Can you imagine that there was a global fashion icon walking on the streets of Lahore, yet his visit
remained low profile, with no structured engagement from the government or Pakistan’s fashion
industry?
Jimmy Choo, one of the world’s most renowned luxury designers, recently visited Pakistan in
February this year. His first ever visit to Pakistan should have been seen as an opportunity to project
Pakistan beyond the country’s usual narratives of terror, political turmoil and security concerns.
Nevertheless, his visit was handed with nominal fanfare, no official recognition and certainly no
concerted effort to showcase Pakistan’s creative side on a global scale. A name that holds weight in
the global fashion industry should have been a state guest. Or they could have extended an honorary
welcome.
Governments worldwide have long realised the importance of soft power—the ability to shape
global perceptions through art, culture, entertainment and innovative matters just as much as
political influence. Beyond the customary diplomatic efforts, many nations use strategic cultural
engagements to raise their global standing. India, for example, in April 2023, at the inauguration of
the Nita Mukesh Ambani Cultural Centre (NMACC) turned into a global display, pulling in names
like Gigi Hadid, Zendaya and Tom Holland. It was not just an event; it was a message—one that
firmly positioned India as a cultural powerhouse with the breadth to host the world’s biggest names.
Now, compare that to how Pakistan handled Jimmy Choo’s visit, besides the highly praiseworthy
reception hosted by entrepreneur and professor Sarwar Khawaja under SK Hub that ensured that the
fashion icon’s visit was acknowledged. However, the indication of a lack of official collaboration
denoted by the state of Pakistan missed a golden opportunity to showcase its creative skill set on a
global stage.
A visit of this scale, only if strategically leveraged, could have been a moment to
spotlight Pakistan’s fashion and design industry, cultivating meaningful exchanges between local
designers and international icons. Instead, it remained an underutilised event, a reflection of how we
frequently fail to capitalise on soft power diplomacy via cultural exchange. The country’s top
designers like Bunto Kazmi, Mohsin Naveed Ranjha, Sana Safinaz or HSY could have been
involved in discussions on how to position Pakistani couture on the global map. Emerging creators
and designers could have benefited from workshops at a national scale and Choo’s insights could
have played a role in refining Pakistan’s fashion exports. Instead, the visit was barely noticed
beyond a few social media posts.
There is not lack of creative talent in Pakistan. Our fashion designers, filmmakers and artists have
already carved their own spaces on international platforms, often with little to no government
backing. Yet, in today’s digital age and despite these triumphs, we continue to ignore the potential
of creative industries as a tool for diplomacy and global branding. Creators and designers do not
just prosper individually, they are part of a broader narrative that enables how the world perceives
their country.
What makes this negligence even more disappointing is the contrast with how Pakistan and other
Muslim-majority countries treat controversial figures. Take Zakir Naik, for example. An Islamic
scholar whose speeches have been linked to international controversies, he has been granted state
guest status in various states, including in Pakistan last year. While religious discourse has its place,
why do figures mire in controversy receive state honours while cultural icons who positively shape
global perceptions of our country get sidelined?
It’s not that Pakistan lacks an understanding of soft power, it merely prefers to invest in the poor
avenues. Religious figures like Zakir Naik continue to be given platforms despite the global
scrutiny they attract, while global fashion icons like Choo arrive and leave without so much as an
honorary reception. This selective prioritization hurts Pakistan’s potential to shift its global
narrative.
Pakistan has an enormous talent, but it lacks a state-backed vision. Instead of letting global figures
slip by unnoticed, we need to institutionalise such opportunities. The world’s attention isn’t grasped
through politics or controversies alone, it is also won through art, culture, storytelling and the
ability to craft narratives that inspire and captivate. It’s time Pakistan should learn to do the same.
The writer is a former Sub-Editor at Daily Times newspaper and has a keen interest in how states leverage global high profile names and icons for socio-economic and diplomatic influence!