According to Zoheb Hassan, Nazia Hassan's ex-husband Mirza Ishtiaq Baig is planning to make a film on the Pakistani pop star. However, the Hassan family is opposed to the idea.

He wrote that the family will sue anyone who is part of the project.

In a Facebook post, Hassan said, "The Hassan family has come to know that Nazia's ex-husband is trying to make a film on her life so he can feature himself and further profit from her name and fame."


"Anyone entertaining this individual shall be duly and legally sued by our family as he has no legal right or basis to do so. Furthermore we hold full publishing rights of all our music worldwide and any attempted infringement of our catalog shall be subject to legal cost and consequence."

Nazia Hassan's married life was a tumultuous one. She got married to Baig in 1995, had a son Arez Hassan and divorced him in 2000, reportedly days before she died due to lung cancer.

ASHLAND, Ky.--(BUSINESS WIRE)-- Braidy Industries, Inc. and its subsidiary Veloxint announced today the appointment of five new key executives. The news comes as momentum continues for Veloxint and for Braidy Industries’ $1.6 billion Braidy Atlas rolling mill project, following the official groundbreaking events in early June.

Braidy Industries has appointed Julio Ramirez to the position of Chief Financial Officer. Ramirez brings experience as a former founder, CEO and CFO, driving corporate, financial and digital strategy and performance for a number of diverse Fortune 500 companies, including The Hackett Group, Molson Coors Brewing Company, Summit Materials and The Freeman Company. Ramirez also served as an audit partner at KPMG for 15 years, and was a U.S. Army Captain. Ramirez will report directly to Braidy Industries CEO Craig Bouchard.

At Veloxint, Major General Kevin McNeely (Ret.) joins as Chief Operations Officer. McNeely brings over two decades of experience in government, personnel management and policy and process development, as well as thirty-eight years of military service to the position. He previously served as Director of Manpower and Personnel at the National Guard Bureau, Assistant to the Chairman for National Guard Matters, Deputy Director of Strategy, Policy and Programming for the U.S. European Command and Director of Strategy, Policy and International Affairs at the National Guard Bureau. McNeely will report directly to Veloxint CEO Dr. Alan Lund.

Dr. Phoebe Kwan is assuming the role of Chief Commercial Officer at Veloxint, bringing expertise in strategic positioning and development of high-performance materials across a range of industries, including technology, medicine and energy. Dr. Kwan has held executive leadership roles in product management, marketing, business development and external corporate venturing at both early-stage startups and Fortune 500 companies, and holds a PhD in Chemistry from the Massachusetts Institute of Technology. Kwan will report directly to Veloxint CEO Dr. Alan Lund.

Veloxint has also appointed Dr. Judson “Jud” Marte as Vice President of Product Development. Formerly Principal Scientist and Product Manager for two decades at GE Global Research, Marte will apply his expertise as a materials scientist specializing in processes producing low-cost, high-efficiency materials to oversee transformative component design using Veloxint’s thermally-stable nanostructured alloys. Marte received his M.S. and PhD in Materials Science and Engineering at Virginia Tech, where he conducted research for five years.

Finally, John Gaspervich joins Veloxint as Executive Vice President of Manufacturing. Gaspervich brings thirty years’ experience in the metal injection molding industry, and is a leading expert in MIM parts production and market applications. In his four-decade career working with cutting-edge precision manufacturing technologies, Gaspervich has held executive leadership roles in manufacturing, engineering, quality and business development for leading North American and international companies in the MIM industry.

Of the developments, Craig Bouchard, Chief Executive Officer of Braidy Industries said, “A company is only as good as its people and its community. We are only as great as our culture. To lead the rebuild of Appalachia is a challenge and a true responsibility. We will succeed because great people want to join us and make a difference.”

About Braidy Industries:

Braidy Industries is a future-leaning advanced manufacturer of metals for the global transportation and defense industries. The company’s first project, the Phase I construction of a greenfield aluminum rolling mill at EastPark Industrial Center in Ashland, Kentucky, will position the company as the low-cost provider of 300,000 annual tons of production-ready series 5000, 6000 and 7000 aluminum sheet and plate for the automotive and aerospace industries.

