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US Fed poised for first rate cut of 2025 as political tension mounts – France 24
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‘Roofman’s Channing Tatum Was Nude First Time Meeting Peter Dinklage
While filming their latest crime comedy-drama Roofman, Peter Dinklage became quickly acquainted with co-star Channing Tatum.
Director Derek Cianfrance recalled the actors’ first time meeting during a scene in which Tatum was “full monty” while portraying fugitive Jeffrey Manchester, a father and U.S. Army Reserve officer who broke out of jail and hid in the walls of a Toys ‘R’ Us.
“There’s this big scene in the movie where [Dinklage] catches Channing Tatum showering in the middle of the night,” Cianfrance told People. “You can write that scene, but then you have to shoot it. And it’s… Channing had to show up.”
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The movie, which premiered at TIFF, stars Dinklage as store manager Mitch and Kirsten Dunst as Leigh, a Toys ‘R’ Us employee who develops a romance with the fugitive.
Noting “there was nothing to hide behind,” Cianfrance confirmed that Tatum was fully nude during the scene, which was also the first time Dinklage met his co-star.
Juno Temple, LaKeith Stanfield, Derek Cianfrance, Kirsten Dunst and Channing Tatum attend the premiere of ‘Roofman’ during the 2025 Toronto International Film Festival on Sept. 6, 2025 in Toronto, Ontario. (Emma McIntyre/Getty Images)
“It was pretty fun having Peter and Channing interact that way. That was the first time they met because I tried to keep my actors apart because I wanted them to be surprised,” said Cianfrance. “So, Channing and Peter never saw each other. The first time Peter ever saw Channing was full monty.”
Following the film’s debut last week at Toronto International Film Festival, Roofman premieres Oct. 10 in U.S. theaters.
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Owen Cooper fights to make Emmy history as youngest male winner
Owen Cooper, rising Hollywood star who has won millions of hearts with his performance at such young age, was on the brink of making television history as he prepared for the Emmy Awards.
The 15 year old actor from Warrington was nominated for Best Supporting Actor for his role in Netflix’s hit drama Adolescence.
A win would make him the youngest male Emmy winner in the award show’s 76 year history.
Adolescence, which told the story of a teenager accused of murder, became one of the most acclaimed shows of the year.
Netflix hit secured 13 nominations and already proven its success at the National TV Awards, where it picked up Best New Drama.
However, Cooper also won Best Drama Performance for his portrayal of Jamie Miller, a troubled teen at the heart of the story.
The little star filmed the series at just 14 and quickly caught the attention of critics for his powerful performance.
Ahead of the Emmys, the actor attended parties in Hollywood with his parents, Noreen and Andy, who both work outside the entertainment industry.
Speaking about the moment, he said he would never forget it and admitted that the show changed his life in ways he never imagined.
Other British stars also lined up for Emmy recognition, including Stephen Graham, who played Cooper’s on-screen father, as well as Gary Oldman, Bella Ramsey and Colin Farrell.
But all eyes were on the teenager, whose nomination was hailed as a major breakthrough.
Moreover, industry experts called Owen’s category placement a smart move that could give him the edge in one of the most competitive races of the night.
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Cryo-EM reveals how blood clotting proteins fit together to trigger clot formation
If you’ve ever accidentally sliced yourself on a broken glass or a piece of paper, you may have noticed that the bleeding can be hard to stop.
Scientists have long wondered how the cascade of events that leads to blood clotting is triggered, especially since the process has life and death consequences. Too little clotting and you bleed out, while too much can cause a heart attack or stroke.
New detailed 3D structures of blood clotting proteins, made possible through cryogenic-electron microscopy (Cryo-EM), have solved a mystery vexing biological chemists for more than 30 years.
Cryo-EM is a structural approach where biological samples are trapped in a layer of non-crystalline ice and imaged using powerful electron microscopes.
The U-M Life Sciences Institute, with support from the U-M Bioscience Initiative and Arnold and Mabel Beckman Foundation, established a state-of-the art cryo-EM facility that made this research possible.
