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The Science Behind Virality

Aneeqa Imran Sheikh
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The Science Behind Virality

The article explores how brands leverage the science of virality, blending psychology and cultural relevance to create trends that captivate global audiences. It delves into strategies used by top brands to stay ahead in the digital marketing game.

In today’s digital landscape, the notion and the act of becoming viral has become the new frontier of marketing. This gold rush for tweets, the memes and the hashtags, could possibly start a movement, and become an obsession which is where the appeal lies, in its potential to go far beyond traditional marketing. Brands are reaching this elusive standard, they are no longer just selling products, they are tapping into the zeitgeist and selling experiences of becoming a part of something larger, that reflect the collective consciousness of today’s generation. Instagram stories and whims of the algorithm, with the addition of FOMO. But the question remains, is becoming the latest viral sensation a stroke of luck? I don’t think so, virality especially now, is all about nuanced strategy, human psychology and cultural awareness.

At its core, the science behind virality is delving into the human mind, understanding; triggers, cognitions, and behaviours. It is about understanding the audience, creating what is valuable to them and being ready to ride the wave that could help make an idea or product reach its highest potential.

Viral trends capitalise on our desire for a social connection, the fear of missing out and of course the innate desire to feel amused. When a product or idea goes viral, it is because it resonates with people on a fundamental level. Jonah Berger, a marketing professor in University of Pennsylvania, identifies six principles that drive virality, in his book “Contagious: How Things Catch On.” These principles summarised with the; STEPPS –
Social Currency, Triggers, Emotions, Public, Practical Value and Stories. These provide a framework for understanding why some things spread like wildfire while the others fizzle out. These principles have been put into practice by some of the most successful brands in the world.

People like to do things that make them look good, if a product or a trend can make someone feel smarter and more connected, that is when they are most likely to spread the word. This is how some of the top brands in the world have made themselves to be social currency for consumers, companies like Tesla, Dyson and Stanley.

Tesla, which developed some of the most groundbreaking inventions, led by the ever-controversial, Elon Musk, illustrates quite well that all publicity is good publicity, how people became aware of the company because of the contentious statements and actions of the owner. Musk’s proactive and almost questionable social media presence ensures it almost always becomes a headline. His tweet about “No Logo” at the launch of Tesla’s CyberTruck in 2019 became a viral sensation. This tweet didn’t only help it gain traction but also solidified the image of Tesla as being a status symbol, a luxury and it being innovative enough to be recognised as ‘Tesla’ without an identification. Owning a Tesla wasn’t just about driving an electric car but being a part of the elite, forward thinkers and tech-savvy high society. On the contrary, Tesla spun their immediate failure into a viral success when CyberTruck’s “shatter less” windows shattered during the demonstration, destroying the confident claims. Tesla used this negative traction as a moment to go ‘viral’, enjoying memes and discussions flooding social media, driving massive attention to the brand.

Content that specialises in practical values tend to be shared more often as well, could be a life hack, advice, or a piece of technology that solves everyday issues and if a brand can weave a compelling narrative around their product and also over-market it, it becomes an absolute need for people. Therefore, becoming the latest obsession. One such product like this is, Dyson, known for its high-tech, ultra-smart household products. From Vacuums, to Hair Styling tools, the company has mastered the art of turning mundane items into objects of intense desire and need. The company’s approach to virality is rooted in knowledge of their audience and in innovative engineering with futuristic, sleek designs, that appeal to the consumer on the basis of aesthetics, even if they lack in functionality. Dyson’s Airwrap became a sensation even before it hit the market, the story built around the product, regarded it as a game-changer, with the immensely latest technology, its hefty price tag and the over-marketing added to its allure. Dyson thus tapped into multiple principles of virality making their product a statement.

Viral trends stem from the combination of timing, cultural relevance and reinvention of the familiar. Even if the underlying idea is not entirely new, the presentation and the context in which it appears can make it feel original. Rebranding is one-way companies do this, one such brand that made this ingenious move was Stanley. Stanley’s resurgence in popularity is a testament to the power of nostalgia. It leveraged its history and reputation in durable items by reintroducing their classic design with a modern twist. Stanley appealed to a varied type of consumers; their old customers who remembered the brand from their day and age, whilst the younger generation were drawn to its retro aesthetic, functionality and the bandwagon effect.

The brand’s clever use of TikTok influencers helped make their product a viral sensation. The tumbler’s presence, in short videos and recreations of the trend, made it a status symbol, reiterating the social currency concept. Stanley’s success in creating a product for eco-conscious people that was easy to share and imitate is the perfect example of public principle of virality.

Cultural resonance emerges from a deep understanding of current societal shifts and the ability to accept and follow them. They become triggers or cues that remind people to talk about a product or an idea. For instance, a conversation about climate change and green technology will often lead back to Tesla. Similarly, Rhode Beauty’s philosophy on being cruelty-free, multi-use, minimalist approach in their skincare and design became a fashion craze all of a sudden. Rhodes’ viral marketing strategy was to leverage emotions through Hailey Bieber’s celebrity influence and personal story of finding skincare solutions that worked for her. The narrative of Bieber’s personal philosophy and simplicity was effectively eaten by the consumers.

As brands continue to navigate the complexities of digital marketing, the importance of understanding and leveraging viral trends to their benefits. Virality is a blend of art and science that gives us a unique opportunity to reach a large number of audiences in an extremely short span of time. This requires an understanding of what drives people to share content. Whether it’s through the engineering prowess of Dyson, or the minimal aesthetics of Rhode. Successful brands are those that create moments that evoke emotions, create a sense of community. As digital landscape continues to evolve, brands that can master this art will find themselves at forefront leading the path to the next viral phenomenon. The next time you find yourself suddenly obsessed with a new product or trend, know that you are part of a global community that is being expertly guided by some of the sharpest minds in the business.

The Life and Lies of Luxury Lawn

Ayesha Anjum
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The Life and Lies of Luxury Lawn

The Pakistani lawn industry has witnessed a significant boom in recent times, pieces of overpriced clothing that exude grandeur. Regular joras-turned into-art-turned into-couture-priceless, are they really worth it?

The term “lawn” is derived from ‘Laon’, a city in France, which produced linen lawn. The cloth is a fine plain weave textile made with combed cotton. It is a lightweight and sheer fabric, wonderful for warm and humid climates like the sub-continent.

The fabric gained significant traction in the 90s, in local markets of Pakistan. This was a time of economic development and modernisation, which saw the rise of textile mills producing fabric. In the early years lawn was primarily used for everyday wear—simple dresses that were easy to wear for day-to-day tasks. They were so light, didn’t require ironing, and were easy to maintain. As Pakistan’s fashion industry evolved and progressed, the commercial potential was recognised. In the late 20th century, the Pakistani lawn industry witnessed a boom. With the burst in creativity, and the growing middle and upper classes in the country, coupled with an increasing appreciation for fashion and art created a demand for more sophisticated lawn clothing. Textile tycoons encouraged and partnered with famous designers and began the production of lawn suits in a wide range of designs, colours, and prints. Couturiers loved the fabric; it was soft yet sturdy enough to hold its shape. Breathable but not see-through, comfortable yet stylish, the affordability, comfort, and aesthetic appeal made them immensely popular among Pakistani women, thus, beginning the reign of lawn. High-end brands introduced elaborate heavily embroidered, beadwork-ed designs, transforming simple lawn into luxury garments. The traditional shalwar kameez, a staple in Pakistan, became the canvas for showcasing intricate designs. With the addition of laces, sophisticated embroidery and embellishments, these regular joras had turned into something amazing, it was art—transforming the ordinary into masterful elegance.

Luxury Lawn
Luxury Lawn

There’s often a high demand for luxury lawn during specific seasons and festivals, driving people to prioritise spending on these items despite their higher costs, especially during the scorching summer months. Endorsements from celebrities and fashion influencers helped create a buzz around these collections with the curation of jaw-dropping campaigns. Designers continually innovated with lawn, creating unique patterns in alluring colours that captivated style-savvy buyers, making it a must-buy for every upcoming season.

Lawn and its use evolved; what was once worn mundanely soon became a symbol of style, luxury, and prestige, much like the advertisements. The earliest recorded adverts had distinct characteristics. The first few only featured women’s silhouettes, with faces veiled behind a flowing dupatta or a tree; loose, simple clothing adorned the bodies of tall, thin, white models. These ads adapted relatively quickly, moving from extremely loose shalwar kameez to short frock-style kameez and churidar pyjamas. From long sleeves to three-quarter sleeves, the clothes became much more stylish. Along with this came the inclusion of dancing and singing to music, which became prominent in the late 90s. However, one thing that remained evident across all these videos was the incorporation of Western ideals. The use of white-skinned models, with blonde hair and blue eyes, represented the standard of ultimate beauty—the all-encompassing European woman—an influence on the people of Pakistan, which marketers used to their advantage.

