really have to go, “You tell me when I’ve gone too far, or not far enough.” So honestly, I wish there was credit to be taken for that, but it really is about the screenplay and director in certain circumstances.

Q: when you have two films that have been received so well, the media are certain to talk awards and competition, what are your thoughts on that?

GeorGe Clooney’s osCar-friendly Hawaii vaCation

From Alexander Payne, the creator of the Oscar-winning ‘Sideways,’ set in Hawaii, ‘The Descendants’ is a sometimes humorous, sometimes tragic journey for Matt King (George Clooney) an indifferent husband and father of two girls, who is forced to re-examine his past and embrace his future when his wife suffers a boating accident off of Waikiki. The event leads to a rapprochement with his young daughters while Matt wrestles with a decision to sell the family’s land handed down from Hawaiian royalty and missionaries. Alongside George Clooney, the film stars Judy Greer, Beau Bridges, Matthew Lillard, Robert Forster, Shailene Woodley, Mary Birdsong, Nick Krause and Amara Miller. ‘The Descendants’ is out now in the US, and is set for release January 20th in the UK.

DescenDantsthe


hollywood

I don’t ever think of it as competing, I don’t ever think of competing with actors or filmmakers at all. Obviously we’d like both films to be

well liked, we try to make films that we’d like to see – they’re not easy to get made, they’re harder to get made, you have to keep the budget

low to get them made. But at the end of the day I don’t really worry about competition because I don’t really think of it that way, I don’t

think I’m in a race with anybody.


hollywood

George Clooney: I think that it’s a very odd thing to think of competition when you’re talking about…..what I still consider art. I don’t ever think of it as competing, I don’t ever think of competing with actors or filmmakers at all. Obviously we’d like both films to be well liked, we try to make films that we’d like to see – they’re not easy to get made, they’re harder to get made, you have to keep the budget low to get them made. But at the end of the day I don’t really worry about competition because I don’t really think of it that way, I don’t think I’m in a race with anybody.Q: you‘ve worked on a number of acclaimed films in succession, what do you look for as an actor when choosing a role, and what

drew you to this particular movie?George Clooney: First and foremost I

learned after a series of very bad mistakes in film, early on in my career. I learned I should probably read a good screenplay every once in a while before I say yes (laughs). You can make a bad film out of a good script, but you can’t make a good film out of a bad script, so I needed to start with a good screenplay. With this particular film I wanted to work with Alexander Payne for a long

time, we had dinner in Toronto, he said he was going to be sending me a script. I sort of thought I would have done it no matter what the script was (laughs), because I hadn’t seen him miss yet as a filmmaker. Then I read the screenplay and thought wow. There are really only two elements solidify the choices I make, and that’s director and screenplay.

I’d done ‘Batman & Robin,’ ‘The Peacemaker’ kind of run…you know, when you first start getting work as an actor you just take jobs. I’d been on a lot of TV series and I got a couple of films and was very excited. I’m calling everyone and I’m like, “I got Batman, wooooooooh!” And then I started to understand that I was going to be held responsible for not just the role I was

goingto get to play, but also for the films that were going to get made. The next three scripts I worked on were ‘Out of Sight,’ ‘Three Kings’ and ‘O Brother Where Art Thou,’ which were all very good screenplays. So since then I’ve really tried to focus on the best screenplay as possible, then the second thing I do is try to make sure the directors I’m working with are on the same page, and we want to do the same kind of films. You can really protect yourself as an actor if you work

with really good people, it can hide a lot of flaws (laughs).Q: here are a lot of actors making the transi-tion from TV to movies, can you talk a little about the evolution of your career and the transition you made, at what point did you sort of turn your vision to the big-screen?

