Zain Ahmad’s foray into fashion set afoot a journey of personal and professional growth. With a deep-rooted desire to explore and embrace his Pakistani roots, the young creative launched his artisanal urban wear brand Rastah—meaning path in Urdu. In some ways, born out of a feeling familiar to many, but felt to different degrees, this has been Ahmad’s departure from teen years spent trying to fit in with his white peers.  

“There was this sense of shame associated with being Pakistani, internationally,” shared the designer. “So it was this process of self discovery, which was very cathartic, which then turned into this desire to show the world what Pakistan really is, through the medium of clothes and change the perception of Made in Pakistan.”  

Since the brand’s inception, Rastah pieces have frequented some major stages, famously donned by Academy Award winner and singer, Riz Ahmed at his Glastonbury debut. Up-and-coming actor, Rish Shah has also been spotted in a piece or two, as well as rapper, French Montana.

Connecting with VMan, Ahmad walks us through his Lahore studio, talking through Rastah’s past, present, and future.

Since Rastah’s outset in 2018, every collection is created in collaboration with local craftsmen and women, with the hope of recontextualizing South Asian heritage and artistry— a landscape that has so often been exploited and appropriated. Their upcoming drop, entitled Volume 9 arrives as a poignant marriage between streetwear silhouettes and the region’s craftsmanship, also a reflection of Ahmad’s identity. Beautiful in theory and in practice. 

Writing out each collection has become a ritual to the founder, a setting of intentions to initiate the creative process. Volume 9 is a self-reckoning of sorts, facing the conflicting nature of self-actualization and spirituality. “The waves of “life” have engulfed me in their decorative vices. The opulence is destructive and alluring,” an excerpt from his note reads.“It all seems so thrilling… but the little boy inside me sheepishly yearns for silence and composure… slow down he says… take your time he says. I carry on. A servant to my wishful desires… I carry on”. You can find these words printed onto fabric and lining of certain pieces, for which patterns were being freshly cut downstairs. 

For the 27-year-old, establishing a talented and empowered network of artisans to work with has been core to the brand mission and vision. Beginning our tour, Ahmad gestures towards Shahbaz, at the tip of whose fingers lies a striking red, blue, and yellow leather racer jacket, unto which he intricately encrusts cherry-colored jewels.

The hand-embroider is a new addition to the team, tasked with elevating an onslaught of outerwear with his embellishments. Although the creative director sketches the initial designs, the end product is a meeting of minds.

“It’s very collaborative because you have to realize that I may come up with an idea, but the technical know-how to execute on that idea is going to be coming from them,” says Ahmad. “You sort of have this feedback mechanism that allows you to get close to what you want, but not entirely there. Because with craft especially, you have to learn that you can’t be married to an idea. You can be explorative of it.” 

The workflow harmony Ahmad strives for is apparent—with neighboring workspaces, the two can confer and conspire, bouncing ideas off each other. 

“I’ve worked with other brands in Pakistan, and usually over there we’re just told to do something. But over here, it’s this feeling of being comfortable having a conversation with the designers that you know we have this idea, should we try it and then we’re willing to give it a shot,” he says. Before joining the Rastah team Shahbaz was working in bridal wear, where a cookie-cutter approach was the quid pro quo—which could not be further from what unfolded before me. 

One boyish grin preceded the other, as the team, led by Ahmad ran out into the front garden, cricket bat and ball in hand. A daily affair in their office routine, to refresh the mind and body— a pure and unexpected moment, I had seen no truer picture of Pakistan.

With Ahmad returning to the site of Rastah’s first shoot, the new campaign is a full-circle moment. Just a few paces away from his home, set against a derelict backdrop, the most ornate fits are captured on a lineup of striking Pakistani models. His favorite piece is presented statuesque atop a marble podium and combines all the traditional work of the craftsman. Hand-woven fabric makes up the body of the set, with meticulous beadwork and block prints referencing the region’s jewels. Ahmad estimates a total of 10 days went into making the one garment.  

Reviving this traditional artistry is not only an aesthetic endeavor, but it also reduces the use of high-energy machinery. Careful not to use sustainability as a marketing tool, with empty promises, the founder maintains eco-consciousness as an ongoing goal for the brand. Forthright about the challenge this poses, he shares the steps Rastah has already taken, and their plans for how to scale in a way that is both sustainable and profitable. 

“What we’re trying to do now is understand the supply chain a bit more and find vendors that are more transparent with their process, because there aren’t any regulatory bodies [in Pakistan].” 

Certain garments in Volume 9, have overstock incorporated into their designs. Leftover pieces of yarn were upcycled to create accents for one of their more playful silhouettes. 

“We’re now storing all of that waste in-house instead of just throwing it away. So by the end of the year, we’re going to have the scrap pieces of fabric that we are then going to turn into a zero waste collection,” he says.

Speaking of plans for Rastah’s future, Ahmad hopes to one day open flagship stores. With their fastest-growing markets in the US and Pakistan, New York would be his first option. It was there that I discovered the brand for the first time. On my way to Elizabeth Street Garden, I happened upon his pop-up, heard their story, and was hooked. 

To redefine what it means for a garment to be Made in Pakistan extends beyond the superficial, into fair trade and fair wage practices. Respectably compensating workers is considered paramount at Rastah, who have made it a point to pay artisans enough for this to be their full-time job, rather than living hand-to-mouth. 

Although hired for their expertise, more than that, Ahmad has sought self-confidence for his collaborators. Each artisan is encouraged to create their own products to sell on the website, and whatever money is made from those sales they get to keep. Fruitful partnerships are beneficial many-fold. In the past two years, Rastah has doubled its profits, proving the industry’s long and sordid history of exploitation outdated. 

Volume 9 is live on rastah.co, and will be available to peruse in person at a pop-up during London Fashion Week from February 17th-21st.