James Morrissey, Ph.D., professor of biochemistry at U-M Medical School, has been studying the various proteins involved in clotting since the 1980s. To uncover their structure, he teamed up with cryo-EM expert Melanie Ohi, Ph.D., a professor of cell and developmental biology at U-M Medical School and research professor in the U-M Life Sciences Institute.
Most of the blood clotting proteins are soluble proteins that circulate in your blood, and there’s one missing protein that is housed on the surface of cells outside of the vasculature.”
James Morrissey, Ph.D., professor of biochemistry, U-M Medical School
The normal clotting process involves an enzyme with two sub-units, tissue factor and factor VIIa. When that combo links up on a cell surface, it kicks off the clotting cascade, he said. The cell membrane plays an important role in whether clotting will happen.
“A happy, healthy resting cell won’t bind these blood clotting proteins,” he said. But an injury causes the particular phospholipids from the lipid bilayer that makes up the cell membrane to flip to the outside of the cell, where the blood clotting proteins bind to them, he explained.
In the case of a profusely bleeding paper cut, “it could be that if you don’t damage enough cells and don’t expose enough of these phospholipids of the surface of the damaged cells to recruit blood clotting proteins, then clotting is slowed,” Morrissey noted.
This process has been exceedingly hard to study, so Morrissey and his colleagues used cryo-EM to determine 3D structures that allowed them to build an atomic model of the protein interactions when associated with a lipid nanodisc.
They found that the tissue factor/factor VIIa complex binds to the second protein in the clotting cascade, called factor X, by moving a small site on tissue factor out of the way, changing the structure so that factor X can dock onto that site, like two puzzle pieces fitting together (see movie).
“It was exciting to determine a structure that helps solve the long-standing mystery for why tissue factor can activate the blood clotting cascade only when specific lipids are found on the outside of a cell. For me this work highlights two strengths of doing research at the University of Michigan – the ease at establishing successful cross-disciplinary collaborations and access to one of the best cryo-electron microscopy facilities in the world. Working in this type of environment makes it fun to tackle challenging structural questions,” said Ohi.
Their results are published in a recent issue of the American Society of Hematology journal, Blood.
The findings help explain “something that people have known about for years: that this part of tissue factor was important in recognizing the substrate and allowing the reaction to go. But nobody came up with how the proteins actually dock together,” said Morrissey.
Anticoagulant drugs like Warfarin, prescribed to treat dangerous blood clotting, work by weakening the ability of these proteins to interact at the cell membrane, but they worked without scientists fully understanding what was happening. This basic science work finally provides new insights into the mechanism behind it.
Source:
Michigan Medicine – University of Michigan
Journal reference:
Sedzro, J. C., et al. (2025). Cryo-EM structure of the tissue factor/factor VIIa complex with a factor X mimetic reveals a novel allosteric mechanism. Blood Journal. doi.org/10.1182/blood.2025029430
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In conversation with Danish Nawaz | Instep
anish Nawaz is a well-known actor and director, who has been achieving remarkable success since 2001. Hailing from a family with a rich theatrical background, he initially pursued engineering before discovering his true calling in the creative arts. Nawaz’s early years in television allowed him to refine his craft and develop a distinctive style that blends humour, sensitivity, and narrative depth.
As a director, Nawaz has become a household name, earning critical acclaim for successful productions such as Chupke Chupke, Hum Tum, Kaala Doriya, Dobara, and Jafaa.
Beyond his directorial achie-vements, Nawaz made his mark as an actor in films including Wrong No and its sequel Wrong No 2 — which he also wrote. He captivated audiences with his comedic performances in Chakkar and Chain Aye Na. Nawaz’s ability to move seamlessly across genres while adapting to production challenges is his greatest strength. He is now embarking on a significant new venture with Geo TV’s drama serial, Sanwal Yaar Piya (SYP), a project generating considerable anticipation.