George Clooney: You think in terms of, even when you are on some pretty bad TV shows, I was pretty bad in them so I can’t just make fun of the shows (laughs), but you always think of yourself as a film actor, a film actor that just happens to be doing this weird TV show right now, you think soon you’ll have this great film career, that I wasn’t having at that time. There’s a period of time where you are just trying to get a job, and then you get lucky – ER was lucky. We were originally going to be on Friday nights at 10 o’clock, we wouldn’t have done a third of

A really good director will constantly keep pointing you that way, but I also think it’s your job as an actor to understand that there are scenes that you do, particularly when you’re the lead, where other people get to come in and steal, and you have to let them. I understand that, but working with a really good director always reminds you of that.


hollywood

the numbers we done on Thursday nights at 10 o’clock – that’s luck. When they talk about big TV ratings, 17 million for a show, we were doing 35-45 million people a week. So immediately I went from sort of obscurity, to being able to get a film. I wasn’t able to before, I auditioned a lot but I didn’t get them. That was luck, it had very little to do with me, I was the same actor I was all that time. Then things change, then you realise you have to take responsibility for the roles, because you’re going to be held responsible for the whole movie if your headlining. If your name is above the title, you have to pay attention to not just your part, but the film, so that was part of it, I got some good couple of lessons with some…not great films (laughs). And then I realised I’m going to be held responsible so I have to pay attention to the films, and that’s when things changed. I had a really good run right after that with ‘Out of

Sight,’ ‘Three Kings’ and ’O Brother, Where Art Thou?’ Where it was like, ‘Oh, I get it, I’ve got to work with really good filmmakers on really good screenplays’ That makes a big difference.Q: how has directing over the last decade changed you as an actor?

George Clooney: I always think in terms of what the director needs, not just for this scene, but for the film. You really learn that from episodic television, when you are doing episodic television for long periods of time you have differ-ent directors coming in every week. I’m doing ER, so every week I’ve got a kid who’s going to be on a gurney, some kids going to be dying. So every director would come in and go like, “You have to

cry a little bit.” But then you think, “I’ll be crying in 22 episodes, this will be too weepy.” So you have to adjust towards the long term, thinking it all the way through, from beginning to end – that works also in film, you’ll understand that there are some scenes that you’ll have to lose in order to win something in the end. A really good director will constantly keep pointing you that way, but I also think it’s your job as an actor to understand that there are scenes that you do, particularly when you’re the lead, where other people get to come in and steal, and you have to let them. I understand that, but working with a really good director always reminds you of that.Q: who would be some of your inspirations with regards to directing, and who gave you advice, directorial advice?

George Clooney: Before I did my first film I read Sidney Lumet’s book on directing, which

is really helpful. It teaches you some short-cut tricks. For example set a shot, the very first shot you shoot, set it even if it is something you would never use in the film, set it, do one take, cut, then move on. Everybody in the crew and cast sits up and gets nervous because they think, ‘Oh, this could happen really quickly,’ (laughs) it changes the chemistry on the set. I thought that was very helpful, especially for a first time director when I was doing ‘Confessions of a Dangerous Mind.’ Also it doesn’t hurt to watch some of his films, ‘Network’ is a masterpiece, I think he had as good a decade as anybody. Also Alan J. Pakula, 70’s film directors.Q: For me, some of the most powerful mo-

ments in this film are the silent moments…George Clooney: Oh yeah, we live in an age

and a time now when we’re trying to show 500 things going on at the same time. You’ll turn on Bloomberg Television and there’s 50 things going on. I find that silence and stillness…..if your flipping the channels and you see someone just staring at the camera and it‘s quiet, nothing’s going on, you tend to stop now – that seems to be the new “unusual” thing to see. I really enjoy the quiet moments in film, you have to earn them though, Alexander is so good at earning those moments. For example the very end of the film, with us just sitting together, you earn it because you couldn’t have done that scene that long in the beginning of the movie, people would have gotten up and left (laughs). To watch the still-ness of that particular scene speaks volumes.

style


ClassicsEmbroideredIn the deep darkness of wInter dawns, In the sIlence of the evenIng dusks, Bareeze emBroIdered classIcs add that extra sophIstIcatIon and the rIght amount of glItz and glamour to BrIghten your frosty wInter days.

style


stylestyle


October 02, 2011 20Sunday PluS

stylestyle


October 02, 201120 Sunday PluS

stylestyle


October 02, 2011 20Sunday PluS

stylestyle


Brand:Bareeze

Campaign:exclusIve

wInter collectIon2011-12

photography & Styling:ather shahzad

society

Designers lounge

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Saim Ali exhibited his latest collection in at designers lounge in Jumeriah. The exhibition was well attended by the socialites.