Soon, the ads transitioned into something more relatable in the early 2000s. Instead of idealised representations, the focus shifted to showcasing the lives of people. From white models to desi women—brown-skinned and dark-haired—but, of course, since there had been an obsession with white skin, the models were often the palest shade of brown. This change was monumental, albeit the bare minimum looking back; it was still change. Pakistani women flaunted lawn wear while engaging in household chores, often accompanied by make-believe husbands and children. It was relatable, personable, and reflected the ultimate Pakistani dream. A shadi, husband, kids, and loving in-laws—the quintessential Pakistani dream—was being sold instead of just lawn clothing, all showcased by stunning models.

These advertisements began to promote dreams and possibilities tied to wearing a particular lawn collection. They targeted the emotions and sentiments of the audience rather than only presenting a fantasy. In contrast, other adverts airing during the same timeline maintained a similar focus to those in the 90s, still glamorising European beauty and culture. This was depicted by shooting abroad, featuring white models wearing lawn clothing while parading in foreign cities, dupattas flowing against backdrops like the New York skyline, highlighting an image of modernity.

Luxury Lawn
Luxury Lawn

In less than a decade, Caucasian models and blue-eyed representations faded from the forefront. But were we truly past that? Were we ready to accept our brown skin and dark hair? During the mid-2000s, the marketing style changed completely, and so did the lawn game. Lawn wasn’t just being sold as clothes anymore; it had become an ‘it’ club. This exclusive club included aunties who attended kitty parties, flaunting their latest Prada bags paired with Valentino kitten heels, speaking Urdu with an American accent despite having lived in Pakistan their entire lives. It wasn’t just about wearing the latest collection; it had transformed into a competition of who could acquire the most exclusive collection the quickest. Who could pick up the lawn jora sooner, get it stitched in time for ‘Bano Auntie’s’ luncheon, and before ‘Sharmeela’ wore it?

Marketers targetted women through urgency and exclusivity under the guise of ‘limited edition,’ making the collections even more desirable and high-class. Brands often sold out immediately after launch, with “no stock available” signs appearing just two days later—oh, the horror! But miraculously, there seemed to be enough stock for everyone after all. Since it had sold out once, everyone developed the fear of missing out; everyone had to have it. It was vital, it was necessary.

Marketing tactics also evolved, incorporating highly famous Indian actresses. Katrina Kaif, Kareena Kapoor, and Nargis Fakhri showcased lawn wear with chiffon dupattas flowing beside them, looking as ethereal as can be. This surprised the Pakistani audience, as Bollywood actresses felt unattainable; they were seen as the pinnacle of beauty, for them to wear something that you and I could wear created an insatiable demand. Life would not continue if it weren’t in their wardrobes. This was when luxury lawn reached its peak; to this day, it remains as valuable as ever—almost like a national treasure.

Luxury Lawn
Luxury Lawn

Little pieces of overpriced clothing exuding grandeur and lavishness reside in closets in DHA, proving to be almost priceless because they came from that collection that Katrina wore once upon a time. But will it ever be made again?
This is where the black market comes into play—replicas, often low-quality imitations of luxury lawn clothing sets. They are nearly identical but sold in open bazaars at half the quality and a quarter of the price. These replicas last only four washes before becoming unrecognisable. The pronunciation of designer names is often butchered by shopkeepers, who still demand the original prices. This phenomenon becomes a nightmare for designers, brands, and the DHA aunties, as their exclusive, one-of-a-kind pieces are imitated and sold so cheaply that anyone can wear them. How could this happen? Oh, the disgrace! The entire concept behind luxury lawn was exclusivity and cliquishness. People buying these overpriced, unstitched, underwhelming pieces of cloth weren’t just purchasing clothes; they were buying the experience and the division that came with it. “We are different; we wear branded clothes, and you don’t.” Suddenly, that wasn’t the case anymore; anyone could wear it, anywhere. Luxury lawn is both a blessing and a curse, whether it’s due to the hefty price tag or the fine kapra. Are the lawn wars or the competition worth it? I leave that up to you.

Madsemble – We’re All Mad Here

Humayoun Ahmed Khan
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Madsemble – We’re All Mad Here

Step into the vibrant world of Madsemble 2024, where creativity collides with innovation in a dazzling display of marketing genius! This electrifying event brought together the brightest minds in advertising and marketing. From igniting conversations, and captivating keynotes to engaging panels, attendees left buzzing with fresh ideas and strategies to conquer the ever-shifting landscape of the industry. With a focus on authenticity, emotional connections, and niche storytelling, Madsemble wasn’t just an event but a transformative experience.

On a dull Monday evening at work last month where things seemed to be moving at a snail’s pace, my phone buzzed with a message from a colleague, “You are invited to Madsemble.” The message I had been anticipating. For those who aren’t aware, Madsemble is an annual event, organised by the Pakistan Advertisers Society (PAS), bringing the marketing and advertising leaders from all over the world together under one roof. Madsemble 2024 – a two-day event was held recently at the National Aerospace Science & Technology Park (NASTP) in Karachi on September 25th and 26th.

Day 1 – Brand Building

Speakers:

1- Sudhir Sitapati, Chief Executive Officer of Godrej Consumer Products

2- Farheen Salman Amir, President – BSPAN & GM Pakistan

3- Nadeem Zaman, Business Growth Leader Baby & Child, Kimberly-Clark.

4- Shahzain Munir, The English Biscuit Manufacturers’ (EBM)’s Executive Director

5- Dolly Saidy, Founder of MINTMENA

6- Saad Tawwab Khan Rao, Chief Marketing & eCommerce Officer for Pakistan & Afghanistan at Samsung Electronics

7- Samar Hayat, CEO of Tapal Tea

8- Sheikh Adil Hussain, Marketing Director of Haircare, Unilever

9- David Wheldon, President Emeritus, World Federation of Advertisers

Madsemble
Madsemble

Sudhir Sitapati – “Technology changes, human behaviour doesn’t.”

  • The CEO of Godrej Consumer Products, Sudhir Sitapati delivered his keynote speech online, his session was moderated by President – BSPAN & GM Pakistan, Farheen Salman Amir whose energy kept the attendees engaged even when the session was disrupted briefly due to laggy internet.
  • In a world of ever-evolving marketing strategies, Sudhir’s session was a much-needed reminder of the fundamentals of brand marketing. As flashy new trends and digital platforms have emerged, many marketers seem to forget the core principles that have always driven brand success. “Technology changes,” Sitapati began, “but human behaviour doesn’t. The basics of brand marketing is still as relevant as ever.” He emphasised the importance of consistency, authenticity, and the emotional connection that a brand should foster with its audience.

Nadeem Zaman – The Brand Love Pyramid

  • Nadeem Zaman’s, Business Growth Leader Baby & Child, Kimberly-Clark. He is the brains behind the creation of Coke Studio Pakistan.
  • Speaking about brand advocacy, he argued that the best form of brand advocacy is when a brand becomes a part of your culture. He spoke at length about the Brand Love Pyramid, explaining the steps – Know; Accept: Like; Love; and Exclusive Love – along the way.
  • Brand love translates into increased brand consumption – an example of which was shared by him in the form of Coke Studio Pakistan. Nadeem shared how the team identified a real human problem economical and political crises that Pakistanis faced and then came up with an inspirational solution.
  • There are two things that unite Pakistanis no matter what and its music and cricket. By the end of Nadeem’s speech, I had realised, I would be walking out as a better marketer and advertiser even if I am either of those!
Nadeem Zaman
Nadeem Zaman Speaking on Brand Advocacy

Shahzain Munir – Sooper’s Success

  • The English Biscuit Manufacturers’ (EBM)’s Executive Director Shahzain Munir took to the podium. He shared EBM’s inspiring business journey and growth with everyone.
  • Shahzain’s aspirations to make ‘Sooper’ world’s favourite biscuit brand after it being the nation’s favourite.
  • It was refreshing to hear the thoughts of a leader of a local brand whose ambitions were to make a Pakistani brand a household name overseas. Not only did it strike the chord with the attendees, as their thunderous applause echoed throughout the hall. It was a testament to their belief in EBM’s ability to live up to its promise.

Dolly Saidy – Go Local!

