A Designer’s Journey From Narowal to NYC
Old Narowal railway station drawn by Zille Huma, 2022
I met Zille Huma in the summer of 2019. We were co-habitants in the original and last remaining women’s-only tenant building in New York City. At the time, I was working at an organization examining the correlations between fashion and human rights. Zille was working on her debut collection after graduating with her Masters of Fine Arts in Fashion Design at Parsons School of Design in New York City.
Our love for all things fashion, especially our dedication to ethical and slow fashion, brought us together instantly. What made our friendship special was not the late-night strolls to the Hudson or all the dal chawal (lentils and rice) meals we shared at Taco Mahal; it was a belief in each other; we had dreams, and I believed Zille would accomplish all hers and more. Zille also entertained my world-domination fantasies. We were two Pakistani women running around the city chasing our dreams together.
Since that summer, I witnessed Zille’s debut collection, which was incredibly sexy in juxtaposition to her modest demeanor. The collection was also featured in Vogue. Afterward, Zille returned to Lahore to launch her own brand Xile. I had the opportunity to pick her brain about her upcoming collection.
Hawa (left) & Zille Huma (right) -
Eid al Adha New York 2019.
Q1 - What has the journey been like for you as a designer?
ZILLE HUMA: My career choice was not a conventional one for a small-town girl from Pakistan, but it was an instinctive one. I grew up with a wooden frame and a needle in my hands. Back home, girls learned to sew before they learned to write their names. Continuing the traditions of my ancestors was natural for me. However, my invincible passion for becoming a fashion designer represents my revolutionary, rebellious, and contradictory approach to my fellow villagers and society.
My journey from my village Narowal to New York City was a life-changing and challenging experience. I broke many cultural and socio-economic barriers with my choices and actions. I got scouted and offered a full scholarship by Parsons School of Design as the first South Asian woman to be accepted into the program.
After completing my MFA from Parsons, I returned to Pakistan with a newfound perspective shaped by the vibrant tapestry of American culture. Through this exchange, I created a unique amalgamation of cultures, blurring the lines between East and West.
Pictured above: Cross-stitch embroidery for Zille Huma's 2019 NY Collection, photographed by Adam Wamsley for LADYGUNN Magazine.
Q2 - Xile launched in 2019 and has maintained a certain brand identity. Can you share what makes Xile, Xile? Is there a common theme amongst collections?
ZILLE HUMA: Xile is a contemporary brand that emphasizes the aspects of Love and Desire in clothing. Through our unconventional use of materials, a memorable narrative and production process, we define luxury by centering timelessness and emotional value to make pieces that grow more everlasting and precious with the passage of time.
Artisanal Pakistani craftsmanship, passed down through generations, is now integrated with innovation in Xile designs. The fusion of two extremes in narrative, materiality, and silhouettes is a revolutionary and contemporary approach by Xile for creating novelty and uniqueness and broadening the spectrum of fashion; allowing exploration into the unknown. Embracing the world's diversity in culture, language, values, tradition, and religion makes our work more exciting and relevant to a global audience.
Xile's brand DNA is unique because of its revolutionary, rebellious spirit, commitment to social impact, and pursuit of freedom of expression.
Matador Biker Jacket & Shorts
Flower Power Bodice
Q3 - How is slow fashion integrated into your brand?
ZILLE HUMA: I believe in less demanding and less harmful fashion for our planet. My design process thrives on the creativity born from limited resources. I never buy materials in bulk. Instead, I make the most of what I find leftover from waste and my own surplus supplies, focusing on maximizing the potential of these materials.
Mending and repairing embroidery workshops at Jussara Lee where customers learn basic repair and mending techniques, focusing on sustainable practices and adding a personal touch to their clothing. Photo by Jussara Lee.
I aim to sustain and honor my village's traditional craft techniques while embracing global connections. My design process centers on diversity, social impact, and sustainability, pushing the boundaries of traditional methods and materials to create fashion with global appeal. Through meticulous craftsmanship, I amplify voices, advocate unity, and ensure my fashion resonates worldwide. The craft passed down by my ancestors thrives in the narrow streets of my village, where thousands of artisans not only make a living but also celebrate their techniques.
Experimental textile developed by Zille Huma using scrap fabrics from local tailors. Created in 4 months in her small Lahore studio in 2023.
“I aim to sustain and honor my village’s traditional craft techniques while embracing global connections.”
Turning a secondhand blazer from a client into a high fashion piece. Project completed during the COVID-19 lockdown in New York.
Xile, as a label, brings together cultures and identities believed as impossible to co-exist. Zille Huma, through her lived experiences and craft, has taken a sledgehammer to the social constructs rejecting duality. Xile is a nuanced and intricate celebration of shared identity. See upcoming collections on their website and follow Xile on Instagram.
Hawa Patel holds an MA in Global Affairs from Rice University where she combined her love for fashion and academic background in international security to study sustainable and ethical fashion as a global issue. Hawa is currently serving as Supervisor of Trade and Social Compliance at Neiman Marcus Group. When not talking or thinking about fashion, Hawa is reading romance novels or painting from the Female Gaze and definitely planning her next trip.
