Aaleen Bukhari is redefining Pakistan’s presence in international dressage as the Pakistan’s first female rider to compete on global platforms. Inspired by the grandeur of Vienna’s Spanish Riding School, her childhood fascination evolved into a lifelong calling shaped by discipline, resilience, and faith. From overcoming prejudice abroad to carrying Pakistan’s flag with pride, she is determined to place her nation firmly on the global equestrian map.

1. How did your journey with horses begin, and at what moment did that relationship evolve into a deeper dialogue—one that led you to realize dressage was not just a sport, but your true calling?

I feel like horses have been in my blood long before I even opened my eyes to the world. Some of my earliest memories are tied to them. When I was younger than five, my father showed me YouTube videos of the Spanish Riding School of Vienna, and I was completely mesmerized. The elegance, the discipline, the white Lipizzan stallions moving like they were floating, it felt unreal. As a little girl, I noticed there were no women riding there. Instead of discouraging me, it sparked something powerful. I wanted to be the first female there. I wanted to walk into those historic halls, learn their centuries-old techniques, and understand the artistry behind that precision and harmony. That place felt like Narnia, like Harry Potter, where tradition, mystery, and excellence blended together. That was the moment dressage stopped being just a sport to me and became my destiny.

• As Pakistan’s first female dressage rider competing on international platforms, have you encountered pressure or skepticism because of your gender or nationality—and how have those experiences shaped you?

During my time in the UAE, I went through one of the most difficult chapters of my journey. I experienced racism from one of my coaches purely because of my nationality. It had nothing to do with my dedication or work ethic, it was simply prejudice. It was painful and isolating, but it also strengthened me. It forced me to develop thicker skin, sharper focus, and stronger self-belief. It taught me that not everyone will judge you by your talent, some will try to reduce you to where you come from or to your gender. But I made a decision: I will never allow anyone to define my limits. That adversity made me more resilient and deepened my commitment to prove that excellence has no gender and no borders.

• You have trained abroad, so what is it that Pakistan’s equestrian ecosystem is missing?

Pakistan’s equestrian system still lacks the discipline and structure required to meet true international standards. Many basic foundations are overlooked: grooming and stable care are not always consistent, feeding programs vary, veterinary management isn’t systematic, and horse welfare protocols aren’t strictly implemented.

Beyond that, there is an absence of professional structure, accountability, and a culture of precision. Discipline is not just riding technique, it includes stable management, training methodology, ethics, and respect for the horse as an athlete. If we want to stand confidently on international grounds, we must raise our standards in every aspect, because excellence begins long before a rider enters the arena.

• Dressage relies on an unspoken bond between horse and rider. How do you cultivate trust and connection with your horse, particularly when the pressure of competition is at its highest?

A true bond with a horse has to come from gentleness and sincerity. It cannot be forced. Horses are extremely sensitive, they read your emotions, your breathing, and even the tension in your body. That is why I always approach them with calmness, a soft tone, and reassurance through touch. In competition, the pressure is intense, and the horse feels everything you feel. In those moments, I consciously recite the name of Allah to steady my heart and slow my breathing. I also keep gently patting my horse even while performing, because that physical connection creates familiarity and comfort. It reminds my horse that this is not something frightening, it is simply another ride for us. That shared calmness strengthens our partnership.

• Every athlete encounters moments when walking away feels easier than pushing forward. In those moments of doubt, what anchors you and keeps you committed to the journey?

There are days when I genuinely feel like giving up. The pressure of training, competing, preparing entries, and constantly trying to meet higher expectations can become overwhelming. Sometimes it feels like too much mentally, physically, and emotionally.

But what brings me back is something deeper than ambition. Even on days when I’m not riding, I still find myself thinking about horses, talking about them, or watching them online. That connection keeps me grounded. At the core of everything, beyond titles and competitions, is my love for the horse itself. That love is my anchor, and it always brings me back.

• Dressage is as much about mental discipline as physical mastery. How has this sport reshaped your understanding of control, patience, and your own inner strength?

In my personal life, I’m honestly someone who could sleep all day. But everything about me changes when it comes to horses. Working closely with an animal that cannot speak back has taught me a level of patience I never knew I had. Progress cannot be rushed, and communication has to be calm, subtle, and consistent. This sport has also built quiet inner strength. Guiding an animal that weighs 600 to 700 kilograms requires confidence, self-control, and emotional stability. Beyond that, horses have become essential for my mental well-being. Being around them brings me peace, lifts my mood, and keeps me emotionally grounded. That peace is one of the greatest gifts dressage has given me.

• What has the response from Pakistani audiences, both at home and within the diaspora, meant to you on a personal and professional level?

It is one of the greatest feelings to know your homeland supports you and stands behind you. That kind of support makes me feel seen and reminds me that all the hard work and sacrifice means something beyond personal success. Representing Pakistan carries deep emotional weight for me. When I travel abroad and someone says, “You’re from Pakistan and you’re doing so well in dressage,” it fills me with pride. It feels powerful to know that Pakistan is being recognized beyond cricket or politics. If my journey helps broaden that narrative, even slightly, it means everything to me. For me, this is not just ambition, it is national pride and responsibility.

