Ustaad Saif Ur Rehman
Kayseria is profoundly blessed to have one of Pakistan’s most accomplished Master Craftsmen as a mosthonored, esteemed and fully employed member of its prestigious design house. In collaboration with Ustaad Saif-ur-Rehman, Kayseria has made one of the most beautiful and profound textile and pret collections.
With his great mastery of the geometric and biomorphic patterns (arabesque) and our know-how of textiles and fashion we hope to re-introduce the timeless beauty of the traditional art of Naqaashi.
Ustaad Saif-ur-Rahman was born on 17th April 1942 in a small village called ‘Ka’mrah Kallan’ in District Attock. After being awarded a scholarship in Primary school, and successfully completing Middle school, he moved to Lahore in search of employment. His interest since a very early age in Architecture took him to the Lahore Fort where he served as a small craftsman in its ongoing renovation at the time. There he got the chance to work with the renowned masters of the Mughal Architecture, Ustaad Ghulam Mohiyuddin and Ustaad Ahmad Baksh.
Starting his education in the art of Fresco at the tender age of twelve, over the years, Ustaad Saif has worked on conservation and perseveration of numerous buildings and mosques, many of which are part of our national heritage and important archeological sites. Others are recent constructions within the country and abroad in Egypt.
His skills have been acknowledged and awarded over the years, including the Punjab Governor’s Award in 1980, a trophy and cash award at the Hijri exhibit in Islamabad in 1981, award at the Lok Virsa Celebration in Islamabad in 1984 and the Presidential Award for excellence in 1986.
Ustaad Saif believes that it is vital to keep these traditional art forms alive and for the youth to take initiative and ownership of them and thus he vigorously teaches on, in hope of transferring the dying art into the hearts of the future generations.
In traditional terms, ‘original’ is not that which is ‘innovative’ but that which takes us closer to ‘the origin’. With this view in mind we have worked hard and focused much to maintain the essence of Naqaashi rather than disturbing it with any modern/individual intervention.
Our colors are inspired by nature and in line with international trends to make for a subtle mix in the collection.
Harry Wearne was born in London in 1852 and left for Paris around 1873 to work for Pierre Gillou; the wallpaper manufacturer. It was during these years that he acquired his consummate knowledge of French and became familiar with all the odd streets and corners of Paris. He had a passion for art objects of whatever kind and started very early in life to surround himself with the best that he could afford.
In the early 80’s he went to Rixheim, Alsace, having been engaged as a colorist by the wallpaper house of J. Zuber and company. Not long afterward, he was made a member of the firm and represented it in the United States for almost thirty years. He created innumerable designs for wallpaper and generally supervised their production.
It was during his time at Alsace when the war broke out in 1914 and he had an exciting escape when it fell under German rule. Getting through Switzerland to England and then to New York when he began life from scratch, virtually penniless. In his efforts to start a new life, equipped with his own innate artistic sense he almost immediately turned his attention to the production of hand block printed fabrics. His designs were executed by a factory in the north of England and sold in the United States.
For fifteen years and until his death in 1929, he worked untiringly to produce ever better results. Sometimes several years would elapse before the patterns would be to his satisfaction. He would spend untold hours going over every little detail of the designing and later of the coloring of the printed trials. Samples would be covered with labels giving minute instructions; and his books were a mass of memoranda relating to the effect to be obtained.
It may truthfully be said that commercialism never entered into his conceptions. He never spared expense for he had but one ideal: artistic virtue.