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REGD. DA no. 327 NEWS&VIEWS + KINGSHUK = V.36/N0.5/2012

21 February –5 March 2012

ISSN No. 2222-968-5

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The Jamdani fashion & hand loom bro-cade woven cotton fabric weaving tradition

of Bengali origin, which historically was referred linking with muslin, fabulously

rich in motifs. Jamdani is believed to be a fusion of the ancient cloth-making tech-

niques of Bengal (perhaps 2,000 years old) with the muslins produced by Bengali

Muslims since the 14th century. Jamdani is the most expensive product of Dhaka

looms since it requires the most lengthy and dedicated work. In the 14th century,

Ibn Batuta profusely praised the quality of cotton textiles of Sonargaon of Bangla-

desh. Towards the end of the 16th century

the English traveler Ralph Fitch and histo-rian Abul Fazl also praised the muslin.

According to a 1747 account of muslin ex-port, fabrics worth Re 550,000 were

bought for the Emperor of Delhi, the Nawab of Bengal and the famous trader

Jagath Sheth. The same year European traders and companies bought muslin

worth Re 950,000. According to James Wise, Dhaka muslin worth Re 5 million was exported to England in

1787. James Taylor put the figure at Re 3 million. We do not know exactly when jamdani came to be adorned with

floral patterns of the loom. It is, however, certain that in the Mughal period, most likely during the reign of either

Emperor Akbar (1556–1605) or Emperor Jahangir (1605–1627), the figured or flowered muslin came to be

known as the jamdani. Forbes Watson in his most valu-able work titled Textile Manufactures and Costumes of

the people of India holds that the figured muslins, be-

cause of their complicated designs, were always considered the most expensive pro-

ductions of the Dhaka looms. The word Jamdani is of Persian origin, from

'Jam' meaning flower and 'Dani' meaning a vase or a container. Though mostly used

for SARIS (Indian Traditional Dress), Jam-dani is also used for scarves, home textile,

clothing and handkerchiefs. Four kinds of fine cloth used to be made in Bengal and

Pundra in those days, viz khouma, dukul, pattrorna and karpasi. From various histori-

cal accounts, folklore and slokas, it may be assumed that very fine fabrics were avail-

able in Bengal as far back as the first dec-

ade before Christ. Cotton fabrics like dukul and muslin did not develop in a day. Dukul

textile appears to have evolved into muslin. Jamdani designs and muslin developed si-

multaneously. The fine fabric that used to be made at Mosul in Iraq was called mosuli

or mosulin In his 9th century book Sril Silat-ut-Tawarikh the Arab geographer Solaiman

mentions the fine fabric produced in a state called Rumy, which according to many, is the old name of the territory

now known as Bangladesh. The earliest mention of the origin of Jamdani and its de-

velopment as an industry is found in Kautilya's book of economics (about 300 AD) where it is stated that this

fine cloth used to be made in Bengal and Pundra. Its mention is also found in the book of Periplus of the Eri-

trean Sea and in the accounts of Arab, Chinese and Ital-ian travelers and traders.

REGD. DA no. 327 NEWS&VIEWS + KINGSHUK = V.36/N0.5/2012

Bureau Head office: BANGLADESH 57 D.O.H.S. (OLD) Dhaka 1206 Bangladesh

Base TEL: +8802 8715838 M: 88 01821100313

E: info@newsandviews.eu, kingshuknv@aol.com

Rukunuddin Ahmed > CEO & Editor-in-Chief Daisy Ahmed >Managing Editor

Fatima Ahmed Jayantee > Syndicate Editor Mohammad Ibrahim > News Editor Mariam Ahmed > Business Reporter

Bureau offices: ITALY, EU & SWITZERLAND Via Ernesto Pelloni 5, 6900 Lugano, Switzerland

M: + 41765412005 E: info@shanchoy.com, editorinchief@newsandviews.eu Editor & Publisher< Y. A. Shanchoy, Switzerland Editor-in-Chief < Rukunuddin Ahmed, Italy Feature Editor < Faizun Nahar Shanchita, Italy Art & Design Director < Shafiqul Kabir Chandan, Milan English Version Editor < Sanowar Hossain Milon

Bureau offices: UK, USA & CANADA 380 Brunswick Avenue, Fl-2nd Trenton, NJ 08618, USA

Cell:+609-414-0413 E: mujib.ahmed@us.com, kingshuknv@aol.com USA Bureau Chief < Mujibuddin Ahmed, USA Publisher< Rukunuddin Ahmed UK Bureau < Sayed Chowdhury, Media Mohal Ltd.