DUBAI:

3 Sana Farooq & Anny Khan

2

Samina Hasib, Madhvi Jay, Farida Ajmal & Anita Sumaya

1

Rekha Singhal & Saim

4 Mehwish Afzal

5 Mona Mariam

6 Shaista Qureshi & Omar Mansoor

7 Tahira Hassan & Ayesha Perrara

8 9

8 Zarine Mazhar & Ayesha Butt

9 Naushaba Khan & Mehnaz

society

Saad & Sarfraz Umar & Nada10 11

Sana & Usman Jannat & Myra Haroon(SYMT) & Farhad Humayun Sarah & Hassan6 7 8 9

Umer Saud Abdullah & Sijal Jodaat & Madihah Summaira Aneeqa & Faiza1 2 3 4 5

Sunday PluSDecember 18, 2011 43

Samsung brought live music frenzy to Karachi, Lahore and Islamabad over a period of two weeks on the launch of it’s two brand new cell phones Corby 2 & Star 2. Students and socialites of these 3 cities saw performances of some of the best bands around. This whole nationwide activity was managed by jbNjaws whereas media & PR was handled by Encyclomedia PR. Performers included QB, Symt Band, Alter ego, Jimmy Khan, Ali Khan, Jumla Band, Farhad Humayun, Wajahat Rauf & Bilal Khan.

Music frenzy1

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10 11

5 6 7

2 3

society

Luxury Pret

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4

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Ellemint Pret, one of Karachi’s most hip multi-brand stores, recently held a Luxury Pret exhibition Volume 2. Multiple designers such as Shiza Hassan, Tena Durrani, Teena by Hina Butt, MZH, Saira Rizwan, Madiha Ibrar, Argentum, Uzma Hai, Pinx and Gul-e-Lala participated in this exhibition. It was a well-attended event with celebrities and media personalities in full attendance. The event’s media and PR was managed by Voila PR.

KARACHI:

3 Sara Sharif with a guest

2

Zahra, Maha, Afreen Shiraz & Ayesha Nasir

1

Najia

4 Afreen, Laila and a guest

5 Shiza Hassan

6 Tehniyat and Ayesha Nasir

7 Nida Khurram

8 9

8 Uzma Hai

9 Marvi Sarfaraz


decor

Break Out Of YOur COlOur COmfOrt ZOne

This WinTerThis WinterAt first thought, winter might not conjure up words like spicy, bold or sunny. It should, though, at least when it comes to the inside of your home. While it might be gray and dreary outside, infusing colour into interior decor is one of the quickest ways to create a cozy, inviting living area. And winter is the ideal time to do it.

Adding a shot of colour to a space can be done quickly, but it can sometimes be confusing. In fact, mastering the ins and outs of decorating with colour can be downright daunting.

“Although people love the idea of incorporating colour into their homes, mixing and matching colours, patterns and textures can be an intimidat-ing and overwhelming process,” says Donna Schroeder, colour marketing and design manager for Martin-Senour Paints. “Whether it’s wall paint, new furniture or accessories, consumers might not have the confidence to step outside of their ‘colour comfort zone’ and experiment with shades they might not normally gravitate toward.”

So, how do you break out of that “colour comfort zone?” You can start by using available colour tools such as those found in Martin-Senour’scolour selector. Not just about wall colour, it offers unique tools designed to help you balance the entirety of a home’s interior design as well as room-to-room balance and flow. From wall colour to room accents, the colour selector is a resource for complete home design.

Whether it’s wall paint, new furniture

or accessories, consumers might not

have the confidence to step outside of their

‘colour comfort zone’ and experiment with

shades they might not normally gravitate

toward.


decor

Having a basic understanding of colour and knowing what emotions different colours can evoke also helps. So, if you’re thinking about warming up your home this winter and are contemplating using a paint colour that you’ve always wanted to try, but weren’t sure how or where to use it, these tips can help steer you in the right direction:

As the strongest colour in the spectrum, red has the greatest emotional impact. Depending on the hue and shade, red resonates with passion, romance, energy and courage. In recent years, it’s become a popular colour choice for dining room walls, but the drama of red is also ideal for entryways, living rooms and even bathrooms. The colour combination of red with neutrals, such as tans and browns, results in warmth that is certain to carry you through those cold months.

red

Orange has evolved throughout the years; think ter-racotta and copper tones. It enlivens any space and can

easily take center stage as a primary wall colour, or as an accent colour to give a refreshed decor a bit of much-

needed punch. When paired with blues or purples, a spicier orange can be very powerful. For a more subdued

effect, combine it with warmer colours like reds and deep, welcoming greens.