•  Do global stages such as the Olympics or major international championships feature in your long-term vision, or are you charting a different definition of success?

Yes, they absolutely do. I have officially submitted my entry, and in doing so, I am making history for Pakistan. In the 78 years since independence, I am the first to send a dressage entry to the Asian Games Aichi–Nagoya 2026. That milestone carries immense meaning for me personally and nationally. Competing at major events like the Asian Games and one day the Olympics has always been my vision, and I am also setting my sights on Los Angeles 2028. But my goals extend beyond competition. In the future, I hope to build something lasting in Pakistan, perhaps a school or a system that trains riders with proper discipline and international standards. For me, success is about legacy as much as medals.

• Looking ahead ten years from now, how do you envision Pakistan’s footprint in international equestrian sport — and what role do you hope to play in shaping it?

I believe I have already started paving the way, and I hope many young Pakistani girls will follow in the years to come. When one door opens, it becomes easier for others to walk through it with confidence. Over the next decade, I believe Pakistan can develop a meaningful presence in the international equestrian world. My dream is to see FEI-level dressage, show jumping, and endurance grow properly in Pakistan, with true international standards. I want Pakistan to become a fully active and competitive FEI-participating nation, producing riders for global events. When our flag stands confidently on the world stage in equestrian sport, it will be one of the proudest moments of my life.

The post Carving Space in Equestrian Sport – Aaleen Bukhari appeared first on Glam Magazine.

In a candid conversation with Rahat Zahid, we explored the heart of a home that has been lovingly shaped over many years. Every room carries a memory, every corner holds a story, and every decision reflects the couple’s journey of building a space that feels truly and deeply theirs. From thoughtful renovations to cherished furniture pieces collected over time, this interview offers an intimate glimpse into a home created with love, intuition, and a deep appreciation for natural beauty.

What are the most precious memories that you hold closest to your heart?

As the saying goes, every child is precious, and for me, every corner of this home feels the same. We’ve built this house with so much love that no particular space feels more important than another. Our main family room upstairs is where we spend most of our time, so it naturally feels comforting, but truly, I can’t single out a favourite spot. Every part of this home carries a sense of peace and familiarity because we’ve worked so hard to create it.

If you ever had the opportunity to move to a different or better home, would you take it? Or is this space irreplaceable to you?

It is absolutely irreplaceable. Even compared to our home in America, this is the one I call home. We’ve watched it evolve over the years, just as our children have grown within its walls. They were married here; we’ve celebrated countless milestones. When we first bought it, we couldn’t afford much because the house was enormous. We renovated slowly, sometimes painfully slowly, bit by bit. I still remember living without a dining table for six months because the chairs we loved were out of budget. We waited nearly a year to buy them, without ever compromising on what we truly liked. Those small struggles, the decisions we made with patience and intention, and the way we hosted guests despite not having much—every memory is woven into this house. That’s why it can’t be replaced.

When you bought this house, did you have a fixed idea of what you wanted to do, or did you follow your intuition as you went along?

We did have a few priorities, mainly the kitchen, flooring, and bathrooms. We decided to set those first. After moving in, everything else happened gradually. Sometimes, while living in a space, you suddenly realise what needs to be changed or improved. So, we would tweak things over time—a door here, a wall there—always based on what we could afford. It was a very slow, very organic process, and I think that’s what made it meaningful.

Maintaining such a large and beautifully kept home is no small task. How do you manage it so effortlessly?

It’s definitely not effortless, far from it. I’ve created a system where I focus on one area at a time. For example, when the children visit, we’ll concentrate on one room a day: first the upstairs living room, then another room, then the downstairs, then the outdoor spaces. But like every household, things break, people hide the evidence, and I only discover it when I’m setting things later! I always tell everyone: just be honest, don’t hide it, because it’s easier to fix something immediately.

People often say you’re blessed with a green thumb. Would you say you’re one of those who have a green thumb?

Not at all, I wouldn’t claim that! My husband is the one with the real gardening instinct. I simply guide him on the overall look. We’ve always preferred natural beauty rather than overly shaped plants. A tree should look like a tree, with its natural form and growth. We love greenery more than anything overly decorative. Seasonal flowers are lovely, but we value permanent plants and natural growth. My husband is into perfumery, so he loves fragrant plants like raat ki rani and motiya, you can smell them as soon as you enter. We sit in the garden depending on the weather. On pleasant days, especially weekends, we spend a lot of time outdoors, watching the children play or simply enjoying the fresh air.

Is there any area that you feel is your biggest comfort zone or sanctuary?

My sanctuary is the back patio. It’s peaceful, quiet, and feels wonderfully removed from the noise of the house. The upstairs living area is another comforting space, our true family hub. When my daughters visit, they refuse to come downstairs; we eat, sit, relax, and practically live upstairs for days. It feels like our true family sanctuary.

Homes often carry stories. Is there a piece of furniture, artwork, or décor element in your house with a memory or mystery you cherish?

So many pieces carry stories. Most of our furniture wasn’t bought from high-end places; we collected it gradually, often discovering pieces unexpectedly and then refurbishing them. Each item reminds us of where we found it, what moment in life we were in, and what vision we had for it. I also love printing and framing photographs rather than keeping them hidden in a phone. When you walk around the house, you’ll see memories everywhere, our lives literally on the walls.