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For fashion aficionados, always on

the lookout for something new, the development of local fabrics is wel-

come news. It means that designers have more material, literally speak-

ing, to experiment with and create clothes that are not desperate copies

of Bollywood fashion, but originals that set their own trend. In order to

make sure that this kind of develop-ment of local fabrics continues, we

as consumers have a responsibility to try to consciously buy Bangla-

deshi products when we think of go-ing shopping. Supporting this indus-

try will not only boost the demand for Bangladeshi fabrics locally but

internationally too. The designs and colors of Jandani

also changed with time. Originally, the motifs used to be made on gray

fabric. Later on fabrics of other col-ours were also used. In the 1960s,

jamdani work on red fabric became

very popular. The Victoria and Albert Museum of London has a fine collec-

tion of jamdani with work in white on white fabric. The production

methods have also changed. Previ-ously, popcorn, rice or barley was

used for starch. Before making jam-dani, the designers used to dye their

yarn and starch it. For dye they used flowers and leaves of creepers. For

quality jamdani they used yarn of 200 to 250 counts. These days

weavers buy fine yarn from the mar-ket and use chemical dyes instead of

herbal dyes. Finally, time has also influenced the designs. Keeping up

the modern demand, present day jamdani saris have on their ground

designs of rose, jasmine, lotus, bunches of bananas, bunches of gin-

ger and sago. Recently, there is a trend of embroidering Jamdanis or

putting „‟paars‟‟ on saris. However, many traditionalists are vehemently

against this trend, claiming this is

destroying a tradition. Muslin and Jamdani reached their

pinnacle of excellence during the Mughal period (16th to 19th cen-

tury). In this period Jamdani was used extensively in “angarakhans” or

attire for both women and men. At the same time, the use of Jamdani

fabric was seen in women's dresses in Europe's capitals of fashion. From

the middle of the 19th century, there was a gradual decline in the Jamdani

industry. A number of factors con-

tributed to this decline. Use of ma-chinery in the English textile indus-

try, and the subsequent import of lower quality, but cheaper yarn from

Europe, started the decline. Most importantly, the fall of Mughal power

in India, deprived the producers of Jamdani of their most influential pa-

trons. Presently, the Jamdani industry is

struggling to survive in approxi-mately 150 villages of Rupganj,

Sonargaon and Siddhirganj, under Dhaka district. Barely an hour and

half drive from Dhaka, situated on

the bank of the river Shitalakhya is the village Ruposhi -- popularly

known as the Jamdani village. As you enter the village, you come

across weavers who are busy at the looms, creating -- probably the most

exquisite handloom weaves in the world. Men, women and children of

the village are all involved in some stage of the production process.

Most adult weavers work as long as 18 hours a day with breaks for

meals or prayers. The work itself is

very laborious and requires extreme concentration.

These expert weavers can create the design mentally during the weaving

of the saris. There is no mechanical technique involved. Jamdani weav-

ers have remained largely illiterate or semi-literate. However, despite

the lack of any primary education in its formal sense, the mental faculties

of the weavers are as sharp as mathematicians. How so ever com-

plex the pattern might be, it is im-printed in the minds of the master

weaver and passed down from gen-eration to generation through ap-

prentices who eventually -- through years of toil -- become master weav-

ers. There are no written documents for the innumerable motifs used in

Jamdani. The motifs are repeated with remarkable precision and there

is hardly any inconsistency in the

design. Nothing is sketched or out-lined. The weavers just know the

exact number of times to do a cer-tain stitch to combine the yarns to

come up with a particular motif. Jamdani industry, which is nothing

less than “high art”, can only survive if the market is expanded within

Bangladesh and outside. Jamdani needs to be made more popular

among the privileged classes while ensuring that the quality and artistry

of the weave is maintained. Unless the demand for Jamdani saris,

dresses and furnishing materials (the fabric is now also being used for

making curtains) is increased, weav-ers will continue to suffer in terms of

lower wages. Worse still, is that their children will not find it feasible to

enter into a profession that pays so little in return. For those who prefer

to follow the conventions, boutique houses and big outlets in the country

have created a series of churidar

kameezes, colourful punjabis, fotuas and saris by Jandani fabrics.

A two millennia old heritage, with its highly evolved aesthetics, faces ex-

tinction unless it can be popularized and promoted across the world.

Jamdani is not just a heritage of Bangladesh, it is truly a global artis-

tic inheritance that needs to be pre-served and promoted.