Orange


decor

Red, orange, yellow or purple, no matter what colour you decide to use to help shut out those dark, chilly winter days, keep in mind that all colours can evoke powerful effects in any room. Understanding the basic building blocks of colour can help you harness that power and create the stunning colour schemes you’ve always wanted.

YellowThere is no better colour to radiate warmth in your home than yellow,

but don’t underestimate the intensity of this colour. Bright,

strong yellows on walls are almost always best saved for an area like the kitchen because they are said

to increase attentiveness and have “wake up” qualities. Cream-ier yellows - think the paleness of fresh butter - are popular in living

rooms and can even translate well into bedrooms when joined with a

classic red or blue.

Purples have a powerful con-nection with our spiritual and introspective side. Because purple has varying degrees of red and blue in it, it’s easily paired with many complementary colours such as yellow, orange and softer greens. When slightly redder, purple can be vivacious and excit-ing; when slightly bluer it can be restful. If you’re using purple for a room, decide whether the room is designed to entice drama, as with an eggplant-hued purple, or cast an air of relaxation and reflection, as found in a hydrangea shade.

Purple

From my study window, I can see the top of the square, pinnacled tower of St Luke’s Church, Chelsea. In this

church, in 1836, Charles Dickens, aged 24, married Catherine Hogarth. It was a rare venture for him into the south-west of the city – though Chelsea was effectively a vil-lage suburb in those days – as Dickens was resolutely a north London man, his “manor” running from Somers Town and Camden south to the City, down to the Strand and Waterloo bridge, taking in Marylebone and Covent Garden. In later life, the northern edge of Hyde Park was about as far west as he would venture and once, when he rented a house on the south side of the park in Knightsbridge, he felt decidedly uncomfort-able. The year 1836 was also significant for another reason: Dickens not only married but he began to be rich. He was writing for four publishers and that year earned a bonus of £500 for The Pickwick Papers. Three years earlier, as a journalist, he had been producing sketches of urban life for a magazine called

The Monthly, unpaid.One of the most fascinating undercur-

rents of this fascinating biography has to do with Dickens and money. All writers write for money (apart from those rare few in posses-sion of a private income) and for Dickens – whose indigent father, John, was imprisoned for debt in the Marshalsea – solvency and riches were in a very real sense the holy grail. His childhood and early adolescence were marked by a descent into ever less-genteel poverty. It was poverty that denied him an education and shamefully sent him instead to work in a blacking factory by Hungerford bridge when he was 12. He was in gainful but impecunious employ at the age of 15, work-ing as a junior clerk in a lawyer’s office. So, by the year of his marriage, at 24 – which seems young to us now – he had already been earning his living for almost 10 years and, in addition, had published Sketches by Boz and The Pickwick Papers.

Dickens was never poor again – though there were a few tricky periods during the

1840s, when he had to borrow money and live abroad. As he aged, his earning power increased, and so too did the number of people dependent on him – his large and feckless family and numerous friends and beneficiaries relied on him for financial support. He was probably never richer than in the last years before he died. His public readings in the 1860s brought him in a gusher of cash and his second American tour (1867) netted him profits of £20,000. Claire Tomalin suggests multiply-ing by a factor of 70 to gain a sense of what mid-19th-century pounds might be worth today. Therefore, £20,000 is £1.4m. When he was paid an advance of £6,000 for Our Mutual Friend in 1864, we should think of it as close to £420,000. And income tax stood at less than 7%.

Dickens lived well – in his pomp, he calculated that he needed around £9,000 a year (£630,000) to provide for his extended family and dependents, and to keep him in the style he was accustomed to. Among one

Flawless in its historical detail, and acute on the novels, Claire Tomalin’s superb Dickens biography is most valuable in the sense it gives us of the man himself

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December 18, 201160 SuNday PluS

Dicken’s work remains and endures…

Title: Charles Dickens: A Life

Author: Claire TomalinPages: 570

Price: Rs. 2065Publisger: Viking

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of the last things he did before he died was carry out an inventory of his extensive cellars at his big house, Gad’s Hill, in Kent, noting entries for sherry, brandy, rum and one “cask very fine Scotch whisky, 30 gallons”.