Featuring a stellar cast including Feroze Khan, Dur-e-Fishan Saleem, and Ahmed Ali Akbar, SYP marks his first collaboration with all three actors. The series also represents his inaugural partnership with renowned producing duo Abdullah Kadwani and Asad Qureshi (of 7th Sky Enter-tainment) for Geo TV. The combination of a compelling script, an ambitious production team, and an experienced cast promises an exciting addition to Nawaz’s impressive portfolio. In this conversation with Instep, he shares his insights.
Instep: Why is Sanwal Yaar Piya (SYP) significant for you, and what distinguishes this project from your previous works?
Danish Nawaz (DN): As a director, Sanwal Yaar Piya marks my debut production for Geo TV with 7th Sky Entertainment. It’s an entirely new creative landscape for me — my first collaboration with this production house, channel, writer, and all three lead actors. It feels like a fresh beginning across every aspect of production. The narrative, conceived by Hashim Nadeem, explores the profound consequences of long-standing enmities and how they ripple through comm-unities and relationships. The project is produced by the exceptional duo Abdullah Kadwani and Asad Qureshi, who offered me the artistic freedom every director dreams of.
The substantial budget allowed me to fully realise my vision — from filming complex action sequences and creating authentic set environments to executing ambitious stunts. Such resources are rare in Pakistani television.
Collaborating with producers who are genuinely committed to quality entertainment made the experience immensely fulfilling.
Instep: How would you describe the overall experience of directing SYP?
DN: Abdullah and Asad’s substantial investment has set a new benchmark for television production. In an industry where quality films are rare, 7th Sky is striving to elevate drama productions to a near-cinematic level. SYP has established standards that others will find challenging to match. Moving forward, I believe the industry will measure production quality against the benchmark this series will surely set.
Instep: How did the casting process develop for the lead roles?
DN: Upon reading the script, I immediately knew which actors were right for the principal roles. There was no debate or need to consider alternatives. The actors themselves responded positively to the script’s quality, making their participation entirely natural.
Instep: How has your exper-ience been working with these actors?
DN: Feroze Khan is exceptional — a skilled professional with unwavering passion and impeccable punctuality. I had complete confidence that he would come prepared and ready to deliver an excellent performance and he did just that.
“As a director, Sanwal Yaar Piya marks my debut production for Geo TV with 7th Sky Entertainment. It’s an entirely new creative landscape for me — my first collaboration with this production house, channel, writer, and all three lead actors. It feels like a fresh beginning across every aspect of production. The narrative, conceived by Hashim Nadeem, explores the profound consequences of long-standing enmities and how they ripple through communities and relationships.”
Ahmed Ali Akbar is a thorough professional who brings a certain calmness to the set, creating a positive environment for everyone. Audiences will notice his transformation in SYP, both in appearance and performance — it’s a complete departure from his previous roles.
Instep: What made Dur-e-Fishan your definitive choice?
DN: Dur-e-Fishan was the only actor I considered. Her character required extensive outdoor scenes — from university to courts, and various locations — demanding both energy and stamina. On screen, she may appear delicate, but off-camera she possesses incredible energy and passion. The combination of screen presence and physical stamina made her the ideal choice.
Instep: How do you navigate the unique dynamic of directing your elder brother on set?
DN: While Yasir Nawaz is my elder brother at home, on set he is a complete professional and an experienced actor. He understands how to respond to direction and maintain professional standards. He never makes me feel uncomfortable and focuses entirely on the work before him.
Instep: Recently, several artists have raised concerns about delayed payments. What is your perspective on this issue?
DN: Personally, I haven’t faced such challenges. I believe these issues could be prevented if artists established comprehensive contracts with clearly defined payment schedules and documented all terms before signing agreements. The artists raising these concerns have not specified which production houses, channels, or projects have caused difficulties. Had they established proper contractual frameworks initially, such disputes could have been avoided.
Instep: Some suggest artists avoid naming companies to avoid future repercussions. What are your thoughts?