The Arduous art of weaving JANDANI

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Recent Jamdani designs are mostly

of geometric, plant, and floral de-signs and are said to originate in

Persian and Mughal fusion thousands of years ago. Due to the exquisite

pain-staking methodology required, only aristocrats and royal families

were able to afford such luxuries.The main peculiarity of Jamdani work is

the geometric design. The expert weavers do not need to draw the

design on paper, but instead work from memory. Jamdanis have differ-

ent names according to their design (for instance, panna hajar, dubli lala,

butidar, tersa, jalar, duria, charkona & many others). Present-day Jam-

dani saris have on their ground de-signs of rose, Jasmine, lotus,

bunches of bananas, bunches of gin-ger and sago. A Jamdani with small

flowers diapered on the fabric is known as Butidar. If these flowers

are arranged in reclined position it is

called tersa jamdani. It is not neces-sary that these designs are made of

flowers only. There can be designs

with peacocks and leaves of creep-ers. If such designs cover the entire

field of the sari it is called jalar nak-

sha. If the field is covered with rows of flowers it is known as fulwar jam-

dani. Duria Jamdani has designs of

spots all over. Belwari jamdani with colorful golden borders used to be

made during the Mughal period, es-

pecially for the women of the inner court.

The Jamdani style of cotton weaving belongs exclusively to Bengal. The elaborate and intricate designs of Bengal’s Jamdani have caught the

attention of fashion lovers around the country and world. Once produced for the royal and noble family mem-bers, the Jamdani style of Bengal is basically cotton

garments embroidered with gold and silver thread. The fabric is apparently lace like with subtle dreamy designs.

The Jamdani is basically an inlay technique on lightweight cotton fabrics. Different types of Jamdani include:

Daccai Jamdani – originally a Bangladeshi style of cotton weaving is now practiced in West Bengal also. The

Daccai Jamdani sarees displays floral motifs and linear multicolored designs spread over the entire body of the saree.

Shantipur Jamdani – belongs to the Shantipur region of Nadia District in West Bengal, the Shantipur Jam-

dani sarees have excellent fine-grained texture. The softness of the fabrics is highly appreciated.

Tangail Jamdani – originated in the Tangail region, the Tangail Jamdani sarees have traditional borders with lamp or Pradeep, lotus or Padma and fish scales or Aansh paar patterns. The warm colored sarees give empha-sis on the Anchals or the part of the saree, which goes over the shoulder.

Dhonekhali Jamdani – this exceptional style has its origin in Dhonekhali in West Bengal. The whitish opaque

surface of the Dhonekhali Jamdani saree is adorned with borders of contrasting colors in black, purple, red or any other dark colors. The Dhonekhali Jamdani sarees are hardier and have a longer life than the other varia-tions.

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Pininfarina, world famous master of industrial de-

sign, developer of building techniques for car bodies and creator in Turin of Italian style in Architecture of the automobile. Paninfarina founded by the PaninFarinain 1930 as ''CarrozzeriaPinin Farina" after 26 years of working in "Stabilimenti Farina". He is unquestioned master of architectonic building techniques for automo-biles, Pininfarina has a perfect knowledge of this technol-ogy and of automotive aerodynamics. Pininfarina has true and prestigious artistic talent, coupled with a crea-tive imagination dedicated to innovation, to create mar-velously harmonious car bodies, pure in line, distinctive in decor. The Pininfarinanew concept 2uettottanta of 2010 is

meant to be part of the tradition of successful spiders born from the relationship with Alfa Romeo, among the most significant and long-lasting ones in the automobile history, and interprets the innovative vision of an antique theme strongly present in the Pininfarina roots, the 2-seater spider. Today Pininfarinafocuses on industrial design services, continuing to play a key role as a de-sign house and an innovative partner with unique skills, and on the field of sustainable mobility through the development and production of hybrid and electrical ve-hicles (cars and buses), research into alternative compo-nents and materials, and aerodynamic shapes that can help to make vehicles lighter and reduce their consump-tion and emissions. The Company also concentrates on the creation of value for its brand.

CAMBIANO of Pininfarina

The Italian Novelty

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TATA PR1MA The Tata Motors Limited stand hosts the world première of the Tata Pr1ma (Italian for “First”), a styling model designed and built by Pininfarina for the Indian com-pany, first official project - hence its name - of the Tata-Pininfarina cooperation in the fields of research, design and engineering. It is a solution that immediately adds value, compared to the essential design usually associ-ated with the Tata brand. The Tata Pr1ma addresses a higher segment, and the external and internal measurements are larger than those of the Indigo, thanks to a longer wheelbase (2700 mm). The design balances fluidity and tension, which is visible in the lines that run from the front to the rear of the car. The result is an elegant look, and proportions that are both classic and modern. The front view and the shape of the rear light clusters merge into the distinctive lines of the car‟s design, un-derlining its presence and dimensions. The roof stretches towards the front, conveying a sense of power and force. Each detail has been studied with care, not to decorate, but to underline the basic theme of the design and to raise the profile of the Tata logo. The model‟s sleek silhouette conveys dynamism and a strong temperament. The long wheelbase creates a gen-erous amount of room inside, underlined by the uninter-rupted profile of the doors, a clean, strong blend of the best ideas of Pininfarina design. Without limiting the space inside, the tapered rear end and inclined passen-ger compartment convey the feeling of a coupe, under-