  • The founder of MINTMENA, Dolly Saidy, emphasised the critical need to resist urgency when it compromises production quality, costs, and the overall impact of an ad.
  • “Efficiency in advertising is about delivering high-quality work without sacrificing timelines, but rushing through projects can lead to subpar results, missed airing dates, and higher long-term costs,” she illustrated.
  • Dolly highlighted the importance of shooting locally, noting that while shooting abroad may seem glamorous, it often compromises on cultural authenticity, inflates budgets, and hinders the development of local talent. “We need to invest in our local industry, offering the right budget and believing in the capabilities of local production teams to deliver superior outcomes.”
  • Saidy further stressed the importance of balancing the budgets allocated for music and production, urging brands not to compromise on either. “Empowering local talent and ensuring they have the resources to create high-quality content will lead to better results, while also driving growth within the industry, and the country” she stated.
  • The founder encouraged industry leaders to take risks, challenge conventional habits, and foster healthy competition without settling for less. By focusing on developing local talent and maintaining high standards, brands would not only achieve remarkable results but also contribute to the long-term growth and sustainability of the advertising landscape.
Dolly Saidy founder of MINTMENA
Dolly Saidy founder of MINTMENA

Saad Tawwab Khan Rao – Connect with Emotions

  • Saad Tawwab Khan Rao, Chief Marketing & eCommerce Officer for Pakistan & Afghanistan at Samsung Electronics, highlighted the importance of driving effectiveness in marketing by tapping into core human emotions.
  • “Brands that connect with emotions have a lasting impact,” he said, citing Dalda’s iconic campaign “Jahan Dalda, Wahan Mamta” as an example. He revisited this emotional narrative, Dalda successfully appealed to the basic sentiment of maternal love, which resonated deeply with audiences.
  • Saad explained that ads measured with higher elements of happiness or surprise tend to be significantly more effective, signifying the importance of emotional engagement in brand-building.
  • “Emotions build brands; neutrality does nothing,” Saad stated plainly, stressing that branding alone doesn’t drive ad-likeability, producing content that fails to connect emotionally isn’t just ineffective, it’s detrimental. Saad declared, “There’s no room for producing mediocre content in today’s competitive landscape,” urging marketers to focus on creating high-quality, emotionally relatable advertisements.
  • According to him, producing content without strong emotional appeal leads to resources wasted and opportunities missed to strengthen a brand’s market presence.

Samar Hayat – Emotions over efficiency

  • Samar Hayat, CEO of Tapal Tea, began with the critical role of strategic choices, which play in determining whether businesses will thrive or fail.
  • Drawing parallels with industry giants like Microsoft and Apple, as well as Fujifilm and Kodak.
  • Samar emphasised how the right decisions can set a company on a path

of innovation and sustained growth. “It’s not just about the choices we make, but understanding what and who is driving those choices,” he explained, urging business leaders to be mindful of internal forces shaping their strategies, trying to identify inherent problems within corporate structures to create a winning framework that fosters success. “Too often, organisations become fixated on operational excellence, but that alone will not be enough to guarantee growth.”

  • Samar shared the significance of emotions in advertising, like Saad Tuwwab Khan, stating that a strong emotional connection with consumers is a powerful driver for brand loyalty and overall market success.
  • “Emotions resonate with audiences in a way that operational efficiency cannot,” he said. Samar cautioned against companies focussing solely on operational metrics, reminding them that growth is also fuelled by how well a brand connects with its audience on a personal level.
  • By balancing strategic decision-making with emotional engagement, businesses can not only overcome internal challenges but also secure long-term growth in a competitive marketplace.

Sheikh Adil Hussain – Cracking the Gen-Z code

  • The energy in the room spiked when the Marketing Director of Haircare, Sheikh Adil Hussain, took over the stage. His mission was clear, to debunk the many misconceptions about how to communicate with Gen-Z.
  • He conducted a fun session with industry experts and two youngsters representing Gen-Z.
  • In a thoroughly illuminating session, Adil laid out the findings of a groundbreaking study conducted by Pulse Market Research, which was led by Kashif Hafeez Siddiqui.
  • The research painted a nuanced picture of Gen-Z; asserting that, this generation wasn’t just tech-savvy and socially conscious but they were also emotionally intelligent, value-driven, and incredibly discerning.
  • “The key to reaching Gen-Z isn’t just about jumping on trends,” Adil stated, as reverberated by the two youngsters sitting on the panel. “It’s about authenticity. They can spot a fake from a mile away.”
  • He argued that brands must be transparent and genuinely aligned with their values, if they ever hope to win over this generation. Gen-Z wasn’t just buying products; they were buying into causes, beliefs, and experiences.

David Wheldon OBE – Choose your Own

  • The last session of Day 1 was hosted by President Emritus, David Wheldon OBE who has 40 years of experience in the industry.
  • He revealed the importance of branding and hosted an incredibly enjoyable and insightful session with the Chairman and CEO of Unilever, Amir Paracha, CEO of Dalda Foods, Aziz Jindani, and Managing Director of Daraz Pakistan and Sri Lanka, Ehsan Saya.
  • The trio discussed the importance of branding in today’s cluttered market. Aziz, ever the critic, challenged the traditional notion of a brand manager, questioning whether the title truly reflected the responsibilities that came with it.
  • His sharp analysis opened the floor to a broader conversation about how the role of brand managers needed to evolve to stay relevant in today’s digital-first world.
  • Meanwhile, Ehsan emphasised the importance of building in-house creative teams. “Companies can’t rely on external agencies to understand the nuances of your brand,” Ehsan argued. “An in-house team lives and breathes the brand every day. They get it.”
Panelists with Gen Z on Day 1
Panelists with Gen Z on Day 1

Day 2 – Changing Mindsets

Speakers:

1- Mark Adams, Vice President & Head of Innovation, VICE Media

2- Hasan Sandila, Vice President – Digital Division, Jazz

3- Adil Ahmed, Director & Co-Founder, Symmetry Group

4- Ahmed Kapadia, Chairman & CEO, Synergy Group

5- Faisan S. Syed, Founder & CEO, East River

6- S. Zaheeruddin Ahmed, CEO, Dareechay Films / COO & Film Director iDcreations

The conference hall, buzzing with energy, the air thick with anticipation as marketing professionals, creative minds, and industry leaders gathered for what was to become one of the most insightful and thought-provoking sessions of the year. A convergence of ideas, opinions, and futuristic visions on the world of advertising and marketing. The session promising to reshape how brands approach their audiences in the ever-evolving digital landscape.

Umair Saeed, the former CEO of Blitz Advertising

hosted the event on both days. Before he could even begin the announcement, his excitement was contagious. The real show was about to begin. The second day kicked off with the Health and Wellness Ambassador from Jubilee Insurance, Mantaha Tareen, elucidating about the management of cortisol levels is especially necessary for those working in the marketing and advertising industry. She encouraged the attendees to stand up from their seats for a 5-minute exercise and did a physical activity session to make participants aware if their cortisol levels were normal.

Mantaha Tareen leading a physical activity session
Mantaha Tareen leading a physical activity session

Mark Adams – The Great Mark

  • Mark, a dynamic speaker known for his disruptive, unconventional ideas, took the stage and immediately captured the audience’s attention. He began by dismissing the traditional audience targeting and segmentation methods, calling them the ‘relics of the past.’
  • “Segmenting your audience? The old way sucks,” he declared. “It’s like throwing darts in the dark and hoping to hit something.” His words stunned with the crowd, many of who had already been grappling with the rapidly changing digital landscape. Where old methods no longer seemed to be effective.
  • Mark continued to elaborate on a revolutionary concept that was shaking up the industry: niche marketing. He explained, it’s no longer about simply advertising to people. Instead, marketers need to create niches of interest, dedicated communities with shared values and passions. This approach, he elucidated, allows brands to not only exist “on the internet” but truly “live in it.’
  • Mark described this idea as creating and spreading myths – meaningful, yet transformative narratives that align with the culture of niche communities. “People are no longer passive recipients of ads, they are participants in stories, and brands need to craft stories that people can believe in, stories that they want to share.” Mark explained to the growing crowd.
  • The idea of creating a myth that resonates with a niche community was a game-changer. It wasn’t about casting a wide net, but rather, becoming a meaningful part of a people’s digital identity. Mark’s vision of living in the internet, rather than just placing ads on it, piqued new understanding.
  • Brands had to find ways to become an integral part of their audience’s culture.
Mark Adams
Mark Adams

Hasan Sandila – “Digital is here, and it’s here to stay.”

  • Hasan Sandila, the VP of Digital Products & Growth briefed on the dynamics of digital viewership and the rise of OTT platforms in Pakistan.
  • He discussed the insights on the growing parity between digital and TV viewership during big-ticket events and explained how digital viewership had evolved, reaching a point where it now rivalled TV during major events.
  • “We’re no longer living in a world where TV dominates everything,” Hasan noted. “Digital is here, and it’s here to stay.” 
Hasan Sandila
Hasan Sandila

Ammar Hassan – How to Make a Bad Marketer.