DN: I believe work opportunities come from the Almighty. The industry offers abundant opportunities — it is thriving with numerous production houses and channels. Artists are not limited to working with a single entity, so there are always alternatives available.
Instep: How do you view the role of the Actor’s Collective of Pakistan (ACP) in addressing these issues?
DN: The ACP serves as an excellent platform for the artistic community and their welfare. It has made significant contributions in securing medical treatment, insurance coverage, and addressing various professional concerns for artists. Its impact could be even greater with government support to formalise these efforts.
Instep: You have achieved consistent success with television serials. Why haven’t you directed a feature film?
DN: I have received film offers, but I haven’t found scripts that meet my standards. While people often cate-gorise me as skilled in comedy, I do not wish to create a film that serves merely as entertainment without substance. I would like to produce a film with meaning and purpose. Cinema attendance is expensive today, and audiences deserve quality when they invest in tickets. Therefore, I am waiting until I find a project that I am confident about, one which will deliver value to viewers.
Instep: How do you assess the contribution of films like Deemak to our industry?
DN: Rafay Rashdi and Murad Ali delivered fantastic work with a film like Deemak. They introduced a fresh approach that resonated widely with audiences. The film’s treatment and execution, particularly the horror house concept, were brilliantly implemented. It provided quality entertainment and remains a positive contribution to our cinema industry’s revival.
Instep: Why is the industry slow to embrace OTT platforms?
DN: One private channel has produced content for Netflix that is scheduled to premiere soon. This will demonstrate the quality of our productions and content to inter-national platforms, potentially opening new opportunities. Additionally, local platforms such as ZAP and Urduflex have emerged, creating additional avenues for our talent. This expansion provides more opportunities for our artists to showcase their abilities and reach broader audiences.
Instep: Do you believe an original soundtrack can compen-sate for weak content?
DN: Ultimately, the narrative captures the audience’s attention, all other elements serve as enhan-cements. Occasionally, a soundtrack may be exceptional while the drama itself lacks quality, and conversely, outstanding dramas may have less memorable soundtracks. However, content remains the primary factor in determining success.
Instep: Is there any serial that deserves a sequel?
DN: Sequels often face high expectations and comparisons. They can reduce the element of surprise and seldom match the original. I prefer original storytelling.
Instep: Does social media help in discovering new talent?
DN: Yes. I have successfully identified and featured social media talent in productions including Chupke Chupke, Chand Tara, and Hum Tum. However, talented individuals utilising social media should also expand beyond creating content for personal platforms and actively approach production houses for professional opportunities.
Instep: What motivated you to transition from acting to directing, particularly when your acting career was flourishing?
DN: Acting presented logistical challenges — constant travel, uncertain schedules, and conflicting commitments. The complexity of managing conflicting schedules across different channels became particularly problematic. I prefer straightforward communication, and when issues arise, my concerns are evident. Rather than create tension, I decided to explore directing. Directing allows me to remain creatively involved while having control over a production. It also draws upon my acting experience, though direction demands more responsibility.
Instep: Can you talk about directors who have inspired you?
DN: I draw inspiration from several distinguished directors — Imtiaz Ali for his nuanced approach to romantic storytelling, Sanjay Leela Bhansali for his exceptional aesthetic vision, Iranian filmmaker Majid Majidi for his masterful storytelling techniques, and James Cameron for his extraordinary attention to detail and technical innovation.
Instep: What projects are you considering next?
DN: I am currently reviewing several scripts and looking for something with a lighter tone. Each project demands tremendous energy, and SYP was particularly intense. I am both physically and mentally exhausted. I want to follow-up this project with one that is less exhausting.
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Model Fia Khan announces end of second marriage
(Web Desk) – Model and actress Fia Khan has revealed that she is once again divorced, but insists she is moving forward with strength and gratitude.
The fashion icon, who has been a part of Pakistan’s biggest campaigns and shows, shared the difficult update on her Instagram profile.