With your demanding roles as a designer and educator, does your home ever become your creative lab, somewhere ideas spark unexpectedly?

Absolutely. Creativity comes to me very instinctively. Whether I’m designing clothes or rearranging furniture, ideas often evolve while I’m working, rather than beforehand. Many times, a room ends up looking entirely different from what I originally imagined. Since I’m not formally trained in interiors, we’ve made our fair share of mistakes, but the process has always been experimental and enjoyable. My husband visualises things instantly, while I need to see them physically—so we balance each other out.

What advice would you give someone who wants to create a home that feels both beautiful and deeply personal?

Take your time. Don’t rush to fill your home all at once. Build it slowly and thoughtfully, even if you can’t afford professional help. A home should reflect you, not an interior designer. Collect pieces gradually, place them carefully, and live with them before adding more. Everything in your home should evoke a memory or feeling. Money can buy objects, but not the emotion attached to them. Ultimately, a home becomes beautiful through the love, patience, and personal meaning you weave into it—one piece, one memory at a time.

The post Ingrained With the Creativity of The Owners appeared first on Glam Magazine.

Empower Sports Academy hosted a high-impact press conference at recently, formally unveiling its mega project and strategic partnerships aimed at transforming the future of female sports and education in Pakistan. The event was attended by leading media houses, corporate partners, sports professionals, educators, and stakeholders from across the country.

At the conference, Malika Junaid announced a landmark partnership between the Prime Minister’s Youth Programme (PMYP) and Empower Sports Academy to launch a nationwide initiative that will identify, train, and empower 10,000 young female athletes every year across Pakistan, expanding further in the years to come.

Representing the Chairman Prime Minister’s Youth Programme, Sindh, Coordinator Fahad Shafique expressed his delight at the progress made so far by Empower Sports Academy, and played a video message from the Minister and Chairman PMYP, Rana Mashhood Ahmad Khan. In the message Rana Mashood said, “This initiative reflects our government’s unwavering commitment to uplifting young women through sport. By reaching out to 10,000 girls this year and expanding even further in the years to come, we are broadening access to training, mentorship, and competitive opportunities.”

Malika further added, “Empower Sports Academy has already begun working with girls from all over Pakistan including girls in cities and underserved communities in remote villages of Balochistan, northern areas of Pakistan, Punjab, and Sindh.

The post Empower Sports Academy Unveils Landmark CSR appeared first on Glam Magazine.

In our society, a divorced woman is often treated as an outcast. The prevailing belief is that the fault in a failed marriage lies mostly with the woman, and this perception subjects her to relentless societal scrutiny. Her personal life, prospects of remarriage, and even her daily routines are scrutinized under a harsh public gaze.

It is against this backdrop of societal pressure, personal loss, and heartbreak that drama “Muamma” begins its gripping narrative. Spanning 30 episodes, this series is directed by Saqlain Khan, written by Imran Nazir, and produced by Momina Duraid. The drama features a stellar cast, including Saba Qamar, Usman Mukhtar, Nimra Shahid, Syed Jibran and Maria Wasti, Muamma airs on HUM TV every Wednesday and Thursday at 8 PM, offering viewers a rich blend of suspense, emotional depth, and social commentary.

The story revolves around the enigmatic character of Jahan Ara. Surrounded by rumours and whispered speculations. The narrative is a kaleidoscope of human emotions, betrayal, survival, and redemption, providing viewers with an intense and immersive experience.

Jahan Ara is portrayed as an intelligent, shrewd, and cunning woman. Outwardly, she may appear innocent and empathetic, but beneath the surface lies a mind that strategizes with precision.

However, Jahan Ara’s life is far from easy. She navigates a world dominated by patriarchal norms and male authority, encountering challenges at every turn. Her father’s bias, her brother’s cruelty, and the betrayal of men around her have been recurring themes in her life. Her first marriage ends abruptly, with powerful feudal lord Sarmad orchestrating events to force her into a toxic union with him. This marriage becomes a nightmare filled with abuse, humiliation, and relentless cruelty. Yet, in these dark moments, Jahan Ara’s courage, patience, and intelligence begin to shine.

Through a twist of fate, Jahan Ara eventually exacts justice on Sarmad for his misdeeds. Seven years later, she returns as a strong, influential, and fearless woman, determined to confront life on her own terms. Her mission becomes exposing the betrayals and deceit of men and overcoming any obstacles that come her way. She is now the proud owner of a beautiful house, which she rents exclusively to newlywed couples. But beneath the surface, she quietly observes their relationships, looking for cracks and tensions a subtle yet powerful metaphor for her quest for justice and understanding human frailties.

Life, however, presents yet another challenge in the form of Shah Jahan, one of her tenants. The dynamics between Jahan Ara and Shah Jahan form a pivotal part of the drama. Their relationship, evolving amid tension, attraction, and mutual discovery, has the potential to transform Jahan Ara’s life in ways even she cannot predict. Each episode reveals new layers of intrigue, suspense, and emotional intensity, keeping viewers on the edge of their seats.

Muamma is not just a story of entertainment; it is a social commentary that fearlessly portrays the realities of a divorced woman in a conservative society.