lined by the refined treatment of the pillar, an element that is typical of Pininfarina styling and sportiness. Based on the platform of the first Indian saloon, the Tata Indigo, the Tata Pr1ma designed by Pininfarina offers an indication of how the next generation of Tata saloons could be interpreted, with a distinctive,

elegant design. Conceived to provide luxurious comfort, this 4-door model has a sober but very refined design, combined with sinuous lines that give the car the person-ality of a coupe. CAMBIANO: Turin, January 10 2012 – Pininfarina un-veils the first official image of the new concept car, which will make its world debut on March 6th at the Geneva Motor Show. The novelty is an elegant and refined sport sedan, conceived with great attention to the environ-ment, both as to the engine and as to the materials‟ choice. CAMBIANO represents the summa of Pininfarina skills in terms of styling and engineering. And it is no coincidence that it was named after the city hosting the headquarter of the Pininfarina Group, which in 2012 will celebrate a double anniversary: 30 years of the Styling Centre, whose operations started in Cambiano in 1982 (at the beginning as “PininfarinaStudi e Ricerche/Pininfarina Study and Research”) – and 10 years of the Engineering Centre, which was inaugurated in 2002, with the aim of adding to the styling and development/niche production activities, also the services of engineering for third parties, offering avant-garde technological instru-ments as well as a first class specialists‟ team.

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The month long Amar Ekushe Boi Mela (book fair) will end the last day of February. Prime Minister Sheikh Hasina inaugurated the book fair and Bangla Academy Chairman Professor Anisuzzaman, Direc-tor General Shamsuzzaman Khan and representa-tives of civil society and political leaders were also present on the occasion. British Poet, Writer and Translator of Bengali Professor William Radice also present as special guest on the occasion. Thousands of book lovers, writers, and others assembled at the fair for the past 28 days. Publishers also cashed in from the crowd. All the people involved with the fair, what turned into rendezvous of book lovers and also a cultural fest, were seen packing up and visitors of different ages were buying the books of their choice. The Organizer: Bangla Academy The selling of Bangla Academy books has seen a sharp leap too; the academy sold the books worth Taka 78, 38,399 this year. The figure was Taka 72,83,053 in 2011, 68,01,685 in 2010 and 61,60,322 in 2009 respectively. A total of 137 books hit the fair on the day including eight story books, 18 novels, nine collections of articles, 33 books of poems, six research books, two rhyme books, three child literature, two science books, one religious book, 3 books on liberation war, 2 diction-aries, 2 books on humor and one autobiography. Statistics: The number of total books was 3013 in previous year, 3354 in 2010, 2741 in 2009. The number of total books this year is 3560, including 789 books of poetry, 529 novels, 387 story books, 255 articles. The turnover was over Tk 26 crore in 28 days, said Shahida Khatun, director (establishment, plan-ning and training division) of Bangla Academy, who read out the closing report to press. Last year's sales amounted to Tk 25 crore. Meanwhile, the number of new book arrivals was 3669, 656 more than that of the previous year. Topping the list were poetry books numbering 817 followed by novels, totaling to 563. A total 425 publishing houses and socio-cultural, non-government and media organi-sations took part in the fair.

Written by Ibrahim Ahmed

Ekushe

Boi

Mela

The Biggest Book Fair in Bangladesh

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International Mother Language Day

International

Mother Language Day is an obser-vance held annu-ally on 21 Febru-ary worldwide to pro-mote awareness of lin-

guistic and cultural di-versity and multilin-gualism. Its observance was also formally rec-ognized by the United Nations General As-

sembly in its resolution establishing 2008 as the International Year of Languages. International Mother Language Day origi-nated as the interna-tional recognition of Language Movement Day, which has been commemorated in Bangladesh (formerly

East Pakistan) since 1952, when a number of Dedicated citizen in-cluding students , of the University of Dhaka were killed by the Pakistani police in Dhaka during Bengali Language Movement protests.

On 21 March 1948, Mohammed Ali Jinnah, the

Governor general of

Pakistan, declared that Urdu aShall be the state of Pakistan ( West and East Pakistan). The peo-ple of East Pakistan

(now Bangladesh), having mother lan-guage Bangla, started to protest against this. On 21 February 1952, (8th

Falgun 1358 in the Bangla calendar), t. The government in-voked a limited cur-few to prevent this and the protests were tamed down so as to not break the curfew. The Pakistani police fired on the students de-spite these peaceful

protests and a num-ber of students were killed. Four of them were Abdus Salam, Rafiq Uddin Ahmed, Abul Barkat and Abdul Jabbar. Bangladesh and the whole globe Celebrates the day with respect for the

movement language.