* Source: AETOSWire

Teaming up director Ahsan Rahim with actors Sajal Ali and Imran Abbas, this ad is the brand's attempt to redefine what it means to be a real hero, particularly in a desi household.

Have a look at the TVC here:



Here are few lessons we're taking from the campaign:

1. Who belongs in the kitchen is not a question that gender has to answer!

The ad portrays both celebs as a contemporary couple in a progressive domestic setting that aims to unseat age-old gender roles and stereotypes.

The story suggests that Lemon Max's power of 1000 lemons is made for fingers that are now gender-equivalent, and consequently heroic.

2. Not all mother-in-laws steer the household's decisions!

The ad subtly hints on how the decision maker of the household (particularly the kitchen) is not always a domineering mom-in-law.

We're gradually but strongly shifting towards creating an environment where household chores are everybody's job, particularly the men of the house.

Can we please have more ads reflecting this now?

3. Male celebs can also endorse products considered to have women as their primary target!

We think the TVC ably tells the ad world that experiments are not always a bad idea.

Not all household product campaigns are meant to have women celebs swiveling around in designer joras conforming to age-old gender roles.

4. Not all ads need melodrama to create strong recall!

All characters in the TVC do their jobs without bursting with cosmetic (and oft irrelevant) emotions and we certainly like that!

From the point where the parents-in-law are introduced to the parts where the husband does the dishes while the wife watches in glee, everything seems to have been pictured just right.

Shall we say this makes the reactions all the more relatable?

بولی وڈ فلم ’دنگل‘ اور ’سیکریٹ سپر اسٹار‘ میں اداکاری کے جوہر دکھانے والی 17 سالہ زائرہ وسیم نے اعتراف کیا ہے کہ وہ بھی انتہائی کم عمری میں ’ڈپریشن‘ اور ’انزائٹی‘ جیسی ذہنی بیماریوں میں مبتلا رہ چکی ہیں۔


خیال رہے کہ انزائٹی کو غیر یقینی کیفیت یا کچھ ناخوشگوار واقع ہونے کا ڈر کہا جا سکتا ہے۔

اردو میں انزائٹی کے لیے بے چینی، پریشانی یا گھبراہٹ جیسی اصطلاحات استعمال ہوتی ہیں۔

اسی طرح ’ڈپریشن‘ کے لیے اداسی، مایوسی اور دباؤ جیسی اصطلاحات استعمال کی جاسکتی ہیں۔

’انزائٹی اور ڈپریشن‘ کو ذہنی بیماریاں قرار دیا جاتا ہے، ماہرین کے مطابق اگرچہ اسے مکمل طور پر بیماری نہیں کہا جاسکتا، تاہم یہ بھی مرض کی ایک قسم ہے۔

یہ بھی پڑھیں: انزائٹی کی وجوہات، علامات اور علاج

اس میں انسان ذہنی طور پر مفلوج ہوجاتا ہے، اسے ہر وقت مرنے کے خیالات آنے سمیت بھوک کا نہ لگنا، بھوک کا بڑھ جانا، بار بار غصہ آنا، ڈرنا، سانس لینے میں دشواری سمیت اسی طرح کے کئی مسائل ہوتے ہیں۔

دنگل میں زائرہ وسیم نے کم عمر گیتا پھوگٹ کا کردار نبھایا تھا—اسکرین شاٹ
دنگل میں زائرہ وسیم نے کم عمر گیتا پھوگٹ کا کردار نبھایا تھا—اسکرین شاٹ


ان بیماریوں سے متعلق خیال کیا جاتا ہے کہ اس مرض کے شکار افراد زیادہ تر 25 سال سے زائد عمر کے ہوتے ہیں، تاہم یہ دیکھا گیا ہے کہ اس کے شکار افراد کا عمر اور جنس سمیت ان کی غربت و دولت سے بھی کوئی تعلق نہیں۔

17 سالہ زائرہ وسیم سے قبل بھی کئی بولی وڈ و ہولی وڈ کی معروف شخصیات، اداکار اور کروڑ پتی افراد اس بات کا اعتراف کرچکے ہیں کہ وہ ’انزائٹی اور ڈپریشن‘ کا شکار رہ چکے ہیں۔