Saba Qamar delivers a powerhouse performance as Jahan Ara. Her portrayal captures a spectrum of emotions from vulnerability and grief to courage and determination. Her ability to convey the subtleties of pain, intelligence, and moral strength has won the hearts of audiences within the first few episodes. Usman Mukhtar, Nimra Shahid, and the supporting cast contribute significantly to the drama, ensuring that every character is vividly realized and essential to the storyline.

Saba Qamar’s return to HUM TV after a long hiatus has been highly anticipated. She has previously delivered exceptional performances in acclaimed dramas such as Bunty I Love You, Maat, Dastaan, and Besharam, leaving an indelible mark on every role. In Muamma, she brings maturity, depth, and nuance, making Jahan Ara a character that viewers both admire and empathize with. Her presence ensures that the drama is not merely watched but experienced.

Beyond entertainment, Muamma carries a profound social message. It teaches that a woman who stands firm for her rights and confronts societal pressures can emerge victorious despite adversity.

Muamma is poised to become a classic, remembered not just for its gripping storyline but also for its social relevance and strong performances. It stands as a testament to HUM TV’s commitment to selecting compelling themes, producing high-quality content, and contributing to societal awareness. The drama is a vivid portrayal of courage, resilience, and justice, and it resonates across generations.

By presenting a woman’s struggle with honesty, sensitivity, and drama, HUM TV has set a benchmark for quality storytelling. Muamma is a triumph of narrative, performance, and social commentary a drama that will not only entertain but also educate, inspire, and provoke thought.

The post An Epic Tale of a Woman’s Struggle, Revenge, and Enduring Hope – Muamma appeared first on Glam Magazine.

By Anusha Zahid

Alisha Junaid is the founder of Empower Sports Academy, which held the first women’s volleyball tournament in Pakistan last year. GLAM interviewed Alisha two years ago at the launch of Empower Sports Academy, and this is a follow-up interview now that their second national volleyball tournament has successfully concluded.

Originally from the United States, Alisha is a TEDx speaker, a recipient of the USAID Youth Leadership Award, and a student at Babson College. She has organized national volleyball tournaments throughout Pakistan and coordinated international tours, all while advancing her personal athletic and academic pursuits.

Congratulations on successfully concluding the second year of Pakistan Volleyball Championship. Do you think this year’s tournament was better compared to last year’s in terms of participation and overall excitement?

Yes definitely. This year, we expanded the preliminary round to eight different cities, a significant increase from last year’s three. We had teams from Abbottabad, Sadiqabad, Islamabad, Karachi, and Quetta, among others. This year, we also made a conscious effort to concentrate on the younger age groups, which was a deliberate decision to prioritise the development of our next generation.

To achieve this, we leveraged social media to promote the event, engaged with our networks to spread the word and encouraging teams to participate and then share their experience with their own networks. This grassroots approach led to a significant increase in participation. But what was truly heartening was seeing girls from various cities come together to a single location and participate in the tournament. The event saw a high level of engagement and exceptional sportsmanship, with teams from the same city coming together to support each other, especially at the final stages of the competition.

Were there any standout performances or emerging talents from this year’s championship?

It’s challenging to recall a specific standout athletic performance, but what really caught my attention this year was the exceptional sportsmanship and honesty displayed by the girls. In Pakistan, this can sometimes be lacking, but in this tournament, I saw a different dynamic at play. The girls were able to connect with each other, even with teams they were competing against; suggesting that collaboration and mutual respect are values that are being instilled in our young athletes, and that’s a promising sign for the future. Also, we were fortunate to have experienced coaches on board, including the national team coach and Eric Ballelos, who had travelled from the US to assist with the event. Their expertise was invaluable, and it was also a great opportunity for the girls to learn from them.

As for emerging talent, we selected a promising volleyball player from the national team last year named Khizra, who was sent to the US to play at a Division 3 college. Not only did she excel in volleyball, but she also successfully completed her undergraduate degree and is now a working psychologist. Our goal is to replicate this experience with more girls.

Who were the sponsors this year? Do you think they played a role in the success of this year’s tournament?

This time, we were fortunate to have some prominent names supporting us, which helped elevate Empower to the next level. Jazz came on board and signed a three-year contract, Interwood, which has been with us for the past two years, renewed their support with a three-year contract. We also secured a three-year partnership with Naya Nazimabad. Two electric motorcycle companies, Hyder and Crown also contributed by sponsoring the Player of the Match awards (one for volleyball and one for badminton) in the form of electric motorcycles to motivate the players. I am incredibly grateful to all our sponsors because running these tournaments is expensive. We cover the expenses for transporting all the players to Karachi, including bus tickets and their accommodation, because we want them to focus entirely on their game without worrying about logistics. Our sponsors and the prize money they provide are essential in making this possible. Last year, we heard a heartwarming story about a girl whose father started a business using one of these motorcycles, which significantly helped their family. That’s exactly the kind of impact we want to see, contributing not just to the girls’ athletic growth but also enabling them to support their families.

What were some of the challenges that you faced during this year’s tournament, and were they similar to or different from those you encountered in previous years?