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KINGSHUK’s Perception is a sister concern of KINGSHUK, a business English maga-

zine publishing since 1973. KINGSHUK represented hundreds foreign books & maga-

zines publishers as outsourcing expert in designing, distribution, publishing, printing, graphics and creative bindings. The creative studio taught some of the most astound-

ing lessons to enlighten with colorful happiness, made courageous events which built

confidences on graphics designing, interior & architectural designing, jewellery design-

ing i.e. living and fashion. And gradually our perceptions about life changed, modified and grew up to the end of time - for last 38 years.

KINGSHUK’s Perception is the driving trade press creating global business opportu-

nity with portfolio of trade information services through fashion magazine & publica-tions, event/exhibitions management, business designing, franchise, copyright, intelli-

gence reporting and outsourcing. KINGSHUK is the think tank of "NEWS&VIEWS",

online & print fortnightly bi-lingual news magazine from European cities. It also longing

with "National eLibrary Project", "Green Humanist Party", "Bangladesh Franchise Asso-ciation" and the database of 600000 eBook titles with Bangla OCR.

KINGSHUK’s Perception learns from it's parent venture KINGSHUK, how natural

venerate are source of life, color, variations and visualization. Perceptions of clothing

characterize with the life and shade i.e expression of virtual color that‟s the sources of the supreme, best of the best. Fashion ability is poetic outburst of status, utility, com-

fort, personality which trailed by collective clarity of life & living.

We are colorful, evaluated, stylish, vibrant and superb in

Graphics, Interior, Architecture, Fashion, Jewelers

Clothing - Designing - Producing - Marketing

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We are colorful, evaluated, stylish, vibrant and superb in

Graphics, Interior, Architecture, Fashion, Jewelers

Clothing - Designing - Producing - Marketing

Fatima Ahmed Chief Operating Officer

Kingshuk’s Perception

KINGSHUK

NEWS&VIEWS eBoiPatra.com

coo.kingshuk.perception@gmail.com

Ibrahim Ahmed Chief Executive Officer

Kingshuk’s Perception

KINGSHUK NEWS&VIEWS

eBoiPatra.com

ceo.kingshuk.perception@gmail.com

Mariam Ahmed Chief Financial Officer

Kingshuk’s Perception

KINGSHUK NEWS&VIEWS

eBoiPatra.com cfo.kingshuk.perception@gmail.com

Daisy Ahmed Vice Chairman

Kingshuk’s Perception

KINGSHUK

NEWS&VIEWS eBoiPatra.com

ahmed.daisy@gmail.com

Mr Rukunuddin Ahmed Chairman

Kingshuk’s Perception

KINGSHUK NEWS&VIEWS

eBoiPatra.com

kingshuk2011@gmail.com

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After winter spring comes with her lovely colorful appearance in

nature. The queen of season comes in Pohela Falgun charming green fields and meadows. Flowers bloom in different trees. Birds sings from behind the new leaves. We hear cuckoo signing sweetly.

With a gentle breeze blow the country put a vibrant look celebrat-

ing the firstday of bengla month Falgun.Several socio culturar

planer and educational institution organize wide range of pro-grammes to mark the day. With the smell of mango, Black-berry, jack fruit , and lichie‟s buds take

our mind and soul out of the modern robotic world . Dhaka

residents attired in traditional dresses started pouring onto the

streets since morning to ex-

change pleasantries with their near and dear ones. Spring also

consider as the symbol of youth. Everyone feels young on the day

of Pohela.

Pohela Falgun The season of Yellow

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How do you attracted to designing? Ans: My attraction towards fashion and clothing was born in me and grew inside me from the very begin-ning. The only difference is before I didn‟t know anything about Fashion as a subject and profession. I only used to design for myself. I always liked to look at things with my own vision. My urge for self customization drove me towards designing my own clothing line. What was the initial idea of the “GLaMgrl Designer Creations and Jewellery”?

Ans: GLaMgrL always and only focus on making a girl feel confident from within. Our vision is to let girls speak for themselves starting from their clothing and sense of appearance. A person‟s inner self can be known with their clothing sense, so we tend to establish that with a positive vibe towards life. Which one you like most, being the Face of “GLaMgrl Designer Creations

and Jewellery” or being the designer of GLaMgrl Designer Creations and Jewellery? Ans: I prefer being a Role model rather than model or designer. By being the face of GLaMgrL, I am go-ing through a journey, a story, a dream which I want to share when I achieve my aim. By being model for my own brand I just want to pass on a message to the young girls out there who fears to take a step for-ward to success, that you don‟t have to have a path to walk on you are enough to create one. I love to get calls from ladies saying am like your elder sister but I have also started a boutique seeing you doing it so well. It‟s an honor. And by being a de-signer I just want to explore my feelings and perception till I die. This is my identity. Who are your target consumers?

