1. 1. The Fred Hotel

  2. 2. The Observatory

  3. 3. The Paan Lab

  4. 4. Polymath

  5. 5. Colabs

  6. 6. Allied Bank Limited

  7. 7. Daftarkhwan

  8. 8. Aomi

  9. 9. Cultstore.co

  10. 10. Gaijin The Izakaya

  11. 11. Fred, The Restaurant

  12. 12. BNU Design Summit-01

  13. 13. Bareezé Man  

  14. 14. Cafe Bareezé

  15. 15. Rokhan Studio/Z.Parwez

  16. 16. 1978

  17. 17. Cypress Semiconductor/Infineon

  18. 18. Photo

  19. 19. Sound

  20. 20. Video



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Bareeze Man

Bareezé Man is a luxury menswear brand, borne from the storied Bareezé brand; a Pakistani icon of unstitched luxury fabric.      

Projects

Campaign: The Streets

Campaign: Made to Measure

Campaign: The Substance Within

Campaign: Inherited Technologies

The Fabric Library

Campaign | The Substance Within  Eid ul Fitr, 2019

Prompt


A random sketch of a natural crack became a central, unifying visual theme for set backdrops that echoed all of Bareezé Man’s core values, as well as our affinity for natural materials and clashing colors. 

We set out to make large blocks of travertine pieces with these kintsugi-like cracks running across them, with different materials, colors, shapes These blocks were then mounted, to appear ‘plugged in’ to the the walls of a space that could have been - say, the art gallery of a world class geological institute.

This same visual element was then adapted into multiple artwork assets - digital and print- to support the brand’s visual merchandising and customer experience design for the whole Eid campaign.
Kintsugi is the Japanese art rooted in repairing broken ceramics while celebrating the imperfectiion of doing so. There are three predominant styles* of kintsugi:

  1. Crack method - where broken joints will be repaired using just gilded lacquer/ epoxy. This produces the recognizable gold veins that kintsugi first brings to mind.

  2. Piece Method -  where the repair work almost is almost wholly visible as a piece of the lacquer itself; imagine a chunk of gold replacing a chipped piece on the side of a vase. 

  3. Joint Call - where missing pieces of the ceramic piece are wholly replaced with similarly shaped pieces from another piece. This results in a visibly juxtaposed form of other ceramix pieces fitting into where the original piece was.

The serendepetitous thing here is the fact that without planning for it, the three individual pieces we designed and fabricated, each came to represent one of the kintsugi methods above, in one way or another.


I wanted to explore the intersection of contrasting colors and materials as backdrops for a campaign photography shoot; this was to be ‘the substance within’. There had to be permanence to the material, as well as something fleeting and absolutely clashing - streaking across it, and our of it - with blatant dischord. 

As a base- I had marble in mind from the very beginning.  For the cracks, as I was unsure then of materials would come together - I’d originally shortlisted acrylic, poured and dyed resin, or actual solidified forms of gold screen printing ink (if that was ever to be possible). 

Eventually, we chose travertine because

We went through a range of fabrication prototyping efforts, Kintsugi being the first. I went over to Greyscale, one of Pakistan’s finest concrete-accessory makers, and discussed the possibility of ‘carving color’ into stone.