From the girls’ side, I believe there were fewer challenges this time. We were able to clearly communicate the rules and ensure everyone understood how the tournament was being organised. However, challenges exist, mainly because we imposed certain restrictions on participation. For example, we have age limits, and we do not accept girls over the age of 19 or national team players. With the addition of our coach Eric this year, and discussions with our board, our focus remains on developing young players. We faced some challenges with over-age participants, though fewer than last year when we had an open age category. While we have thought about creating a category for players aged 19 and above, we’ve noticed that training and influencing older players is much more difficult because they tend to be more set in their ways, making it quite challenging to manage.

Have you chosen any young girls to take on coaching roles for the upcoming tournament?

We have selected a few young women to serve as coaches and are currently in discussions with some of them. These women have played on the national team and possess valuable experience and insights into the game and the competitive environment. However, to be eligible, they need to be over 25 years old. Our aim is to help them develop a coaching career and livelihood, while also ensuring that the timing aligns with their career stages – some are still active on the national team and wish to complete that chapter first.

In addition, we have identified several coaches from Pakistan, including both men and women, whom we are training during the summer. We are handling their visa arrangements, and hopefully by July, we expect to have our first group of around four coaches. These individuals will have the chance to learn from Stanford’s world-class coaching staff in the US.

With the increased visibility and support, what are your hopes for the future of women’s volleyball in Pakistan after this year’s tournament? 

Our hope for next year is to bring more athletes into the fold and expand what we’re doing with Empower. This year, we started incorporating sports like badminton alongside volleyball, and we saw a fantastic response. We plan to add more sports and gradually expand into various Olympic disciplines, but since taking on new sports is a logistical challenge, we’ll proceed step by step. Perhaps next year we will bring in squash and table tennis as well. Our objective is to show the girls that their involvement in sports can open doors for their future – their energy on the court, playing and having fun – especially this year after the prize ceremony when they all danced to classic desi songs and having an impromptu dance party – it was incredible to see them let loose and celebrate. We want to create more memories for them.

The post The Journey Continues appeared first on Glam Magazine.

The Masala Family Festival, held at the Karachi Expo Centre on 27 and 28 December, drew thousands of visitors from across the city. Thousands of families flocked to the two-day HUM Masala Family Festival, enjoying shopping, an food court, children’s activities and spectacular live concerts. Organised by HUM Network in Karachi, the Masala Family Festival has evolved from a one-off event into a cherished annual tradition—one where families come together, spend an entire day immersed in entertainment, and return home satisfied. Like the previous years, Expo Centre was transformed into a vibrant hub of colour, flavour and festivity.

The two-day festival offered attendees a diverse selection of food, pet shows, a car show, games, shopping and family-friendly activities. Visitors could be seen savouring a variety of cuisines, taking part in games, browsing stalls and meeting their favourite chefs and artists throughout the day. Through its festivals, HUM Masala presents live cooking sessions, talent hunts, celebrity meet-and-greets, interactive games with prizes, and electrifying music concerts by renowned singers.

As always, discounted products proved to be a major highlight, attracting large crowds to the hundreds of stalls set up in the venue. Upon entering the Expo Centre, a stunning display of vintage cars immediately caught the attention of visitors. The dedicated children’s zone, complete with rides and games, delighted younger guests, while animal lovers enjoyed seeing parrots, cats, dogs and other animals up close. Meanwhile, the heavy bike exhibition remained a popular attraction among the younger visitors.

Renowned HUM Masala cooking experts Shireen Anwar, Mehboob Khan, Saad Butt, Zarnak Sidhwa, Rida Aftab, A.R. Jamali and Rafia conducted live cooking demonstrations. They were joined by Abeel Javed and Kiran Khan, while Dr Noreen Batool’s team presented live skincare demonstrations.

Visitors had the opportunity to meet well-known comedians and personalities including Hanif Raja, Maham Aamir, Javeria Saud, Umar Alam and Nimra Shahid. A fashion show titled “Khayaal”, presented by Shaista Hasan was popular too. On both days, Umar Alam kept audiences engaged with lively game shows on the outdoor stage, with thousands participating enthusiastically despite the chilly weather. As evening set in, power-packed performances by Ashir Wajahat, N.S. Chauhan, Khudgharz, Ali Tariq and Mudabbir Aziz Jamal captivated the crowd and brought the festival to an enjoying close.

The Masala Family Festival has established itself as a regular family-oriented event in Karachi and Lahore, offering accessible entertainment across a range of activities. Despite high visitor numbers, the festival maintains organised operations and a family-friendly environment.

The post Karachi Hosts Pakistan’s Largest Family Festival appeared first on Glam Magazine.

Growing up during a politically turbulent time had a profound influence on Farrukh Shahab. His family’s migration and resettlement exposed him early on to instability and change. He first lived in Rawalpindi and later moved to Karachi, during the late 1970s — a period marked by political unrest, student movements and social upheaval. Witnessing protests, the banning of student unions, and the tension that gripped the streets gave him a firsthand understanding of how politics shapes everyday life. Those experiences made him street-smart and observant, nurturing in a curiosity about the world and the human condition. In 1984, Shahab apprenticed under Iqbal Mehdi, a respected artist who was also surrounded by writers, poets, and political. Their discussions on art, literature, and ideology opened his mind to the power of creative expression as a form of reflection and resistance and helped him realize that art was not just about technique or aesthetics. His early works carried traces of that realism and social consciousness. The struggles, conversations, and observations from that era have continued to shape his worldview and remain deeply embedded in his artistic language today.