That “probably” is key. Leon Edel, biogra-pher of Henry James, defined a biographer as “a novelist, on oath”. It’s a valid aphorism and worth bearing in mind, particularly when deal-ing with a writer as famous and as shrouded with legend and anecdote as Dickens. One of the reasons why it’s so intriguing to learn how much money he made is that it strips away some mythic veils – Dickens was a great art-ist, but he was also a very human being. To-malin’s biography – always scrupulous about what we can know, what we can deduce and what is mere speculation – paints a portrait of a complex and exacting man. He was at once vivacious and charming, charismatic and altruistic and possessed of superabun-dant energies – “Dickens kept going,” Tomalin notes, “by taking on too much” (for example, in 1838 he was writing Oliver Twist and Nicholas Nickleby simultaneously). But he was also, equally – to an almost schizoid degree – tormented, imperious, vindictive and implacable, once wronged.

These matters are particularly focused when it comes to the story of Dickens’s marriage and his long affair with the young actress Nelly Ternan. Dickens, aged 45, fell for Ellen Ternan when she was 18. It was simply – like Pip’s love for Estella in Great Ex-

pectations – because she was “irresistible”, he claimed. Dickens had long been unhappy in his marriage – a union that had produced 10 children by this time – and his infatuation with Nelly brought out the worst in him. He publicly separated from Catherine, humiliat-ing her in the cruelest manner, and, after a form of courtship with Nelly – who did not yield to his importuning immediately – set her up as his mistress in a series of houses on the outskirts of London. This was done in the greatest secrecy, and it’s something of a miracle that we know about this side of Dickens’s life at all.

However, by the time he had succeeded in finally establishing this new menage to his satisfaction, Dickens was ageing and ailing. Perhaps the strain of living this lie in Victorian England provoked undue stress – we must never forget how internationally famous he was – but by his early 50s Dickens was prematurely aged, suffering from terrible gout (he could often hardly walk), piles, neuralgia and, later, the effects of a minor stroke. George Eliot described him in 1870 as “dreadfully shattered”. He had been an enthusiastic cigar smoker since the age of 15 and the late photographs show a raddled, smoker’s face with grizzled beard and deep lines. Probably the worst thing he could do as his health gave way was to embark on a pun-ishing series of tours giving public readings from his novels. He was so weak he some-times had to be helped on and off the stage,

but he fed off the adoration of the thousands of his readers who turned out to hear him at home and in America. Yet, while the relentless schedule may have hastened his death, it was also a great succour to his ego and his bank balance – “Think of it,” he once said gleefully to his manager, “£190 a night [£14,000].” He died in 1870 from a cerebral haemorrhage, aged 58, with his last novel, The Mystery of Edwin Drood, unfinished.

The work remains and endures – and To-malin analyses the novels with great acuity – but what is so valuable about this biography is the palpable sense of the man himself that emerges. Tomalin doesn’t hesitate to con-demn Dickens when his behaviour demands it, yet she writes throughout with great sympathy and unrivalled knowledge in the most limpid and stylish prose. She has the gift of being able to set a scene and a time with compelling vividness. This is a superb bi-ography of a great writer – and is a beautifully produced book, it should be said, with copious illustrations. It is worthy to stand beside Richard Ellmann on Joyce, Donald Rayfield on Chekhov and Jean-Yves Tadie on Proust – all three writers who deserve that rarest of accolades, genius. Like Dickens, they were complicated and often extremely difficult and demanding individuals. The more we learn about them as people – paradoxically – the greater their art resonates with us.

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Synopsis: Starting with the ‘alif’, the first letter of the Arabic alphabet that symbolizes divine beauty and exploring the fascinating aesthetic qualities of calligraphy, the book presents the contextual and symbolic intentions of writ-ing in religion, magic, and poetry. Writing surfaces include not only parchment, papyrus, and paper, but also ceram-ics, metal, stone, wood, leather, and textiles. Ranging from the early period of Islam to the 21st century, the book presents works from the art of the ruling elite to folk art and everyday aesthetics. Muslim cultures’ artistic forms of expression are brought to life in this lavishly illustrated book, which includes contributions by renowned international experts in their field and explores the art of writing in Islam in all its richness and diversity.