Ans: It depends on who wants to be called as a GLaMgrL. I create for those who love to have their individ-ual identity. Being a student and from a minimum earned family I try to fulfill the demand starting from the middle class to High society. What is the main problem in online marketing in Bangladesh?

Ans: It‟s not yet e commercially grown or supported as a business. So in that case Bangladesh is still in the starting period of e-business so sometimes it becomes difficult to hit all parts of the society with our prod-uct just via internet. But then again if we don‟t make changes happen then it will remain the same so from that perspective e-business needs more focus while we are trying to have a new way to do business in Bangla-

desh. Any plan to open Showrooms in dif-ferent location?

Ans: ooh yes, GLaMgrL is all about taking it to the highest level and we sure are looking forward to that, all we are waiting for is my graduation to be completed. Something about Bangladesh‟s pro-gression in Fashion?

Ans: A lot has progressed within very few years. Even if we as in Bangla-deshi fashion industry still lacks of having a BRAND that will represent Bangladesh but a lot of work is in progress on achieving it. Fashion is changing but more importantly, now-a-days we see people follow trends. Designers are trying new, bold and better color for their designs which is being accepted by the market and also we are seeing a season sense which is very appreciable. Your Idea on Women‟s day?

Ans: To be a woman is the most proud feeling in this world. As we are the one who steps into a person‟s life to make it better. For me it‟s a day when we should be proud of us for being able to solve our problems, others problems and preparing for the next one. Future Project? Ans: Future has no limit and certainly no boundaries.

Shabnoor Ahmed entrepreneur of new generation started home based Design, Creations and Jewellery busi-ness GLaMgrl two years back on FaceBook. Now she is a well known in fashion - took the challenge for fash-ion better as views. Celebrating 2nd anniversary of GLaMgrl on Women‟s Day 7-8th March at Drik Gallery. Interviews by Fatima Ahmed as bellow:

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Shopping

has be-

come eas-

ier and fun

at one of

the busiest

shopping

malls in

Dhaka last few seasons. Deshi

Dosh is a common platform

shared by ten of the most

popular fashion stores in

Bangladesh, which disclose

exclusive Bangladeshi fabrics

and designs. Located on Level

7 of Basundhara City Shop-

ping Complex. Basundhara

City Shopping Complex has

gone a step further to bring

some of the most popular and

trendy deshi designer stores

together on one platform. De-

shi Dosh takes up a space of

23,000 square feet at one of

the corners. Shada Kalo,

Rong, Kay Kraft, Nipun, Pro-

bartona, Anjans, Deshal, Bibi-

yana, Banglar Mela and

Nogordola cover an equal

space of 1,600 square feet

each at the Deshi Dosh corner,

creating an extraordinary

blend of fabrics and ideas. The

initial idea had actually

emerged the idea and between

different designer Houses.

They took a little time to think

about it. After meeting with all

the owners and representa-

tives, the General Manager of

the shopping Complex Major

Mehedi, made all the stores

to sit together and ponder on

the concept. That the get to-

gether not only brought the

initiate ideas on Desho Dosh .

But also many new policies

has been introducing till now.

So far the Concept was a

great success.

By Mariam Ahmed

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Latest Bridal Mehndi Design

Mu

sli

m w

ed

din

gs

Mehndi designs work the streets

and the wide area Internet. People

are looking for new business models

Keywords mehendi, for example, the

objectives of the most advanced

forms of examples wedding henna

tattoos latest mehndi henna objec-

tives. The performances are better

marriage mehendi designs. These

great image contours to indicate the

dominant edge. Also indicate how

the proposed models for start and

how the adhesive to the business-

woman, inevitably, the day of Eid

hands, henna INRE and some spe-

cial lehengay Holiday. Bride enthu-

siastic and seek more favorable out-

come would expect the wedding.

Muslim weddings vary

enormously according to the culture of the people involved.

Many people in the UK, for example, confuse the cele-brations at a Pakistani or Bangladeshi wedding with an Islamic wedding, and

assume they are the same thing. This is not so, of course, for many of the Muslims who marry are from widely different cul-tures - for example Euro-

pean, Turkish, African, Ma-laysian, and so on. Secondly, it is important to realize that the 'wedding' means different things too. For many Muslims, it is the

Islamic ceremony that counts as the actual wed-

ding, and not the confirma-tion of that wedding in a registry office.

Oddly enough, although mosques are obviously places of worship, the ma-jority of them in the UK have not yet been officially registered as such, and so

any Islamic wedding that merely takes place at a mosque has to be regis-tered legally with the UK law as well, in order to be seen as valid in the UK.