Your artistic journey began with portraiture, earning you awards as early as the 1990s. How do you view that early phase of your career in relation to your current work?

My early years were deeply rooted in portraiture, which became the foundation of my artistic journey. During university, a turning point came when my work was featured in the Sindh Art Exhibition in 1986, noticed by art critic Amjad Ali, who mentioned me in a leading newspaper, Dawn. That early recognition gave me the confidence to take art seriously and pursue it as a profession. Working as an apprentice to Iqbal Mehdi was a major influence. His studio was a training ground. We worked on commissioned portraits and large murals, sometimes twenty feet wide, for prominent figures and institutions. That experience taught me not only technique and discipline but also respect for craftsmanship and realism. I became very familiar with the medium; colour, form, texture and understood how to translate life onto canvas. Over time, however, I felt the need to move beyond replication. While realism gave me a strong foundation, I wanted to explore my own voice and direction. Breaking away from that comfort zone was essential to evolving as an artist. The early phase gave me precision and structure, but my current work draws more from emotion, memory, and experimentation – a dialogue between what I learned then and what I continue to discover now.

You’ve explored diverse styles — from figurative portraiture to abstraction, mixed media, and photography. How do you decide when to shift or experiment with a new style?

My shift toward experimentation began during my first trip abroad in 1992, when I accompanied Iqbal Mehdi for his exhibition at the Pakistan Mission to the United Nations in New York. That experience opened a new world for me. We also visited galleries across SoHo and other parts of the city, where I encountered a wide range of contemporary and abstract art. Coming from a background of strict realism, it was eye-opening to see how freely artists expressed ideas without the constraints of form or likeness. I even began taking small commissions there — portraits, mostly — but observing that diversity of styles planted a seed of curiosity. Gradually, I started exploring symbolic and nonrealistic forms in my own work. It wasn’t a sudden shift, but a natural evolution. Exposure to international art spaces — first in New York and later in Paris — expanded my perspective and made me realize that experimentation is essential for growth. It’s about responding to what I’m feeling at a certain point in time — sometimes it’s realism, sometimes abstraction, or even photography.

In Valley of the Quest, you integrate lapis dust, teakwood, and layered materials. What inspires your experimentation with unconventional mediums?

The idea of experimenting with unconventional materials began around the year 2000, shortly after I got married. My wife worked with an airline, and during our travels and stays abroad — particularly in London — I often found myself surrounded by everyday objects rather than traditional art supplies. I started using what was available: letters, cardboard, bits of paint, even discarded materials. That period became a quiet laboratory for exploration, though at the time I didn’t take it very seriously. Years later, while preparing for Valley of the Quest, my curator, Mohammad Ishaq, encouraged me to revisit that experimental approach. Once I began, it came naturally — the process flowed, and the material itself started to guide the form. I used lapis dust, teakwood, and layered surfaces to create depth and symbolism, drawing inspiration from The Conference of the Birds by Farid Uddin Attar. The text’s metaphors about the soul’s journey resonated deeply with me and became the conceptual backbone of the series. Each piece in Valley of the Quest reflects that spiritual search — birds as metaphors for human emotions, flight as transcendence, and materials as memory. The use of natural, tactile mediums connects the work to both earth and spirit.

How do you balance your personal need for artistic evolution with the art market’s expectation of a “signature style”?

I’ve never allowed the art market to dictate the direction of my work. When an artist starts creating with the market in mind, they risk becoming confined — producing what is expected rather than what is felt. That mindset slowly erodes individuality, originality and the natural evolution of creativity. What many forget is that the very work that first drew the market’s attention was born from pure, personal expression — not commercial calculation. Yet once an artist begins to sell, external influences can creep in. Galleries may suggest changes — colour adjustments, recurring themes, or familiar compositions — and before long, the artist is boxed into a “signature style” that serves the market more than their own vision. I’ve consciously resisted that. Growth, for me, lies in experimentation and change. Each phase of my work reflects a new internal journey, not a repetition of what has already been accepted.

You’ve spoken about the canvas as a space where art “takes on a life of its own.” Could you elaborate on what that loss of control means for you as an artist?

For me, painting is never a premeditated act. I don’t approach the canvas with a fixed plan or a detailed vision. The moment you try to control every aspect of a painting, it resists — it begins to transform into something else entirely. My process is intuitive: I start with a loose idea, then build, erase, add, and alter as the work unfolds. The composition, the colour palette, even the emotion evolve naturally as I paint. There are moments when the hand seems to move on its own, guided by something beyond conscious thought. That’s the point where the canvas takes on a life of its own. Sometimes the result isn’t what I imagined; sometimes it surpasses my expectations entirely. But that unpredictability is the essence of creation.

Many of your works embody both personal emotion and collective human experience. Do you consciously navigate between them?

I believe if you try to create art consciously with the intent of balancing the personal and the universal, it becomes more of an illustration than an expression. For me, the process is organic. Whatever you experience — whether from life, relationships, or even from what you see in galleries and around you — quietly settles in your subconscious. Those impressions stay there, sometimes for years, until they resurface in unexpected ways.