She wrote: “43, divorced (Again)…but blessed beyond words with my 3 amazing girls. Stronger, wiser, and definitely not done yet.
“Watch me rise. PS: No personal questions. It was meant to be, that’s it!! Need lots of Dua for me and my girls.”
Fia, also known as Sofia Khan, was previously married to director Qasim Ali Mureed, with whom she shares two daughters. After their separation, she moved to Germany where she married Turkish businessman Togla Erken, and they welcomed a daughter together.
Unfortunately, this second marriage has also come to an end.
The decision, she says, has been processed through Islamic divorce while legal paperwork continues.
Despite the personal setback, Fia insists that her daughters are her source of strength and motivation during this testing time.
During a Q&A session with fans on Instagram, she shared that separation anxiety is something she deals with by focusing on blessings.She said her three daughters and the life she has built give her courage, although some days remain heavy with emotions.
She explained candidly: “When it feels too heavy, I just allow myself to cry, and afterwards I feel better.”
The model also discussed her thoughts on marriage, calling the lack of respect the biggest red flag in any relationship.
She emphasised that once respect is lost, everything else slowly collapses, making it impossible to maintain a healthy partnership.
When asked about co-parenting, Fia confirmed she will continue to share parenting responsibilities with her former husband.
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Sri Lanka cruise to six-wicket win over Bangladesh
ABU DHABI: Former champions Sri Lanka launched their Asia Cup campaign in emphatic fashion on Sunday, cruising to a six-wicket victory over Bangladesh in Abu Dhabi.
Chasing 140, the islanders got home with 32 balls to spare.
A blazing 95-run stand off just 52 deliveries for the second wicket between Pathum Nissanka (50) and Kamil Mishara provided the backbone of the innings.
Mishara arrived at the crease after Kusal Mendis fell in the second over. He took time to settle but soon cut loose, cracking Shoriful Islam for three consecutive boundaries.
Nissanka compiled his 16th half-century before holing out in the deep. By then Sri Lanka had the game firmly in their grip.
Mishara, a newcomer to the side, remained unbeaten on 46 to see his team across the line.
The platform for the win was earlier built by Sri Lanka´s bowlers, who throttled Bangladesh to under 139-5 from their 20 overs.
Dushmantha Chameera and Nuwan Thushara struck with the new ball, sending down two maidens and removing both openers. By the third over, Bangladesh were nought for two and never recovered.
Sri Lanka’s fielders played their part too with Mishara´s direct hit from deep square leg running out Towhid Hridoy to deepen the rot.
At 53-5 at halfway, Bangladesh were reeling, as leg-spinner Wanindu Hasaranga, returning from injury, stamped his class with two for 25.
A spirited unbroken 86-run stand for the sixth wicket between Jaker Ali (41) and Shamim Hossain (42) gave Bangladesh something to bowl at, but it was never enough to trouble Sri Lanka´s powerful batting unit.
Defending champions in the T20 format, Sri Lanka now head to Dubai for their next clash against Hong Kong on Monday.
“We knew that we had to just score seven runs an over and when I walked in Pathum asked me to take my time. Once the loose balls were on offer, I played a few shots. I have been working very hard on my game. Happy to have helped my country win a game,” Mishara said.
“This is not a 140 pitch. We should have scored much more than that. They put us under pressure during the Power Play and we never recovered.
Our next game against Afghanistan is a must win clash. We will try our best,” Bangladesh captain Litton Das said.
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Ingebrigtsen, Koech, Habz miss 1500m semi-finals
There was no happy return to Tokyo’s Japan National Stadium for Jakob Ingebrigtsen on Sunday (14 September) as the Olympic champion from four years ago was eliminated at the first round in the men’s 1500m of the 2025 World Athletics Championships.
Running in the last of four heats and needing a top-six finish to move on to the semi-finals, the Norwegian — making his outdoor season debut after struggling with fitness and injury concerns this year — was unable to find the final kick he needed down the last straight.