Having said that, of course it is a fact that many cou-ples live together these days as 'partners', and 'common law wives' have recently been accorded

various legal rights they were not entitled to previ-ously.

Culture - Fashion - Conception - Perception & Marriage

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Bangladesh

Premier League

(BPL) , The first

time in the history

of Bangladesh

Cricket ,Bangladesh Premier League

(BPL) T20 based on the format of the

other international Premier League

such as EPL, Pro20, Big Bash & IPL.

opening ceremony was held on 10

February 2012 and the tournament

continued till 29 February 2012. The

first edition of the tournament tele-

casted on 10 February 2012 with six

franchises consisting of players from

around the world.

Honorable Prime Minister of Bangla-

desh Md Zillur Rahman had given

speech in the Opening ceremony of BPL T20 and inaugurated the tournament dur-

ing the opening ceremony at the Sher-e-

Bangla National Cricket Stadium. A segment of the nearly three-hour long

opening ceremony had dedicated to the

International Mother Language Day,

according to Gazi Ashraf Hossain, chair-man of the BPL governing body.

Both Bangladeshi and Indian silver

screen stars and singers performed at the show. Bangladeshi dance troupe

Nrityanchal kicked off the opening cere-

mony with a colorful dance perform-

ance. A hundred dancers of Nrityanchal, leded by Shibli Mohammad and Shamim

Ara Nipa, staged the piece, titled “Saat

Sur”. North America-based Indian cho-reographer Sukalyan Bhattacharya has

choreographed the piece. Shaan (India),

Bappy Leheri (India), Ayub Bacchu (Bangladesh), Mila (Bangladesh), and

Miles (Bangladesh) ,Bipasha Basu

(India), Mallika Arora Khan (India),

Ritu Parna Sen Gupta (India), Nipa and Sibli duet (Bangladesh), Shakib Khan

(Bangladesh) and Apu Bishash

(Bangladesh) took part in the ceremony. Bangladesh Premier League 2012 is the

first edition of T20 franchise in the

Bangladesh. Total of 6 teams has played in this 20 day tournament. Most of the

days 2 matches occurred per day as one

match took almost 3 hours from start to

finish. Twenty20 cricket is becoming increas-

ingly popular in Bangladesh since

neighboring India launched the IPL four years ago. T he winner of this tourna-

ment will qualify for the Champions

League Twenty20. The highest wicket

taker of the tournament will win the pur-ple cap while the highest run scorer will

win the orange cap. Other awards in-

clude the best under-19 player award

and the Fair Play award given to the team who plays most fairly throughout

the tournament.

The franchises representing Dhaka, Ba-risal, Chittagong, Rajshahi, Sylhet and

Khulna divisions. The franchise auction

was held on 10 January and the player auction took place on 18 and 19 January.

Let‟s take a look at all the six franchises

in brief :

1. Barisal Burners : The BPL franchise

representing the Barisal division in Bangladesh is the „Barisal Burners‟. The

owner of this franchise is the Alif Group

Bangladesh. The Barisal Burners will be led by left-handed Shahriar Nafees who

is also the Icon Player of the franchise.

Sarwar Imran is the Head Coach of the

Barisal Burners. The home ground for the Barisal Burners is the Shere-Bangla

National Stadium in Mirpur, Dhaka.The

main players of Barisal Burners are Shahriar Nafees, Chris Gayle, Pakistan‟s

pacer Yasir Arafat, Brad Hodge and

Shane Harwood.

Written by Ibrahim Ahmed

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2. Chittagong Kings : The

BPL franchise representing

Chittagong division has been bought by the SQ

Sports and named as

„Chittagong Kings‟. The franchise team will be led by

off-spinning all-rounder

Mahmudullah while dashing

opener Tamim Iqbal is the Icon player. Former Bangla-

deshi all-rounder Khaled

Mahmud is the Coach of the Chittagong Kings. The Zo-

hur Ahmed Chowdhury Sta-

dium in Chittagong will be

the home ground for the Chittagong Kings.

The star attractions of the

Chittagong Kings apart from Mahmudullah and Tamim

Iqbal are Sri Lankan legend

Muralitharan, Shoaib Malik, West Indians Dwayne

Bravo, Lendl Simmons and

Jerome Taylor. The squad

will be helped by Austra-lians - Michael Bevan as the

batting coach and Dean

Jones as the Technical Di-rector.

3. Dhaka Gladiators : Rep-resenting the Dhaka division

are going to be the Europa

Group owned - Dhaka

Gladiators. The Icon Player of the Dhaka Gladiatiors is

former Bangladesh Captain

Mohammad Ashraful while another former Bangladeshi

Captain and all-rounder Mashrafe Mortaza will be its

Skipper. Englishman Ian

Pont will be the Coach of the Dhaka Gladiators. The

home ground for the Dhaka

Gladiators is the Shere-Bangla-National Stadium.