When I paint, it’s rarely a direct translation of an experience or emotion. The connection is deeper and often difficult to trace. It’s as if the body’s own chemistry and the mind’s stored memories come together on the canvas. Art, to me, is a mirror of the subconscious — it reflects fragments of who we are, often without our realizing it. Whether one is a painter, writer, or poet, the act of creation always carries something instinctive and internal, shaped by everything we’ve lived and everything we’ve forgotten.

You’ve played an active role as Chairman of the Fine Arts Committee at the Arts Council of Pakistan. How do you view the responsibility of artists in shaping the country’s contemporary art scene?

It’s been about six years since I joined the Arts Council of Pakistan as a governing member, and the experience has been both unexpected and deeply rewarding. Initially, I never saw myself as a teacher or administrator — I’m a reserved person by nature — but over time, I discovered that guiding young artists can be just as fulfilling as creating art itself. My approach has never been to impose ideas or styles on students. Instead, I encourage them to find their own voice — to develop a personal language of expression. Reviewing their theses, discussing concepts, and watching them evolve into confident artists has been one of the most gratifying parts of this journey. Many of our alumni have gone on to build successful careers, which affirms the importance of giving emerging artists the space to explore and grow. Serving as Chairman of the Fine Arts Committee has also pushed me out of my comfort zone. Organizing exhibitions, workshops, and programs has shown me how collective effort shapes the art community.

What gaps do you think still exist in Pakistan’s art education and curatorial practices, and how are you contributing to bridging them?
Unfortunately, we’re witnessing a gradual decline in both the conventional gallery culture and the strength of art institutions in Pakistan. This has created a visible gap — not just in opportunities for young artists to exhibit their work, but also in the quality of curatorial engagement and mentorship available to them. Our focus has been to bridge that gap by creating more accessible platforms for emerging talent. We want young artists to feel encouraged rather than disheartened by the lack of formal infrastructure. Whether it’s through exhibitions, workshops, or performance-based art programmes, we’re trying to provide them with the space, visibility, and confidence to grow. People are often hesitant to embrace new ideas or formats, but this effort of involving students and fostering inclusivity is slowly gaining momentum. I see it as an ongoing mission: to keep the art ecosystem in Pakistan alive, evolving and open to the next generation of voices.

Winning the Nigaah Art Award for Abstract Art in 2024 affirmed your experimental work. How do such recognitions influence your artistic confidence or direction?

Recognition has always carried great value for me. I still remember the feeling of seeing my first painting printed in Dawn in 1986 — at that time, it felt monumental. Moments like those remind you that what you’re creating is being seen and appreciated, and that validation can be incredibly motivating. Winning the Nigaah Art Award for Abstract Art in 2024 was a similar moment of affirmation. It reinforced my belief in continuing to experiment and evolve. For any artist whether emerging or established, appreciation, acknowledgment, and even the simplest forms of recognition matter deeply. They renew your confidence, keep the creative spirit alive, and encourage you to push your boundaries further.

When future generations look back at your career, what do you hope they recognize as your defining contribution to Pakistani art?

People often say that an artist’s career is unpredictable, that it’s difficult to sustain oneself through art alone — but I’ve spent my entire life doing just that. It hasn’t always been easy, but it’s been deeply fulfilling. Once your work is out in the world, you have to be ready to face all kinds of responses — appreciation, criticism, or even indifference. That openness is part of being an artist. If future generations look back at my career, I hope they recognize it as one defined by persistence and courage — the courage to evolve, to take risks, and to experiment without fear of rejection.

You’ve seen the Pakistani art scene transform over three decades. What excites you most about the new generation of artists?
What excites me most is their openness — their willingness to experiment, to question, and to redefine what art can be. Over the years, I’ve witnessed remarkable growth in opportunities for young artists, compared to the past, from the rise of new galleries to the digital platforms that allow them to share their work instantly with the world. This generation is far more exposed and connected than we were. Their inspirations come from everywhere — from local traditions to global movements — and that diversity shows in their work. They are bold, unafraid to take risks, and eager to explore concepts that challenge conventions. It’s heartening to see Pakistani artists making their mark internationally, representing our culture and creativity with such confidence. Today, art and artists are no longer confined to one space or mindset.

If you could describe your art in three words — the words you’d want on a gallery wall decades from now — what would they be?

They would be dedication, evolution, and daring. Dedication — because art has been a lifelong commitment for me; Evolution — because I’ve never wanted to remain stagnant; every canvas is a step forward. And Daring — because experimentation and risk have always been at the heart of my creative process.

The post Exploring the Art of Experimentation – Farrukh Shahab appeared first on Glam Magazine.

Islamabad’s water is naturally high in minerals, especially in houses that rely on private bore wells. As groundwater travels through the city’s mineral-rich layers, it picks up calcium and magnesium. These minerals are safe to drink but they cling to the body in ways that most people do not realise. If you have ever seen a chalky layer on your taps or kettle, that residue is the same mineral buildup your hair and skin are reacting to. With the onset of winter dryness, the effects can feel even more noticeable.

On hair, mineral residue forms a thin coating that makes strands feel dry and rough. It also builds up on the scalp, which is why wash days can feel heavier and you may notice more shedding than usual.

