Nasir Mazhar's troupe were back; but softer, more poetic than before. They were artists, layered in ghostly sheers and with HB pencils tucked into hats; and they were goths, in coats that billowed as capes and with deathly black stamped-on lips. A darkly enchanting narrative woven into signature sports shapes and cut away flesh.
The trademark branding was quieter, reserved to waistbands and hidden in lengths. Familiar contours were there too, updated and softened with ruched fabrics and a romantic edge; ball gown puffed sleeves and over-sized bows treading the line between girly-sweet and bold silhouettes. One skirt ruffled around the tops of thighs as black petals, then cut away to be held with garter straps, revealing flesh and shapely curves beneath.
Menswear was military, aggressive shapes over bulking muscles and iterations of camouflage in the same sorrowful blacks. The swirls of colour from previous seasons were gone, somber tones instead lifted by hair like silver shimmer on fabrics as though paint peeling from gritty walls beneath.
The sexualisation of gender codes remained however; overtly masculine and feminine shapes revealed biceps and brawn, were cut low or cut out to show shapely feminine form. Cast from social media, the models were diverse, realistic and relatable - a gang of Mazhir fans stomping down the runway to the sounds of next-gen grime producer Preditah.