بولی وڈ میں زائرہ وسیم سے قبل معروف اداکارہ دپیکا پڈوکون بھی اس بات کا اعتراف کر چکی ہیں کہ وہ بھی اس مرض میں مبتلا رہ چکی ہیں۔

دپیکا پڈوکون نے تو اس بیماری میں مبتلا افراد کے لیے ’ لائیو، لاف لو فاؤنڈیشن‘ نامی فلاحی ادارہ بھی کھول لیا۔

ان کے علاوہ الینا ڈی کروز بھی اس بات کا اعتراف کر چکی ہیں کہ وہ بھی طویل عرصے تک ’ڈپریشن‘ کا شکار رہ چکی ہیں۔

زائرہ وسیم نے اپنی ٹوئٹر اور انسٹاگرام پوسٹ میں تفصیلات بتاتے ہوئے انکشاف کیا کہ وہ 12 سال کی انتہائی کم عمری میں پہلی بار ’انزائٹی‘ کا شکار ہوئیں۔

Stylist Soomar Rehman has sued his former employer MD Productions for failing to give him credit for his work in Parwaaz Hai Junoon'spromotional materials so far.

A legal notice served to MD Productions, a copy of which exists with Images, states that Soomar was employed under a two-year contract from December 2016 as "creative manager & wardrobe stylish" for Parwaaz Hai Junoon; however, his employment was terminated over the phone on August 31, 2017 with the explanation that the project for which he was hired has been completed.

After which, the legal notice states that Rehman was not credited for his work in any PHJ promotional materials and instead two individuals "who never performed any role in the movie" were named.

At present, the two released PHJ teasers name Babar Zaheer as make-up artist and stylist and credit the wardrobe to Nomi Ansari, Rabab Hassan and Sharjeel Sarfaraz.


According to Rehman, Hassan and Sarfaraz did not contribute to the film's wardrobe department. He maintains that he was responsible for all the wardrobe styling in the film, except for one song shot in Lahore.

Currently, MD Productions has been instructed by the court to not release any more promotional materials before the next hearing on Monday.

The production company is refraining from comment while the matter is sub judice.


Shehla Chatoor has always been extravagant – with a penchant for details, flora, butterflies, glimmer, glamour. And one knew that her first solo outing would pack in the whole shebang, delivering not just a show but an experience.

The collection was titled ‘Nur-e-Alaleh’ which means ‘light from a heavenly flower’ and following the theme, the models walked through an enchanted forest to lilting music. There were pigeons suspended in the air, clusters of chrysanthemums dotted about the astro-turfed catwalk and winged, feathered installations everywhere. There were sparkling Swarovski crystals, heavy trails and swathes upon swathes of extremely delicate hand embroideries. Classic Shehla.

Shehla Chatoor with her showstopper Mehreen Syed and Amna Ilyas


But perhaps a solo show needs to be like this. Unlike fashion weeks, it is a show that needs to get people’s attention on its own merit rather than rely on a stellar multi-designer lineup. It needs to move beyond showcasing apparel towards reflecting a designer’s signature aesthetic. The entire audience, media and society’s crème de la crème, is there just for that one designer – the show needs to give them something to talk about.

This, Shehla managed to achieve. The turnout at her show was exemplary, a far cry from the lackluster red carpets one encounters at fashion weeks. It just goes to show that crowds are drawn in by designer clout rather than just any fashion event.

The Kazmis and Sadaf Fawad Khan at Shehla's show


This was Karachi’s fashion fraternity coming together to support each other, from Fashion Pakistan Council stalwarts Feri Rawanian, Maheen Khan, Aamna Aqeel, Obaid Sheikh and Nauman Arfeen to upper-tier designers like Umar Sayeed, Maheen Karim, Amir Adnan, Huma Adnan, Wardha Saleem, Nubain Ali, Zaheer Abbas, Adnan Pardesy, Safinaz Munir with her team and bridal couturier extraordinaire Bunto Kazmi.

Add in an elegant smattering of celebrities – Sana Bucha, Hareem Farooq, Asim Raza – and the event was a veritable Instagram fantasy. Shows as well-attended are few and far between.