He crossed the line eighth in his heat in 3:37.84, nearly a full second behind heat winner (and the man who pipped him to 2022 world gold) Jake Wightman (3:36.90).
Also out from that heat was Kenya’s world under-20 record holder (pending ratification) Phanuel Kipkosgei Koech. Koech went down on the last lap following contact and could only cross the line 12th, but the referees adjudged it to be a racing incident and did not advance him to the next round.
Earlier, the double Diamond League race winner Azeddine Habz of France missed out by eight-hundredths in the first heat.
The Frenchman was caught off-guard by the late push towards the line and was unable to respond, seeing his challenge end early.
Norway’s Narve Gilje Nordås was the fastest qualifier for the semis in 3:35.90, with defending world champion Josh Kerr (3:35.98) and reigning Olympic champion Cole Hocker (3:41.88) also through safely.
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Fashion’s Real Comeback
For years, the calendar of Pakistani fashion had sat unnervingly empty. The showcase of fashion weeks, once the barometer of ambition and artistry, vanished. In its place came only the noise of retail launches, sporadic solo shows, lawn campaigns, and the relentless monotony of sales. The absence was not just of events, but of imagination. What should have been a stage for experi-mentation, dialogue, and the shaping of culture became a transactional marketplace where racks and discounts replaced risk and narrative. The runway, which once offered designers the chance to stage both beauty and critique, was abandoned.
Fashion’s Real Comeback
This prolonged silence grad-ually turned the industry insular. Retail grew, but fashion shrank. Clothes were sold, but dialogue around them remained absent. The very purpose of a fashion week — bringing together dis-parate forces into one cohesive moment of storytelling — was lost. In countries where fashion weeks continued to thrive, the events became not just comm-ercial drivers but cultural markers. They reminded the world of the role fashion plays in reflecting and shaping society.
Paris, Milan, New York, and London remained at the heart of the global industry precisely because they nurtured that mix of spectacle and commerce. Pakistan, by contrast, receded from the conversation, leaving its designers to operate in fragmented isolation. Could it really afford to?
It is in this vacuum that the announcement of LAAM Fashion Week (LFW), set for January 2026 in Lahore, arrives. It is not just another addition to the roster of events, but a necessary redefinition of what fashion in Pakistan could and should be. The return of a fashion week in itself is a notable development. Yet what makes this announ-cement compelling is that it is not a mere revival of the old format — it is a transformation of the runway’s purpose.
Fashion’s Real Comeback
By integrating technology into its DNA, the platform promises to transform the runway from an ephemeral showcase into a retail engine. Every look that walks its stage will, for the first time in Pakistan, be instantly shoppable through a dedicated platform. Applause will no longer dissolve into memory, and visibility will no longer be limited to social media reels. The spectacle will have permanence, accessibility, and commercial consequence. What better way to remind audiences that fashion is both art and industry, both dream and demand?
This evolution matters because fashion weeks are more than glamorous gatherings. At their best, they are the archi-tecture of an ecosystem. They compel designers, stylists, textile houses, artisans, media, and buyers to operate not as isolated actors but as a collective. They create a rhythm, a discipline, and a performance that turns clothes into culture.
For six years, the absence of such a forum allowed fragmen-tation to settle in. Brands comp-eted for consumer attention only through seasonal drops or influencer-heavy retail camp-aigns. LFW’s return, backed by both vision and infrastructure, restores the sense that Pakistani fashion is not just about selling but also about shaping identity.
What lends this initiative weight is the coalition behind it. LAAM — with its 3.5 million monthly users and global logistics capacity — has already established itself as the largest South Asian fashion discovery platform. Its reach spans 120 countries, turning South Asian fashion into a visible and purchasable reality for millions abroad.
By joining hands with Design651, whose founder, Saad Ali, has produced over twenty fashion weeks in Pakistan, LFW inherits both credibility and curatorial depth. Add to this HSY as Event Director, Nabila and N-Gents as official style partners, and the celebrated Maheen Kardar guiding designer curation — and the structure reveals itself not as an experiment but as a serious bid to place Pakistan back on the global stage.