  • Sandila’s session was followed by Growth Consultant Ammar Hassan, who shared the recipe on ‘how to make a bad marketer.’
  • “Marketing as a profession is in serious danger. For the last 15 years, we’ve been churning out marketers who lack the foundational skills needed to truly excel. We’ve focussed too much on trends and short-term wins that we’ve neglected the core principles of marketing. This has resulted in a generation of ‘bad marketers’ who aren’t equipped to lead in today’s fast-changing landscape,
    ” commented Ammar.
  • He continued, “with the rise of AI and the demand for digital transformation, marketers must ask themselves: are we truly prepared for the future? And can we effectively communicate AI’s value to our CFOs in a way that impacts the bottom line? If we can’t bridge this gap now, how can we even aspire to become CEOs? To thrive, today’s marketers need to evolve beyond traditional tactics and communication in the language their CFOs understand.”
Ammar Hassan
Ammar Hassan

Adil Ahmed – “Human creativity will not be replaced”

  • The take on the marketing of the future was unveiled by Abbas Arslan, who took over the stage to reveal his work on creating a digital-video-Quran using generative AI.
  • His presentation wasn’t just about showcasing cutting-edge technology but offering a glimpse into the future of marketing and technology.
  • Generative AI, he explained, was going to revolutionise everything from content creation to audience engagement.
  • Adil Ahmed joined the conversation, sharing his thoughts on AI. From personalised ads to AI-generated creative campaigns, the future; according to Adil, was one where human creativity would be augmented, not replaced, by machines as many predict.
  • He went on to say that the incoming wave of AI is hard to stop but it will help marketers achieve their dream of coming up with hyper-personalised campaigns.

Ahmed Kapadia – A bold new perspective

  • Founder and CEO East River Faizan S. Syed’s and Chairman and CEO Synergy Group Ahmed Kapadia’s interaction was a breath of fresh air, offering a bold new perspective for the future of Pakistani advertising.
  • Both of them focussed on how ad agencies in Pakistan could compete on a global scale.
  • Faizan laid out a roadmap, advocating for increased investment in talent, training, and technology. “We have the creative minds,” Faizan asserted. “What we need is the ambition to go and showcase our expertise on the world stage,” Ahmed remarked.

Zaheeruddin Ahmed – Fakeness in Pakistani Adverts

  • The reality check on the current state of advertising in Pakistan came from S. Zaheeruddin Ahmed, whose relaxed demeanour masked the profound impact of his words.
  • Zaheer spoke frankly about the fakeness in Pakistani ads and why they often fail to resonate with the audience. “We see ads where the actors look like they’ve walked off a Bollywood set, speaking in a language that no one actually uses in real life,” Zaheer said, eliciting chuckles from the audience.
  • “It’s time we start casting relatable talent, talking in the language of our people, and using real-life settings, that is when it’ll be most impactful.”
  • His message was clear: authenticity is not just for global brands or Gen-Z. It’s crucial for any advertisement to succeed. He petitioned for a shift towards storytelling that reflects the realities of everyday life in Pakistan. Ads, he argued, “should be mirrors of the society they target, not glamorised versions of it.”

As the event drew to a close, the audience was recovering from the blast of new ideas and fresh perspectives. The energy that had filled the room on both days began to settle, replaced by a sense of anticipation about the future of marketing in Pakistan. The event had covered everything from the basics of brand marketing to the cutting edge of AI, the attendees walked away with a deeper understanding of where the industry was heading. As the lights dimmed and the audience slowly filtered out, there was a shared sentiment: this event had not just been a meeting of minds, but a turning point for marketing in Pakistan. The future was bright, the possibilities endless, and everyone in attendance was ready to embrace the next wave of innovation.

Breakout Session
Breakout Session

Sasta Fashion: The Endless Sales Cycle and How they are Devaluing Fashion Brands

Syed Aamir Bukhari
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Sasta Fashion: The Endless Sales Cycle and How they are Devaluing Fashion Brands

The writer sheds light on the relentless cycle of sales that is eroding the essence of fashion brands. With constant discounts driving down quality and creativity, the industry faces the challenge of reclaiming its identity amidst a sea of bland and disposable fashion.

In today’s retail landscape, it’s rare to pass by a shop without seeing the familiar, “SALE” sign plastered in mall windows and on websites. What once marked a seasonal clear-out has now morphed into a perpetual marketing tool, raising critical concerns about its effects on the fashion industry. Sales are no longer occasional—they are constant. This has reshaped not just consumer behaviour but the very essence of fashion itself, leading to a race to the bottom in terms of quality and creativity.

The Delulu of a Bargain

Fashion brands, whether big or small, have conditioned consumers to expect discounts as a given rather than an occasional treat. But the truth is, these sales are often less about clearing inventory and more about manipulating consumer psychology. Prices are inflated beforehand, allowing brands to offer a so-called “discount” that still ensures healthy profit margins. The illusion of getting a bargain drives consumers to buy more, and faster, filling their wardrobes with disposable pieces.

For the average Pakistani customer, it’s increasingly difficult to differentiate between mass-market or high-street or luxury designer brands. This confusion only adds to the pressure for brands to compete on price rather than on quality or design, with many consumers making price comparisons based on their personal perceptions. But this short-term gain for consumers comes at a long-term cost to the industry.

Questionable Quality

As discounts become more prevalent, quality takes a back seat. Mass production has accelerated, with brands churning out cheaper garments at faster rates to meet the demand for frequent sales. The result? Lower-quality fabrics, subpar craftsmanship, and garments that barely withstand a few washes before showing signs of wear. We all saw images of clothes literally falling apart right on the first day of Eid. Yet, because the initial price was low, many consumers overlook this degradation, reasoning that they can simply buy a replacement during the next sale.

This cycle is perpetuated by the constant availability of cheap fashion (often imported from China). Brands that fail to differentiate themselves find it harder to resist slashing prices to clear excess stock, creating a vicious circle. As Henk Hofstede, a retail expert, once mentioned, “If you’re doing the same as your competitor, the only thing left to compete on is price—and you’ll never win on that.” We all remember what happened to cellular services brands early in 2010s.

The “Blandification” Era

This obsession with discounts has contributed to what can only be described as the “blandification” of fashion. Once an industry defined by innovation, daring creativity, and fine craftsmanship, fashion has now become homogenous. The same trends, colours, and designs repeat endlessly, as brands focus on “producing what sells” rather than pushing the boundaries of style.

For example, the endless variations of block prints for women or the monotone co-ords seen everywhere in Pakistan last season are now joined by another repetitive look for men—roomy linen pants and polo shirts for men, passed off as “old money” aesthetics. The result? Fashion, instead of inspiring individuality, feels like it’s stuck in a loop of reruns.

Missing: Fashion Editorials

Another casualty of the sales-driven mindset is the demise of fashion editorials and campaigns, once a cornerstone of the industry. As print magazines have dwindled, particularly in markets like ours, brands have shifted their focus to social media, relying on algo-guided and influencer-driven content. However, the depth and narrative power of fashion storytelling have been lost.

Where once a carefully curated editorial told the story of a collection or a designer’s vision, today’s fashion marketing is fragmented, reduced to single images designed to spark a quick purchase. The clothes themselves have taken a backseat to the lifestyle they supposedly represent. As fashion becomes a prop in an influencer or celebrity’s (if you are a big brand with money) Instagram post, the artistry of the garments themselves is often overshadowed. Mind you, the influencer has another post of a pretty shalwar kameez from another brand lined up the next day.

The Price of it All

The constant drive to sell more at lower prices is not sustainable. Brands not only run the risk of becoming “deal busters,” conditioning consumers to believe their products are not worth full price but they also risk becoming “another brick in the wall”. Once that perception sets in, it’s incredibly hard to reverse. The real cost of perpetual discounts is the erosion of brand value, the flattening of creativity, and the homogenisation of products.

As the Pakistani fashion world moves forward, it’s essential for brands to ask themselves the hard questions: What makes us stand out? How can we offer products that are not only unique and of quality but also tell a compelling story? Without a clear answer, brands both big or small risk being caught in a downward spiral, losing not just their identity but their future viability in an ever-crowded market.
In a landscape dominated by sales and bland brands, the real challenge now is to break free from the hamster wheel and rediscover the creativity and quality that once made Pakistani fashion more than just a jora in a packet.

P.S. Having stampedes and overcrowded retail stores is nothing to be proud of. These scenes do not serve as indicators of a brand’s desirability. If you’re selling clothes at the price of a cup of coffee in a hyperinflation-stricken country, people will naturally flock to your stores. But as marketing practitioners, we need to do better—and think better. It’s time we elevate the conversation, moving beyond price wars to focus on genuine value, craftsmanship, and meaningful brand stories.

Hats Off to Mike Da Silva – The Marketing Maestro Behind MDSA

Webdesk
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Hats Off to Mike Da Silva – The Marketing Maestro Behind MDSA

With an illustrious career spanning over four decades, Mike Da Silva’s enduring success is a testament to his exceptional talent and dedication. Born in Adelaide, South Australia, Mike’s ambitions transcended the limitations of his hometown’s advertising agencies, prompting a move to London. There, he began as a Credit Control Manager for Castrol, rapidly accelerating his trajectory to become Sales Promotion & Advertising Manager for an impressive 2,000 Burmah petrol stations. Mike’s innate gift for marketing soon propelled him to manage substantial budgets and orchestrate high-profile campaigns for iconic brands, including James Bond, Miss Universe, and Disney. His remarkable ascent underscores the undeniable fact that talent and passion will always shine through, cementing Mike Da Silva’s reputation as a marketing powerhouse.