The Aura Of Alif: The Art Of Writing In IslamAuthor: Jurgen Wasim Frembgen | Pages: 254 | Price: Rs. 6150 | Genre: Calligraphy

Synopsis: In Thinking, Fast and Slow, Kahneman takes us on a ground-breaking tour of the mind and explains the two systems that drive the way we think and make choices. One system is fast, intuitive, and emotional; the other is slower, more deliberative, and more logical. Kahneman exposes the extraordinary capabilities-and also the faults and biases-of fast thinking, and reveals the pervasive influence of intuitive impressions on our thoughts and behaviour. The importance of properly framing risks, the effects of cognitive biases on how we view others, the dangers of pre-diction, the right ways to develop skills, the pros and cons of fear and optimism, the difference between our experi-ence and memory of events, the real components of happiness-each of these can be understood only by knowing how the two systems work together to shape our judgments and decisions. Thinking, Fast and Slow will transform the way you take decisions and experience the world.

Thinking, Fast and slowAuthor: Daniel Kahneman | Pages: 512 | Price: Rs. 2395 | Genre: Business

Insam, one of the hottest new brands on the block, has sent a stunning new collection to La-bels in Lahore and Karachi. Insam, a fun new la-bel, is creating waves with their use of naturally dyed fabrics such as ajrak. Probably the only designer label to be dealing so heavily with ajraks and other naturally dyed fabrics, Insam is the go to brand if you are looking for a unique and fun outfit. Whoever thought there was only one way to wear ajrak can think again! Insam provides ajrak in many different shades, colors and with a huge variety of embellish-ments, resulting in clothes which are truly unique and breath taking.

Insam stocks at Labels in Lahore and Karachi. You can also purchase

a customized Insam outfit by setting up an appointment with the designer duo.

PICKS OF THE WEEK

December 18, 2011 64 SuNday PluS

Insam Samia & Azmay are sisters with popu-lar acclaim, renowned for providing unmatchable quality, exceptional detail and global trends to the local designer shoe industry. Having actively been designing for the last 15 years and in retail for the past 12 years, the duo are often recognised for pioneering the concept and retail of formal designer footwear in Pakistan, having been the first to adorn their creations with the likes of brooches and Swarovski crystal mesh, in Pakistan. They have come out with their latest formal and casual collections.

Available @ Karachi Outlets: Shop #1-E, 7th Commercial

Lane, Zamzama Phase 5, D.H.A., Forum Mall, Park Towers; Islamabad: Shop #8, Beverly Center Blue Area, Islamabad; Lahore: Kingson Boule-vard Mall 2nd Floor, Main Boulevard Gulberg

Samia & Azmay Shahzada Latest Collection

Enhance your style statement with Braids & Buttons exquisite peacock, floral & paisley motifs embellished with Swarovski crystals, zardosi, sequins and fancy thread work that’ll give your outfit a very regal look! Limited stock available!!Shopping for laces has never felt this way before!

Shop No.3, 5/C (Lane of Labels & Jimmys, right opposite French bak-ery), Stadium Lane 1, Phase V, DHA, Karachi, Pakistan-74400

We at Sunday Plus are sharing our exclusive recommendations with all our readers. Read on for the best buys, the trendiest brands and the most

enticing eateries that you need to know about. We slog through the jungle to bring you the hippest happenings and must-have information, right here in your copy of Sunday Plus: your essential weekend luxury.

Motifs by Braids & Buttons

HOTTEST, NEWEST, LATEST…

Cakeoholic offers divine desserts, which includes a wide variety of made-to-order cakes and cupcakes, which are mouth-watering delicious. They are located in Phase 1 - DHA and also offer custom-ized designer cakes and cupcakes for all major occasions including birthdays, anniversaries, birth announcements, graduation etc. The best thing is that they offer delivery to many locations in Karachi, which is ever so convenient. In addition, they have launched a cake with Rahnuma, a student NGO, through they raise funds for various community projects in Pakistan. They are truly the hottest thing in town.

Visit them on facebook: www.facebook.com/cakeohol-ics or call them on 0321-

32337442.

Cakeoholic

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