“The world’s major fashion weeks are not only about displaying clothes. They are about driving billions of dollars in media impact, export revenue, and cultural positioning. Designers gain visibility that translates into boutiques, collaborations, and global stockists. Models, stylists, and creatives are launched into international careers. Media houses gain content that sustains fashion journalism.”
The cultural implications are equally powerful. In the absence of fashion weeks, much of fashion’s storytelling muscle atrophied. Retail campaigns, however polished, cannot deliver the provocation or imagination that a runway allows. A fashion week is not only about hemlines and silhouettes, it is about positioning. It is where designers can turn fabric into commentary — on heritage, rebellion, romance, or politics. Without it, the cultural capital of fashion erodes, reducing creativity to mere consumption. By staging LFW as a biannual, globally scalable platform, the industry is being reminded of its own potential — that fashion can inspire as much as it can sell, and that both functions strengthen rather than cancel each other out.
The logic of global fashion underscores this. The world’s major fashion weeks are not only about displaying clothes. They are about driving billions of dollars in media impact, export revenue, and cultural positioning. Designers gain visibility that translates into boutiques, colla-borations, and global stockists. Models, stylists, and creatives are launched into international careers. Media houses gain content that sustains fashion journalism. Pakistan has lacked this ecosystem for too long. This gap has not only constrained designers but also weakened all the adjacent industries that thrive in its orbit.
By fusing runway and e-commerce, LFW has the potential to bring Pakistan’s ecosystem back into alignment, giving each stakeholder a renewed stake in its success. Can a single platform restore mom-entum to an entire industry? If done right, perhaps it can.
Technology is the fulcrum of this vision. While the grandeur of the runway attracts headlines, it is the integration of AI-driven personalisation, data-backed logistics, and Laam’s fulfilment infrastructure that provides the real muscle. For designers, this means bypassing the prohibitive costs of setting up global retail networks. For artisans, it means new avenues to showcase craft traditions to audiences far beyond local bazaars or niche boutiques. For consumers, it collapses the distance between desire and purchase, turning what was once an exclusive front-row privilege into an accessible, global experience.
The rhetoric behind LFW’s ‘Made in Pakistan, Worn by the World’ is not just a slogan. It is a reframing of ambition. For too long, Pakistani fashion has been content with domestic validation, satisfied by seasonal retail highs but absent from international conversations. At a time when South Asian fashion is becoming increasingly visible on global stages, Pakistan has risked being overshadowed by its neighbours.
Could this finally be the moment when Pakistani fashion stops playing catch-up and starts setting the agenda?
Positive energy runs through this promise. The return of fashion weeks means the return of collaboration, cross-polli-nation, and collective growth. It reintroduces glamour, but also discipline. It restores pride in an industry that, despite its challenges, remains one of the country’s most vibrant cultural forces. And it reminds audiences that fashion is not trivial, but rather a mirror of society, an expression of aspiration, and, at its best, a driver of change.
The months ahead, however, will matter. Execution will determine whether LFW be-comes a defining institution or a fleeting experiment. Yet the ambition is undeniable. It is ambitious not only in scale but also in spirit. It refuses to allow Pakistani fashion to remain confined to the limits of seasonal sales. The involvement of established names, the embrace of digital innovation, and the clarity of its global positioning make this a moment of possi-bility. And if possibility is the first step towards transformation, then what follows could be extraordinary.
When the lights go up in Lahore in January 2026, it will not simply mark the resurgence of a long-missed event. It will be the staging of a new narrative — that Pakistani fashion is ready to stop waiting for relevance and is prepared instead to define it on its own terms.
After long years of absence, the runway is back. And with it, the possibility that Pakistan’s fashion story, too long paused, can once again be written in bold, ambitious strokes.
Viva La Moda!
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