Upon returning to Australia, Mike Da Silva’s resolve to pursue Marketing Communications as his lifelong career was unwavering. This clarity of purpose has guided him ever since. Through his distinguished journey, Mike has collaborated with an array of esteemed brands. Notably, he reflects, “Qantas Airways remains my longest-standing client, with our partnership thriving for an impressive 40 years and counting.” This enduring relationship is a testament to Mike’s unwavering dedication. By transforming his passion into a pioneering enterprise, Mike emerged as the visionary CEO of MDSA Marketing Communications, his Sydney-based powerhouse that revolutionised the marketing landscape. The launch of the Dragons of Asia Awards in the year 2000 marked a pivotal milestone, recognising groundbreaking campaigns across the Asia-Pacific region. Today, the Dragons of Asia stand as a benchmark of excellence, celebrating innovative marketing strategies that leave an indelible mark on the industry.

Dubbed a “history-maker” in a seminal book chronicling the UK marketing industry’s evolution, Mike Da Silva’s impact has been nothing short of astronomical. As a trailblazer, he has steered iconic Australian brands like Qantas, Tourism Australia and Australian Merino Wool to success. A Founding Member of the Australian Promotion Marketing Association, Mike received the prestigious Life Achievement Award, a testament to his enduring legacy, followed by a Worldwide Marketing Hall of Fame award in Rio de Janeiro.

For 19 years, Mike chaired the Marketing Agencies Association GLOBES as Director, orchestrating and leading global judging worldwide (MAA)  panels across continents, from the USA and UK to Russia, Canada, Australia, New Zealand, Brazil, and Argentina. During his tenure, he noticed a glaring gap in Asian representation, with sparse submissions, mostly from India, often hindered by inadequate development and presentation.

As Mike traversed Asia, sharing his expertise through public speaking engagements for MAA Worldwide and conducting Promotion Marketing Master-Classes for industry professionals, he witnessed firsthand the region’s exceptional marketing talent. Inspired, Mike launched an award programme to celebrate the ‘Dragons of Business’. In 2000, the (PMAA) Promotion Marketing Awards of Asia debuted, later evolving into the esteemed
Dragons of Asia.

From humble beginnings, the Dragons of Asia swiftly gained continental recognition. Notably, the Best Campaign in Asia claimed the coveted Red GLOBE for Best Campaign in the World four times within the first six years. Today, the Dragons of Asia honour outstanding marketing achievements in 23 countries, cementing their status as the
region’s premier result-focussed Awards Programme.

The Dragons of Pakistan came into being because of AdStreet’s expertise in event management and marketing. Syed Saad Hashmi, founder and CEO of AdStreet played a crucial role in bringing this groundbreaking event to life in Pakistan.

Mike’s tireless efforts have fostered groundbreaking partnerships with agencies and brand owners in all countries across Asia, encouraging their involvement with the Dragons.

Mike Da Silva’s remarkable career serves as a shining example of passion, hard work, and gratitude. Through selfless contributions, Mike has elevated the industry, introducing innovative ideas, guiding companies toward growth, and recognising outstanding achievements. His legacy extends far beyond his own success, inspiring a global community of marketers and leaving a monumental mark on the industry.

Branding in the Fashion Industry: A 30 – Year Retrospective

Afifa Maniar
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Branding in the Fashion Industry: A 30 – Year Retrospective

Enter the captivating realm of Pakistani fashion, where art, business, and heritage entwine. Uncover the latest trends, incredible talents, and riveting tales shaping this glamorous industry. Delve with us into the rich history, and explore the evolution and the impact on the economy of the style industry. The effects of social media and the digital footprint are revolutionising the fashion industry. A sneak peek of what’s happening with some of the biggest brands in the country, enjoy exclusive interviews, tributes to legends, and tantalising tĂȘte-Ă -tĂȘtes with the industry’s brightest minds. Whether you’re a style enthusiast, market insider, or simply curious about the couture arena, we invite you to revel in this alluring journey with us.

The Ultimate Fashion Odyssey!

Pakistani fashion is a kaleidoscope of elegance and exquisiteness, where rich culture seamlessly merges with modern flair. Inspired by the majestic Mughal era, their intricate embroidery and mesmerising motifs adorn ethereal silhouettes. Integrated with luxurious fabrics like silk, velvet, and chiffon draped elegantly with sophisticated thread work and zardozi which add immense depth.

Vibrant hues of emerald green, sapphire blue, and ruby red dance alongside soft pastels, illustrating the nation’s love for drama and grandeur. The classic Sherwani, crafted with gota and kimkhab, exuding regal sophistication, while the flowing maxi dress, adorned with floral patterns, personifying grace, charm and mystique.

Lahore’s bustling streets and Karachi’s urbane chic converge into unique ensembles, where East meets West. Statement pieces, whether it be a Muskesh shawl, chunky silver jewellery or an embellished clutch always adding a touch of enchantment in this world travelling towards minimalism.

Pakistani weddings are a phantasmagoria of colour, sound, and splendour, where fashion reigns supreme. This extravaganza of opulence unfolds amidst mesmerising melodies, rhythmic dholki beats, and euphoric barat processions. Where the grooms exude sophistication in tailor-made Sherwanis, with simple kurtas and churidars, brides dazzle and gleam in other-worldly absolutely spellbinding lehengas, ghararas, and shararas; all adorned with dainty, inexplicably gorgeous embroidery, zardozi, and gota with the soft organzas, lavish silks, and the delicate chiffons draped sublimely, while the majestic jewellery adds the regal flair.

Pakistani fashion’s global ascendance owes much to these wedding celebrations. It is Pakistan’s Fourth Constitution; the weddings! Renowned creators such as Hassan Sheheryar Yasin and Faiza Saqlain create breathtaking attires that blend tradition with innovation, like Yasin’s contemporary take on the classic Sherwani and Saqlain’s baroque use of traditional embroidery techniques with modern silhouettes. These weddings have become an indulgent, incomparable, and intense display of fashion as art, love, identity, and passion. This cultural spectacle has captivated the world, solidifying Pakistan’s position on the world map of fashion.

Embroidery and Elegance

From the incredulous Indus Valley to marvellous modern-day runways, the fashion narrative in this country is a labyrinthine woven tale of ancient civilisations, imperial influences, coming of age modernism. While the majestic Mughal Empire introduced sumptuous fabrics, breath-takingly complex embroidery, and heavily ornamented motifs, shaping the vogue aesthetic even today.

As we embark on this fascinating fashionable journey through Pakistan’s diverse provinces, each region proudly portrays its unique sartorial grandeur, reflecting the country’s rich and ravishing history.

Punjab’s prestigious picturesque attires reign supreme, with intricate phulkari embroidery dancing across vibrant silks and cottons. The classic Punjabi suit – a symphony of straight silhouettes, flowing dupattas, and the ever-lovely Patiala shalwars – is a sight to remember.

The enchanting beauty woven into simple lawns and cottons, the dense and heavily worked Sindhi embroidery, mirror-work and chunky sequins shimmer like moonlit nights on the Indus River. The province’s iconic ajrak prints – deep crimsons, midnight blues, and golden yellows – swirl together in mesmerising, almost hypnotic patterns.

Rugged landscapes inspire the bold and beautiful Balochistani wear, nomadic chic, effortless beauty. Traditional Balochi dresses boasting vibrant, geometric patterns and elaborate thread-work, echoing the magnificence of Turbat forts.

Khyber Pakhtunkhwa’s serene allure is reflected in the delicate Chitrali and Peshawari tapestry, as subtle floral emblems and curved lines adorn fabulous fabrics.

Threads of History

Throughout history, cultural exchange and regional influences have enriched its textile diversity. The Persian and Arabic influx infused Islamic geometric patterns and calligraphy into textile design. The ancient Silk Road facilitated trade, exchanging Chinese silks, Central Asian woollens, and Indian cottons. The British colonial era introduced Western tailoring, influencing modern Pakistani fashion. Post-independence, designers revived traditional and the learnt techniques, blending culture with innovation weaving a stunning fabric of the nation’s multicultural identity.

From the elegant ghararas of the 1940s to the digital revolution of the 2020s, Pakistan’s fashion landscape has undergone a transformative journey. Fatima Jinnah and Rana Liaquat Ali Khan inspired the ‘Pakistani woman’ look: ghararas, kurtis, and dupattas while women from East Pakistan, Sindh, and Punjab maintained regional styles. Sitara Textiles, a 1956 pioneer, has now grown into Pakistan’s premier textile enterprise and excel & textile processing. Local tailoring shops and boutique stores gained popularity, laying the groundwork for the big clothing brands we see today.