Former Bangladesh Captain Habibul Bashar is going to

be the Director of the Dhaka

Gladiators.

Well the star players of the Dhaka Gladiators are Ashra-

ful, Mortaza, Shahid Afridi

(if available), Saeed Ajmal, Kieron Pollard, Azhar Mah-

mood, Imran Nazir and

Rana Naved.

4. Duronto Rajshahi : Rep-

resenting the Rajshahi divi-

sion is going to be the Digi-tal Auto Care owned - Du-

ronto Rajshahi. Led by the

Bangladeshi National Cap-tain Mushfiqur Rahim, Du-

ronto Rajshahi has a couple of star players in Abdul Raz-

zaq and Marlon Samuels.

The Captain Mushfiqur Ra-

him is also the Icon Player of the Franchise. The Coach

of the Duronto Rajshahi is

going to be former Bangla-deshi Captain and Wicket

Keeper Khaled Mashud.

5. Khulna Royal Bengal : Owned by the Orion Group,

the team representing the

Khulna division is named as the Khulna Royal Bengal.

Bangladesh‟s best player

Shakib Al Hasan is the Icon Player and also the Captain

of the Khulna Royal Bengal

team. Former India all-rounder Robin Singh will be

the Coach of the Khulna team.The Khulna Royal

Bengal boast of players like

Sanath Jayasuriya,

Herschelle Gibbs, Shiv-narine Chanderpaul, Andre

Russell and Fidel Edwards.

6. Sylhet Royals : Repre-

senting the Sylhet Royals in

the BPL 2012 is going to be the Walton Group Bangla-

desh owned „Sylhet Royals‟.

This franchise interestingly

is the only team to have a non-Bangladeshi Captain!

Somerset all-rounder Peter

Trego will be leading the Sylhet Royals while leg-

spinning all-rounder Alok Kapali will be the Icon

Player. The Coach of the

Sylhet Royals is former

Australian cricketer Stuart Law.The Sylhet Royals has

star players like Naeem Is-

lam, Brad Hogg, Scott Styris, Kamran Akmal and

Sohail Tanvir.

Well obviously the Bangla-

desh Cricket Board has been

inspired by the BCCI‟s IPL.

What the Bangladesh Pre-mier League or the BPL will

do is to commercialise the

sport in the country. Cricket-ers will get more money and

at the same time with some

international stars coming from abroad, the quality of

the Bangladeshi Cricketers

is bound to improve. The

tournament will also help the Bangladeshi cricketers to

perform more professionally

because of the possible cor-porate pressures. In general,

the young Bangladeshi

cricketers are more suitable

to the shorter version of the sport as they do not really

have the ability to sustain

their performances for long periods of time.

Using this tournament, Bangladesh can hope to

build its players to perform

on a more consistent basis

atleast in the shorter version of the game that is the T20Is

and the ODIs. Of course, too

much of this fast food cricket does prove to be det-

rimental for Test Matches

but may be its one step for-ward for Bangladesh Cricket

to progress. Some of the

upcoming talents in the

country will get the much needed exposure as well

which should help Bangla-

desh to strengthen its na-tional side.

Winner the Dhaka Gladiators

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17

The

Twentieth

Journey

Twentieth edition of Proposte will to be held at Villa Erba di Cernobbio (Como) on the 8th, 9th and 10th of May 2012.

After 20 years of 1st presentation the

event has changed a lot for the good but the passion for fabric and creative per-spective emerged more. The main event

will be getting together. Proposte weaves passion last twenty years since Villa Erba first hosted Proposte, giving

the world, its first look at all that's new in furnishing fabrics and curtains. Forty Four exhibitors including 6 international exhibitors came together for the 1st time

of Proposte in1993 and 2361 people vis-ited the show and 36% of them were foreign visitors.

The recent elevated Proposte to the lev-els of quality and international flavor. The 6300 sq meter exhibition space is

consistently sold out, visitors flock in from 70 countries around the globe, with foreigners accounting for 61%, and

every year the show welcomes105-110 exhibitors - half of them are interna-tional brand owners. And it's this same passion for textiles that, from the very

start, has guided the organizers in de-termining Proposte's selection criteria:

only hand-picked European manufactur-

ers of furnishing fabrics, curtains and trimmings and their high-quality prod-ucts make the grade, while the event is

open to visitors in six restricted catego-ries on an invitation-only basis. Pro-poste also knee to know about the idea of architects and creative minds. In the

February 15th conference real idea of what fabrics, what curtains, what styles, what colors? And what upholstered fur-

niture? Other aspects of interior decora-tion have covered. For more details: Studio Michelangelo,

Viale Coni Zugna 7, 20144 Milan, Italy

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18

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