Rizwan Beyg - Pakistani Designer

Rizwan Baeyg has been described in many flattering (and sometimes not so) terms. Rizwan Beyg is mindful of all influences in his life and fairly sensitive about these. It can truly be said he's been there and done that.

Cadmium Red Haven Anarkali Churidar Top: Color: Cadmium Red Fabic: Crinkle Chiffon Wonderfully flowing Anarkali shirt features chic and sweet embellishments on the bodice, neckline and hem Pretty oval shaped motifs are embellished on the front Heavy sequins embellishments Click to Product Details		Arylide Yellow Cantina Anarkali Dresses Top: Color: Arylide Yellow Fabric: Crinkle Chiffon Shine as bright as the sun in this floor-length Anarkali shirt enhanced with superb embellishments on neckline and hemline Sparkling sequins in random sizes sprinkled Click to Product Details
	Amaranth Daichi Anarkali Suit Top: Enchant traits of this gorgeous chiffon extra-long anarkali shirt in amaranth color highlighted as heavy cramped embellishments on bodice and hemline. Flower shaped ornamental motifs sparsely embroidered all over. Click to Product Details		White Duscha Anarkali Suit Top: White crinkle chiffon long shirt having perfectly looking embellishments on bodice and umbrella. Appliqued bottom accented with rich quality embroidery work. U neckline style. The shirt is also heavily embellished Click to Product Details
	Light Khaki Duscha Anarkali Suits Top: Light khaki banarsi chiffon anarkali top has been intricately embellished from neckline, shoulders and hemline. Pretty hand embroidery in parallel lines are made on umbrella. Decollete neck style. Banarsi jamawar applique applied on Click to Product Details		Light Teal Duscha Anarkli Suit Top: Light teal crinkle chiffon anarkali top features shirt having sophisticated embellishments on bodice, below empire waist and bottom. Embroidery work done also in parallel lines on front. This V-neck shirt comes Click to Product Details

Rizwan Baig describes the fashion scene in Pakistan in 1986 as being on the 'brink of revolution' and 'brimming with radical ideas'. Rizwan Baig was one of those fashion radicals who broke all the rules. Rizwan Bayg explains his almost accidental venture in to the world of fashion. Attending a wedding in Karachi with some friends, Rizwan Bayg casually commented on how beautiful Pakistani women were but how poorly dressed. These friends challenged him as a basic designer (albeit of buildings and interiors), to introduce some designs for women. He took up this dare out of sheer 'gumption and a stubbornness' to prove his point. Rizwan has never quite looked back. He was invited to put together a fashion show for charity and overnight Rizwan became the talk of the town. However, this does not mean he has not developed or evolved. He explains the concept of fashion as he sees it.

Rizwan Beyg is sometimes irked at the international fashion culture which tends to clump together Pakistani fashion with Indian. "It's not the same thing at all. We have different identities and are coming from different places and going different places,.In that sense, we designers become ambassadors for Pakistan every time there is an international fashion show".

At the Asian Bridal Show in Delhi, Rizwan displayed his work. He explains, "I did not wish to shock. Nudity is not the culture I've inherited. I believe in tradition". But Rizwan Beyg does not let his work get lost in the sea of zardozi work and other traditional embellishements used in bridal dresses.

He explains he likes to retain the essence of local bridal wear but likes to "play around with the concept". So he raises shalwar lengths, crops shirt lengths, fuses western sarongs with skirts and with everyone going crazy with colour, Rizwan Baig sticks to pastels. "I'm not a fashion victim and I like to keep my clothes whimsical".

This led to the introduction of Rizwan's diffusion line. He was the first in Pakistan to introduce printed and designer voille and cotton fabric that targeted the masses. This was accessible and affordable wear and in his view, real fashion.

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