In the 1960s, Pakistan embraced Western trends: maxi dresses, gowns, and saris. Club culture and high society emerged, influencing fashion regime. During this period, modernisation and globalisation shaped the country’s style, it wasn’t only promoted but encouraged.

The hippie movement in the 1970s was brought home, introducing flared pants, floral prints, and eccentric jewellery. Teejays by Tanveer Jamshed pioneered in ready-to-wear western fashion along with Bonanza initiating ready-made winter wear, particularly knits for men, women and children.

The 1980s was the time for disco during the very contrasting Zia-ul-Haq’s regime which sparked counter-culture through pop and style, Nazia Hassan and Marina Khan dominated the fashion scene. Later, Benazir Bhutto, the trailblazer in the world of politics, her charismatic charm and fight for liberalism, inspired fashion statements, that are even followed today.

Soon after, the boutique uprising in the 1990s with designers like Nilofer Shahid, and Sana Safinaz rose to fame. Boutique culture flourished, and fashion magazines thrived. Princess Diana wore Rizwan Beyg’s designs. Princess Diana, was the paragon of grace and elegance, the epitome of beauty for all brown women. Which meant Rizwan Beyg became a royalty in the fashion ecosystem of Pakistan.

The 2000s were all about the ready-to-wear, convenience and ease. Brands like Gul Ahmed, Al-Karam, Bonanza Satrangi and Maria B. introduce affordability, accessibility and style. This democratisation of fashion empowered consumers to express their flair and individuality in an easy way. This changed the game, thus becoming the gradual start of the black hole, that we now call fast fashion.

From Lawn to Luxe

During the same time, a lawn insurgence began too with Khaadi and other brands popularising lawns; the fabric, is a commodity now. Supermodels emerged, and designers like Nomi Ansari, HSY, and Zaheer Abbas gained recognition. The creation of extravagant fashion and bridal weeks became mainstream. Traditional craftsmanship, lavish fabrics, and modern design gained international acclaim. From February to October, Pakistan’s fashion landscape is painted with an array of digital prints, geometric patterns, and lively floral prints. Time-honoured embroidery techniques meet contemporary twists, and light-weight fabric, resulting in a marvellous lawn repertoire.

This quintessential Pakistani fabric, is a masterclass in subtlety. Feathery, airy, and effortlessly elegant, lawn’s softness is rivalled only by its versatility. From flowing full-length dresses to stylish kurtas, lawn’s gentle drape makes it a global summer staple. Pakistani Lawn uniqueness lies in its expert blending of traditional techniques with modern innovation. Lawn’s colour palette in the summer is a symphony of hues playing soft pastels of dawn-kissed skies, lush greens of emerald fields and dusty blues of ancient Mughal architecture.

Brands like Alkaram, Gul Ahmed, Bonanza Satrangi and Sana Safinaz have elevated lawn to haute couture, while designers like Saira Shakira and Ali Xeeshan push boundaries with constant innovation.

During the 2010s ‘Fast Fashion’ took Pakistan by a storm! Generation, Sapphire, Zellbury and Ethnic led the charge, making style affordable and accessible. Consumers ditched tailoring hassles and indulged in mass produced high-street heaven. Fashion merged with TV and cinema, featuring superstars on runways. Events like PFDC Fashion Week and Fashion Pakistan Week celebrated diversity, creativity and pure talent. These platforms connected clothing brands with buyers, media, and fashion enthusiasts.

Stitching Stories

The sun rose in the 2020s with a digital sky while COVID-19 impacted the industry, pushing designers toward technological innovation. Pakistani clothing brands expanded globally through e-commerce. Online stores made collections attainable worldwide, eliminating the traditional retail middlemen.

New SOPs and virtual fashion shows emerged. Sustainability and online presence became key. Social media became king and brands like Sapphire and Generation promoted moral and environmentally – friendly business practices. They empowered regional communities and implemented
eco-friendly production techniques.

Post-Covid, brands blended traditional aesthetics with contemporary Western silhouettes, prints, and fabrics. This fusion appealed to modern Pakistanis and international audiences seeking distinctive, innovative fashion concepts.

Pakistani fashion is more than just attire now; it’s a powerful medium for self-expression, cultural pride, and national and personal identity.

On Independence Day, green and white ensembles dominate the fashion scene, embodying national pride. Eid celebrations burst with colour, as vibrant lawn and silk fabrics showcase traditional craftsmanship. Women adorn themselves in embellished kurtas, ghararas, and lehengas, while men wear elegant kurtas, waistcoats, pyjamas and Sherwanis. The perfect jhumkis with matching churiyaan is what completes
the ‘Eid Look’.

Pakistani fashion elegantly blends traditionality with contemporary style, cultivating a deep sense of identity, and creative expression. Designers weave the nation’s rich literary heritage into their fabrications, transcending all and every boundary. Calligraphy on clothes and scarves becomes a poignant canvas, capturing the essence of spiritualism and literary mysticism. The poetic verses of Rumi, Ghalib, and Iqbal come alive along with quotes from revolutionary writers like Manto on flowing fabrics. They drew inspiration from the works of literature, embedding its powerful words into bold, statement pieces celebrating Pakistan’s literature legacy.

Weaving the Future

Pakistan has evolved to embrace age diversity, inclusivity, and individuality. Stylists and labels now cater to a wide range of ages, styles, and preferences, celebrating the unique beauty of each individual. Brands like Republic Women’s Wear, Kayseria, and Saira Shakira offer stylish, stunning, androgynous and gender-neutral collections blurring traditional boundaries, producing contemporary, one-of-a-kind pieces appealing to a large group. Breaking stereotypes, a few fashion houses are also creating remarkable, plus-size collections, fostering body positivity and self-acceptance. Modest wear by different brands and designers is catering to diverse modesty preferences. Pakistani designers collaborate with disability advocates to model their designs, encouraging self-expression and confidence.

Our fashion landscape has undergone the latest transformative shift, embracing sustainability as its cornerstone. Pioneering labels like Rastah, Parishae, Bazazi, and Shahkaar by Adila are redefining conventional Pakistani fashion, each brand has carved its unique path with sustainability, from eco-friendly materials to culturally conscious designs, and most importantly distinctive pieces that are neither here nor there. They are an amalgamation of the country’s culture and the modernity of the times, reimagining what it means to be Pakistani in a globalised world.

But fashion is no longer just about aesthetics; it’s about narrative. Pakistan’s fashion landscape is witnessing a surge in innovative advertising, as brands leverage social media to connect with their audience.

The Rise of Pakistani Fashion

In today’s digital age, Pakistani fashion brands are killing the social media game! From celebrity endorsements to corporate social responsibility, some brands redefined the rules of engagement.

Zara Shahjahan’s #IMadeItCampaign highlighted the skilled labourers behind the brand’s impeccable designs. The #StepOutside campaign by Generation encouraged women to reclaim public spaces. Deepak Perwani’s ‘Fix It’ campaign drew attention to Karachi’s neglected infrastructure. The #AntiSizeZero campaign promoted body positivity, featuring real women by the lovely Sanam Chaudhri.

By embracing digital storytelling, Pakistani clothing brands bring their designs, artisans, and inspirations to life, forging deeper relationships with customers.

Consequently, social media and influencer marketing have emerged as transformative forces. Clothing brands are now harnessing these tools to revolutionise their outreach and engagement. By leveraging social media, brands can personally connect with their target audience, build a strong brand identity through strategic marketing, and foster meaningful relationships with clients through influencer partnerships. Platforms like Instagram, Facebook, Twitter, and TikTok serve as digital runways. This new approach enables labels to share their unique stories in not only an easy manner but also for a wider audience. Likewise, Pakistani apparel firms have undergone a digital transformation through e-commerce, propelling them onto the global stage. With a strong online presence, they’ve tapped into export markets, fostering growth and international recognition for Pakistan’s fashion industry.

The Tale of two Worlds

Despite these successes, Pakistan’s fashion landscape is still a tale of two worlds: vibrant, eclectic eastern wear and a stark, lacking western wear scene. Regardless of the growing demand, affordable quality western attires remain an elusive dream.

Pakistan’s fashion market struggles to keep pace with the changing seasons. Summer’s scorching heat brings an onslaught of flimsy, see-through tops, while winters offer coats that are either suffocatingly thick or woefully inadequate. And oh! The repetitive button downs, every colour and in every material. Spring and autumn, with their mild temperatures, are met with a puzzling dearth of transitional wear. This seasonal scarcity leaves consumers scrambling for suitable attire, forced to choose between ill-suited options or expensive imports.

The Pakistani denim market’s limitations are stark, with scarce and low-quality fabrics, inadequate pockets, and waistlines that either constrict or swamp. Consumers’ quests for well-fitting jeans remain elusive, underscoring the market’s failure to cater to diverse body types.