The thinning you see is temporary and usually settles once the mineral film is removed. Styling products also stop working properly because they sit on top of the buildup instead of absorbing.

Skin reacts in a similar way. Hard water disrupts the natural barrier, leaving that familiar tight, slightly uncomfortable feeling after a shower. Some people develop dullness or small bumps on the arms and legs that no moisturiser seems to fix.

The good news is that a few small changes make a noticeable difference. A shower filter is the simplest place to start. Choose one that targets calcium and magnesium and replace it regularly. A weekly clarifying shampoo helps lift buildup, and a quick apple cider vinegar rinse can smooth the cuticle and bring back shine, as long as it is properly diluted.

For the face, washing with a little filtered or reverse osmosis water is surprisingly effective. Reverse osmosis systems filter out the minerals that make hard water feel harsh. Most homes have a small RO tap in the kitchen, so filling a cup or jug with this water for face washing is an easy way to avoid mineral residue.

Follow with richer moisturisers for the face to balance dryness.

Islamabad’s hard water is not going anywhere, but with a few easy adjustments your hair and skin can recover quickly.

The post Is Islamabad’s Water Ruining Your Hair and Skin? appeared first on Glam Magazine.

Hydration Begins Here

Cold weather does not just dry out the air, it pulls moisture straight from your skin. Start with a cleanser that removes buildup without leaving your face tight or stripped. A cleansing balm is an ideal first step. It melts away sunscreen, makeup and dirt while keeping your skin barrier intact.

Follow up with a hydrating face wash that restores moisture rather than removing it. This two-step routine helps your skin stay soft, clean and ready to absorb the rest of your products.

Local pick: Oh So Cherry Makeup Removing Balm by HER Beauty for the first cleanse, and CoNatural ’s Vitamin E Face Wash for the second.

Your Skin Barrier’s Winter Coat

This is the season to go rich. Lightweight gels might have worked in summer, but winter calls for thicker, barrier-repairing creams. Look for formulas with ceramides or squalene to help seal in hydration. Apply while your skin is still slightly damp to trap moisture better.

Tip: Spray your face with rose water and layer a hyaluronic acid serum under your moisturiser to maximise hydration and glow.

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Local pick: Cerapair Barrier Repair Moisturiser by Primary Skin helps strengthen the skin barrier while keeping dryness at bay, making it a perfect daily staple.

These products have gained popularity for their gentle, barrier-friendly formulas, and they are all proudly home-grown.

SPF Isn’t Just for Summer

Just because the sun feels softer does not mean it is safe to skip SPF. UVA rays are present all year and they are the ones responsible for premature ageing and dullness. Use a broad-spectrum sunscreen every morning, even when it is cloudy. A simple trick to keep your skin from drying out is to layer your moisturiser under your sunscreen. It adds an extra cushion of hydration and prevents that mid-day tightness.

Tip: Make sure you’re applying enough. Use roughly two fingers’ worth of sunscreen for your face and neck to get full protection.

Local pick: Several local brands now offer lightweight, broad-spectrum sunscreens that suit different skin types and climates.

Tiny Acts of Care

Your lips and hands are the first to surrender to winter. The air indoors is dry, the cold outside harsher than it looks, and before you know it, they start to crack and sting. Keep a small balm in your pocket and a hand cream by your desk, and reapply often. These tiny acts of care make a big difference on cold days.

Tip: Apply hand cream right after washing your hands, and use a thick balm before bed to wake up to softer skin.

Make It a Ritual, Not a Routine

Good skin in winter is not just about what you apply, it is about how you live. A little intention goes a long way. Add moisture back into the air with a humidifier, keep showers short and warm instead of scalding hot, and make hydration a quiet ritual instead of a chore.

At night, let your routine slow you down. Mist your face, light a candle, and take a few deep breaths while applying your cream. These small, steady moments tell your body it is safe to rest, and restful sleep might just be the most powerful skincare step of all.

The post Winter Skincare Essentials You Actually Need appeared first on Glam Magazine.

Viral challenges captured that shift before we even realised it was happening. What began as light-hearted fun, planking on pavements, pouring ice water for charity, freezing mid-dance, slowly turned into something bigger: proof of belonging in a world where visibility is its own reward.

The Planking Challenge, which spread globally around 2010, was simple and absurd, with people lying flat in unusual places and posting it online. The Ice Bucket Challenge, in 2014, took that same spirit and added purpose, raising millions for ALS research and turning empathy into engagement. By 2018, The Kiki Challenge had people dancing beside moving cars to Drake’s In My Feelings, showing how quickly participation can tip into risk.

Each of these moments says something about how we live now. We crave connection, community and the small thrill of being part of a shared trend. Yet, in chasing those moments, we also learn to curate ourselves, to stage spontaneity and rehearse authenticity until it feels natural.

But not every performance is empty. Some of these challenges have raised millions for research, inspired collective acts of kindness and reminded us that visibility can be powerful when used well. They show that the same tools that fuel vanity can also drive empathy, creativity and change.

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Still, the line between living and performing is thin. The performance never really stops. The best we can do is decide which parts are worth playing.

The post Viral Challenges and the Rise of the Performance Self appeared first on Glam Magazine.