The heaviest bridal wear was most exquisite: Fauzia Aman dazzling in maroon and gold, Sunita Marshall in a gorgeous violet lehnga paired with an ivory backless shirt
The heaviest bridal wear was most exquisite: Fauzia Aman dazzling in maroon and gold, Sunita Marshall in a gorgeous violet lehnga paired with an ivory backless shirt


But what of the clothes? Did they make impact? Mostly yes.

The heaviest bridal wear was most exquisite: Fauzia Aman dazzling in maroon and gold, Sunita Marshall in a gorgeous violet lehnga paired with an ivory backless shirt, Sabeeka Imam in a play of pastel florals and panels running down the length of the shirt, Fayezah Ansari swaggering in a midnight blue suit and Amna Ilyas in a cape and a fitted skirt with a standout feather trail.

There were layers of raffia, tulle, feathers and layers. Shehla’s forte has always been her dedication to the most minute hand embroideries and they took center stage on a predominantly nude palette set off by jewel tones.

Fayezah Ansari swaggered in a midnight blue suit and Amna Ilyas walked down the runway in a cape and feathered skirt
Fayezah Ansari swaggered in a midnight blue suit and Amna Ilyas walked down the runway in a cape and feathered skirt


There were elaborately worked clutches complementing the clothes and shoes by Sophia Webster, sent in especially by the brand for the show. It was a first for Sophia Webster to be part of a fashion show in South Asia and one had looked forward to seeing the shoes on our catwalks. They weren’t very visible, though, most of the time – perhaps that’s just not possible with our wedding lehngas.

Nonetheless, these were designs that any bride – or her wedding-bound family – would love to own. Perhaps the one outfit that was purely there for drama rather than wearability was the finale number worn by Mehreen Syed, a gown with an extremely heavy trail that made walking very difficult. Ever elegant, Mehreen carried it with a smile – and a few heavy breaths here and there!

Showstopper Mehreen Syed carried her ensemble's heavy trail with a smile
Showstopper Mehreen Syed carried her ensemble's heavy trail with a smile


And then there were the designs that weren’t as impactful. There were clothes that played it far too safe.

Sadaf Kanwal’s powder blue lehnga may look great at a wedding but it didn’t really make impact on the catwalk. Amna Babar’s boxy shirt could have fitted better. The fully embellished shirt worked with ruffles on Rubab Ali was ill-conceived.

The misses of Shehla's solo outing include Amna Babar’s ill-fitted boxy shirt and Rubab Ali's ruffled ensemble
The misses of Shehla's solo outing include Amna Babar’s ill-fitted boxy shirt and Rubab Ali's ruffled ensemble


Also, the use of velvet, at the very onset of a longwinded Pakistani summer, was odd. Some of the capes and blazers were also very wintry – the one worn by Alizeh Gabol, for instance. Was Shehla defining trends for her design house for the year to come rather than the current ongoing season? A few more slinky sleevlesses, lighter fabrics and a greater improvisation with cuts could have helped diminish some very wintry looks.

The wintry looks — such as Alizeh Gabol's cape and this plum jacket/cape — threw us off
The wintry looks — such as Alizeh Gabol's cape and this plum jacket/cape — threw us off


It was all beautiful but one missed the fierce statements that have always been quintessential Shehla.

It was a memorable show, nonetheless – for the glamour, painstaking attention to detail and designer clout it exuded. Flying solo is a hard thing to do – and Shehla Chatoor managed well.

RIYADH, Saudi Arabia (AP) — Saudi Arabia has kicked off its first-ever fashion week with designs by Middle Eastern, Brazilian, U.S. and Russian designers, as well as shows by internationally renowned labels Roberto Cavalli and Jean Paul Gaultier.

In line with Saudi cultural norms and rules on gender segregation, the catwalks are open to women-only and no outside cameras are allowed to film inside.

Still, the event marks the latest turnaround for a country that for decades has been ruled by ultraconservative dogma.

While the kingdom has held fashion shows in the past, they have mostly been tied to charitable causes and did not include big names in the industry.

The catwalks kicked off Thursday and will run till Saturday, when— in another first— the fashion week will conclude with a Russian ballet performance for a women’s-only audience.


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