Global fashion trends and runway shows tantalise Pakistani consumers, but local adaptations fall short. Comfortable, stylish western wear seems reserved for foreign shores. The disconnect between international inspiration and local reality is disheartening, leaving consumers yearning for affordable, quality options that understand their climate, culture, and comfort.

While Pakistan’s fashion landscape shines bright with bridal and occasional wear, unfortunately, its professional and practical side remains dull and neglected. The industry’s focus on fancy and celebratory clothing leaves a void in everyday, profession-specific clothing. The professional landscape is also plagued by a severe lack of stylish, comfortable office wear. This undersupply forces professionals to settle for subpar attire, compromising their confidence and productivity. Innovative designers and brands can step up, catering to the unique requirements of these professionals.

The Fashion Renaissance

Handbags and purses prioritise aesthetics over functionality, lacking essential features like laptop sleeves, tablet pockets, or phone compartments.

Professionals who stand all day are forced into medicated, dull shoes – expensive and unstylish. Comfortable, practical options are scarce, while petite sandals and high heels abound.

A brighter future awaits Pakistan’s fashion industry, fuelled by talent, technology, and tradition. While challenges persist, innovative designers and brands are harnessing digital platforms, sustainability, and cultural diversity to drive success. Addressing domestic shortcomings and capitalising on global trends, Pakistan’s fashion market is set for significant growth. It’s set to reach $972.90 million by 2024 and grow 4.87% annually, hitting $1.234 billion by 2029. Currently, about 5% of the population buys fashion online (2024). However, this percentage is expected to slightly decrease to 4.3% by 2029 and approximately 4.9 million people will shop online for fashion. With these promising statistics, Pakistan’s fashion industry is poised for remarkable growth, cementing its position as a vibrant and influential player in the global fashion landscape.

Chasing Influencers

Tyrone Tellis
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Chasing Influencers

Influencer marketing is increasingly vital, but brands often misuse it, leading to short-term bursts rather than sustained success. In Pakistan’s crowded fashion market, brands must adopt strategic influencer collaborations and consistency to truly stand out.

By the time you read this, the terms demure, cutesy and very mindful should hopefully be consigned to the past, firmly and thoroughly. The sudden fame or virality garnered by Jools Lebron and the rush of brands to work with her, has been interesting but not at all surprising. Brands are run mostly by people in their 40’s who are at time caught talking about the 20-year-olds, as unwilling to work hard and yet at the drop of a hat, the same brands are seen trying to take the marketing shortcut and hitch their product to the latest influencer or trend. Hypocritical? Feels like it.

Closer to home in Pakistan, we have seen how in the recent decade, brands from high-end luxury goods to FMCG and even cars, brands have looked to influencers to create saliency, create hype and resonate with a target audience. Even so, in general, to go viral phenomenon is the latest, vital yet sadly a deep-rooted fetish of brand managers and CMOs. I, myself being well over 40, can remember when brands used other means rather than influencers and Facebook ads. Bear with me as I go back in time.

I remember back in 2008, a new brand Outfitters, using SMS as a means to get people in store. With the advent of social media platforms such as Facebook, Instagram the importance of being digitally present became crucial for a brand especially a fashion brand. The motto out of sight, out of mind is very applicable. The rise of social media influencing in Pakistan began probably in 2013, and restaurants were the first to jump the gun.

In fashion, there are now the old, weathered in-store brands, the online stores as well as the sites that are selling export-quality products at an affordable price. This makes for a veritable fish market where the modus operandi seems to be a refined form of ‘shouting’ to attract attention. Are influencers helping brands to break through the clutter or are they just creating white noise? In my expert opinion based off of my 20-years in the marketing field, the answer is that the strategy to use influencers or even celebrities aren’t wrong but the execution seems to be the issue.

Let’s look at how typical Pakistani brands or even restaurants operate, they enlist influencers of different levels – micro, mini and macro – depending on the budget and availability, they then begin the bombardment on social media and even on-ground with their campaigning. This results in a burst or boost in awareness and eyeballs for quite a short period; at most a month. After that? It’s either silence or sporadic posts and efforts. Compare this to a launch of a rocket into space, the rocket has powerful engines to take off and launch but whether it would be able to make it into space is uncertain, because the sudden power and thrust only last shortly. Its effectiveness is doubtful, although sustained thrust is necessary for the most effective mission.

Just how the words demure and cutesy have suddenly become a part of our vocabulary, out of nowhere, likewise, I woke up one day and discovered that Dyson hair appliances are all the rage in Pakistan too, among the wealthy and middle-class girls. I’m pretty sure that the reason for this instantaneous demand is because of TikTok, which turns out to be the breeding ground for the trendy-things in our lives.

The way Dyson has sporadically become a hit with social media influencers. It may surprise some local marketers that this brand has been using influencer-marketing since – as early as 2016. Neil Waller, the found of Whalar Group USA, (the company calls itself a creator ecosystem) wrote in his LinkedIn article in 2017 about how he executed an influencer-campaign for Dyson in 2016. He mentions the brand identifying why they wanted to work with influencers. The brand knew who their reach was, 25- to 35-year-olds working women and young mothers, with a certain level of disposable income, across certain markets. Dyson also knew the type of content they desired – high quality social content, displaying an imagery focussed on premium lifestyle and showing the products being used in an aspirational context. The objective as per Waller was to drive awareness and sales of a new product by leveraging relevant beauty influencers who could provide advocacy and credibility. The brand chose 15 influencers who each created 5 pieces of content. Dyson had full ability to accept or reject and ask for a re-shoot if they did not feel the content was as per their standards.

Another extremely functional method, in my view, for a fashion brand to work with influencers is to create content, a certain type of content, that can be recreated by ‘regular people’. The recent “GRWM” reels on Instagram and other platforms come to mind, we have all seen the #OOTD hashtag. To stand out something different needs to be said and it has to be repeated again and again, consistency is a very under-appreciated pillar of building a brand. Another problem related to brands is that a brand who talks to everybody ends up talking to no one. Having the clarity as to who is your target consumer or end consumer can be priceless in helping a brand to pick and choose an influencer or brand ambassador.

User Generated Content is nothing new in the world of marketing, it’s sought passionately by brands as it helps in giving a sense of direction and increases engagement. And funnily regular humans are by default more creative than most agencies and brand teams. Brands in fashion, lifestyle can go a step further than just working with influencers and either utilise the influencers followers or ordinary users of the brand to create content or interact directly with customers to get them to create content – photos, videos or reels for the brand.

Another crucial pointer for fashion brands or lifestyle brands is to be where your consumer is, presence on media platforms they use is critical to success. To ascertain where they are, brand managers need to conduct research and invest time and money. Marketing is a process of trial and error and the beautiful exercise in experimentation. Marketing is like a delicate dance, a balance of trying new things and sticking to what works, brands who find that perfect balance can put their best foot forward, be brave and the first-movers for all and everything.

Manto: Making Shalwar Kameez Cool Again

Ayesha Anjum
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Manto: Making Shalwar Kameez Cool Again

Manto is a brand in Pakistan that has woven words and interworked poetic threads into these glorious pieces of clothing. Join us for an exclusive interview with Salman Parekh the creator of Manto.

Synergyzer: Manto was established in 2019, and it’s become extremely popular in Pakistan and internationally. How did a YouTuber delve into clothing?

Salman Parekh: I enjoy storytelling and I enjoy finding things that people may be excited about. And during my time studying in the UK, I became quite fond of wearing kurta shalwar, whenever I would wear my Pakistani attire, I would always get a positive reaction and that I feel like really pushed me to create Manto, I think it had been bubbling inside of me and I threw out all this creative vomit that I had in myself, and the brand was born. I built Manto with one design in 4 colours. After a few days of the release, all of a sudden it just started spreading out. I would run to my mother every 30 minutes screaming, “I don’t know what’s happening!” We kept getting more and more orders. Allah has been extremely kind to us. I don’t know what it was that just made us go big, maybe people required basics, and that’s what we had focussed on initially.

Synergyzer: What marketing strategies have you applied to your brand and how have they helped you?

Salman Parekh: Being famous and putting up a ‘wow’ advertisement is not enough! There are myriads of brands in Pakistan right now, you can’t just have people that are famous and believe that this is going to make my brand stand out. Now people have a choice and they understand way more than the people before our time. So, the only way to thrive and survive is to be someone that people choose, rather than the only option that they get. The art, the media, and the exposure to different social cultures have an impact on how we think. We still haven’t yet dabbled into billboards or TV, but soon enough. Often startups, think after they’ve built their brand, that’s when they’ll begin their ‘marketing’.

At what point does the marketing begin? It starts when you decide to create a product, it establishes when you set the quality for the product, design the packaging or set the policies, when the values are set. What will be the words the customers hear, once they enter the store? All of this is marketing. Marketing isn’t just advertising, for us, the most important thing is to build a relationship with our customers, I want to build a strong, trustworthy strength-based relationship rather than extensively on big adverts but not have a bond with my customers. We wanted our customers to love it so much that they would spread the word. And that’s exactly what they did, they told their friends, who told their families, and there is nothing to this date, that we could have done, that word of mouth did for us, it put us out there, made us sell out again and again. Word of mouth, the love and support of people, is what has worked the best from day one, it’s still the most powerful one and the credit goes to our customers. But other than that, we started doing Facebook ads to amplify the pre-existing sales as it was 3 years after our existence.

Manto
Manto

Synergyzer: Describe your brand personality, value and vision.

Salman Parekh: My vision for Manto has always been to make a label that isn’t a big brand that makes people feel small, but a small brand that makes people feel big. The other thing I’ve always had in my mind is that this label, the clothing, the duppatas, or whatever we plan to sell, it’s not the story that I want to tell matters, it’s the story that gets heard and I give that to my customers. It’s just a piece of clothing. It’s just another scarf until you put it on until the person puts it on and does what they do with it, only then is it complete. Manto’s name changed 3 days before the launch, it was supposed to be called ‘Rung’, we had just made the gol-galla kurtas, I called them ‘Manto Kurtas’ because any writer that I saw in South-East Asia would wear these collarless kurtas. The reason why we called it ‘Manto’ and not ‘Jaun’ was because the word, Manto means a piece of cloth in Persian and then we also resonate with Sadat Hassan Manto. It just felt right with Manto Sahab. He didn’t care and kept creating no matter what people said or thought about him and his work. Regardless of the ridicule, he kept producing his brilliant work. He was a giver but never a people pleaser and I feel like I resonated with him. My number one hope was to make kurta shalwar cool again. Manto is an accumulation, an amalgamation of small things coming together. It could be the colour, how it’s presented, who it is for.

Synergyzer: Did the Ichra incident affect your business?

Salman Parekh: Of course, the sales suffered and they still are to some extent. But the basic human need is survival and that is the most important thing for us and that’s what we want for our customers. We didn’t think twice and put a statement out, that they could come back and return their clothes if they don’t feel safe, that they shouldn’t wear them out due to the current climate of the country, because when you are in a relationship with someone you want the best for them, not just be selfish or greedy. Before this incident, we had more orders than we could keep up with and had expanded, so the incident hit us extremely hard. Even if there was no Urdu within Manto, it would still be Manto, the calligraphy has been helpful but Manto didn’t begin with Urdu and wouldn’t end without it.

We have to understand the culture, and the people, and are they still going to be scared sometimes? Yes. But there are still so many people throughout this time who have been super supportive, and who have kept wearing it. Maybe even more, choosing rebellion, trying to normalise it. Although it’s quite ironic, languages were created to reduce distances and increase understanding and tolerance. While we have suffered, we haven’t sunk.

Synergyzer: What do you think about inclusivity and how do you achieve that?

Salman Parekh: From day one, we’ve been super clear about who we want to cater to. We are not trying to be good to everybody, but rather great to somebody. We are trying to create belongingness, community and a brand that can enable some sort of culture and it’s about people who get it. We are very conscious of what we do, whether it be the climate impact we make, social or personal impact. We are living in a world where there are so many choices, there’s nothing that’s for everyone. Other than that, we are shipping internationally; UK, Middle East, and US, and the best part is you can return or exchange anything internationally as well.

Manto
Manto

Synergyzer: How do you see Pakistan’s fashion scene from a business point of view, in the future, especially the next 10 years?

Salman Parekh: Super exciting! People have so many possibilities now, which is enabling them to create more as well. Every other person can go and make their mark. As long as it does not make us more materialistic. As long as sustainability, and profitability can be maintained, go forth and create! I especially love what ‘Rastah’ is doing.

Synergyzer: How are you dealing with going from a local e-commerce business to now an international business with physical stores?

Salman Parekh: Each day, the level of difficulty just keeps increasing. But this is what we signed up for. As a person, I still feel like I am the same, with the same choices I had. But in the process, we have grown and matured and we have been shaken to the core with issues. It’s difficult and sometimes you hate being in a position where you can’t just get up and leave. But I do not measure success just quantitatively alone; I measure it qualitatively as well and so each time I gather up the courage to do more, and better and this is why it’s a journey, it always will be, there’s no destination.

Synergyzer: Your brand has revived Urdu literature in this modern world, was that your intention?

Salman Parekh: We wanted to redefine cool. Unfortunately, cool was considered as people who didn’t do anything, were smoking, played video games and were nonchalant, but not for me, it was getting up in the morning, contributing to the world, doing something extraordinary in their ordinary lives, and working hard. I did my Master’s in the UK, and I was so proud of my culture, I would wear shalwar kameez to my classes, and I just wanted to do something for my culture, my heritage and my language.

Synergyzer: How do you stay agile and adapt to changes in the market and consumer behaviour?

Salman Parekh: Learn, learn, learn.

Manto
Manto

Synergyzer: What role does market research play in its design and marketing processes?

Salman Parekh: There are two rules, sometimes just simply learning how to do things better, taking feedback, understanding the problems or what is appreciated and working on our brand from there. In terms of research, that’s super important, but also, I wonder, did Graham Bell ask people If they needed a telephone before he invented it? Henry Ford, for example, mentioned once that if he had asked people what they wanted, they would’ve said faster horses instead of cars. Yes, we create for the people but at the same time, we listen to our gut and be as creative as we feel like without the pressure.

Lab Test – Mobilink Bank: The Invisible Heirs

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Lab Test – Mobilink Bank: The Invisible Heirs

Ahmed Zawar

Associate Director – Pakistan Repertoire
Sony Music Entertainment

It’s one of the best Pakistani ads I’ve seen in recent times. The product itself is deeply rooted in strong insights and a significant social truth. The creative approach used to reflect this in the ad is nothing short of brilliant. There’s no doubt that, when it comes to matters of inheritance, women are often treated as if they don’t even exist.

This is brilliantly portrayed throughout the ad in multiple ways. I particularly liked the scene where a woman’s signature keeps disappearing – hats off to the creative team behind it. What I also appreciated was the depiction of various social strata, which is again very true; when it comes to inheritance matters, it doesn’t matter which social class you belong to as long as you’re a woman, you are discriminated against. Overall, it is very well shot, and the song and music used add great value. Well done!

Lab Test - The Invisible Heirs
Lab Test – The Invisible Heirs

Zahid Qureshi

Creative Director
Soho Square

In today’s world, brand activism can be considered a valuable tool. As public sentiment becomes more vocal and visible, brands can leverage it to foster authentic connections with consumers—though there’s always a risk of backlash or polarisation. When executed correctly, however, it can enhance positive brand perception and provide companies with a competitive edge.

The Invisible Heirs tastefully encapsulates women’s feelings of being unseen, unheard, and ultimately excluded from inheritance. The narrative is strong and covers all the roles a woman plays in our society, highlighting how she is equally disregarded in each of them when it comes to inheritance.

The ad excels in its “product-problem connect,” introducing the brand’s solution at the perfect moment and reinforcing its relevance. Visually and aurally, the treatment is powerful, with the final narration delivering a message that resonates, further supported by an eye-opening statistic as proof of the issue. While it’s difficult to predict the ad’s long-term effectiveness, it is undoubtedly a thought-provoking and impactful piece.

Lab Test - The Invisible Heirs
Lab Test – The Invisible Heirs

Sabir Shah

Associate Creative Director
Synite Digital

As a creative in the industry, this ad makes me tear up with the joy, not just on the concept of the ad but on the hope that it gives to other creatives. There is hope of good ideas and concepts being up on the screens. The most genius thing about this ad, apart from its crucial insight and matter, is the creative hook.

Exposing the underbelly of our society in a creative way, truly highlighting not just the issue but through a visual execution that resonates with the locked away feeling of all female audiences around us, the feeling of being unseen and being easily overlooked when it comes to financial stature and rights of a woman, making it a norm. Adding more value to the whole equation was the sound design, composition and hard-hitting lyrics. This ad is definitely going to be a reference point for many to come and kudos to the brand as it brings the focus on topics that really need to be highlighted and talked about. Hope to see more brands being bold and more creatives using the power of their mind to bring about a definite and positive change in the industry as well as society.

Lab Test - The Invisible Heirs
Lab Test – The Invisible Heirs

Osama Sarwar

Head of Marketing
Bachaa Party

The ad is really a film, an ad film with a purpose! Some brands really had to work on the insight, an insight that unfortunately limits the freedom of women. The product is simple, a calculator that has been programmed with percentages and ratios, but the ad does more than justice to it, that’s what advertising is supposed to do anyway – tell a story in a way people haven’t seen it before, make it thought-provoking and direct the audience to become potential customers.

The various roles of a woman have been portrayed and stylised to perfection, really intriguing the viewer to think what’s coming next? A simple product sold in a brilliant way. Kudos to the teams involved with this campaign.

Lab Test - The Invisible Heirs
Lab Test – The Invisible Heirs
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