Browsing by Author "Maryam Fatima"

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    Baroque
    (UMT,LAHORE, 2022) Maryam Fatima
    Our aim is to revive the baroque fashion inspired by the dramatic and lavish dresses of baroque with the passage of time according to the fashion trends, and the main purpose is to appeal to the human emotions, through drama and exaggeration. The current research aim is to encourage people about the baroque theme apparels Baroque themed apparels are inspired by the French royal court and showcases extravagance and wealth.
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    Homesickness
    (UMT.Lahore, 2019) Maryam Fatima; Muhammad Asif Khan
    The present research aimed to examine the relationship between homesickness, academic self-efficacy and academic adjustment in hostelite students. The sample was consisted of N = 180 (girls, n= 90; boys, n=90) hostelite students with age range 18 to 22 years taken from different university hostels of Lahore. Non probability purposive sampling techniques was used. Derivation of Homesickness (Archer et al., 1998). Student Self-efficacy Scale (Rowbothan, 2013) and the Academic Adjustment Scales (Anderson, 2016) were used for assessment. The results of Pearson product moment revealed homesickness was negatively significantly correlated with academic self-efficacy, academic adjustment (academic life style and academic achievement) and percentage. Academic self-efficacy was positively significantly correlated with academic adjustment and its subscales, and negatively correlated with gender. Academic adjustment was positively significantly correlated with percentage. Result of independent sample t-test showed that significant difference found between males and females in subscales of homesickness (disliking university, attachment to home), academic self-efficacy, and subscales of academic adjustment (academic life style, academic achievements) and males reported high on all more than females. The results of hierarchal regression showed that Academic self-efficacy was found to be significant positive predictor of academic adjustment and its subscales. Disliking university was found to be a negative significant predictor of academic adjustment and academic motivation. Attachment to home, family visit hostel was found to be a significant positive predictor of academic motivation. These findings would help institute and students to manage their homesickness and academic adjustment problems through academic self-efficacy.
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    Nostalgia
    (UMT Lahore, 2025-08-12) Maryam Fatima
    My idea comes from love, laughter, memories, and even pain from the past. As someone who fears change, I’ve discovered that despite how terrifying it can be, it can also be beautiful. Nostalgia doesn’t just signify loss, it is the ache of missing loved ones, or good memories that make themselves known in the pain I feel at them being things of the past now. Moments are precious because they are unique, never to be experienced again, never to be replicated, and I’ve come to appreciate this longing for the past. It has made me want to appreciate the present more, too. Every happy, sad, good, bad, or even frustrating moment adds to our existence, a constant reminder of how quickly life changes and shifts. Of the fragile nature of it all. My grandmother’s death last year was a brutal reminder of how limited time with our loved ones can be, and how “forever” is often just an illusion. None of us are promised forever, yet we yearn to hold on to the things we hold dear, and that is the very feeling I have hoped to capture through my thesis using textile art. These memories have been transformed into tangible tokens of love and connection through textile fabric, where each stitch represents a feeling, even, or a moment with my loved ones. I have explored how even the simplest, plainest of things can evoke feelings of nostalgia within us, and I hope that through my thesis, people are able to reflect on their own sentimental experiences. This thesis aims to inspire people, to remind them to stop and appreciate the beauty of shared moments and emotions. By stitching memories into my work, I highlight the beauty and temporary nature of human bonds and relationships. These connections are what give life its depth and significance, despite their frailty. The purpose of my thesis is threefold: to create a textile art representation, to evoke an emotional response, and to explore the healing possibilities of nostalgia. My work speaks to people in their twenties and beyond. The people who are navigating major life transitions, caught between who they were and who they’re becoming. For them, in these moments, nostalgia begins to hum softly in the background, or sometimes roar. Sewing became almost meditative for me as I worked, embroidering every bit by hand, reliving my own past and nostalgia whether good or bad. At some point it felt like I was just along for the ride and the process pulled me deeper and deeper into my own story. Nostalgia wasn’t just memory for me anymore, and I was surrounded by everything I held dear, everything I had come to miss. Timelines unravelled through thread. Knots formed from emotional entanglements. Frayed edges mirrored memories that remained unresolved. Some stitches were sewn through tears; others through laughter. Somehow, the cloth absorbed it all. It became a keeper of both presence and memory, a reminder that even what seems lost still lingers—in textures, in layers, in touch. But nostalgia, I’ve come to learn, isn’t always soft. Sometimes, it stings. It holds the weight of unsaid words, missed chances, and moments that slipped by too quickly. Still, pain is not the opposite of love—it’s part of it. No attachment comes without risk. And nostalgia is, at its core, the echo of deep attachment. Working on this project has shown me how deeply memory and fabric are intertwined. Textiles don’t just clothe us; they hold us. They are worn close to the body, passed down, frayed with time but never quite discarded. A childhood blouse, the stitched edge of a quilt, the familiar scent of a scarf, these are emotional objects, vessels of time. Fabric becomes a metaphor for emotional layering in my work, with the flaws in the stitches, the muted colors, the use of worn or imperfect materials all intentionally chosen to convey a specific emotion. This is all evidence of love, of life, it's all about creating a space for people to see themselves in my work. I wanted my work to feel familiar to the viewer, for them to remember a feeling, a scent, a sound from their own stories. Nostalgia crosses cultural, generational, and emotional borders, which is how it has become universal. We all miss something, whether it's a home, a person, a time before, or even a version of ourselves we no longer recognize. I hope to offer more than just a visual experience – my thesis is meant to be a sensory conversation. The warmth, the weight, and the texture of each piece is meant to make viewers engage with memory in a way that prose or poetry cannot offer. The work begins with me, but the story it tells becomes communal, it becomes ours, much like the fabric we all share in our garments. We’re bound by threads we don’t quite acknowledge or understand, and they all stretch further than we think. The more I worked on this project, the more I grew to understand the catharsis that comes with acknowledging and facing your nostalgia, your loss, and the melancholy that comes with it. In a world that tells us to move quickly, to keep up, to let go of what hurts you and what you miss and to just move on, there’s a quiet strength in remembering. In honoring what shaped us, and holding that nostalgia gently so it can help us heal. We can feel sadness without letting it swallow us, and my work is testament to this phenomenon. Ultimately, this thesis is both deeply personal and inherently collective. It’s about making peace with the past, while still leaving space for the future. About transforming intangible emotion into something physical—something you can see, touch, feel. Each piece I create aims to preserve not just memory, but meaning. Through this process, I hope to remind others that even as moments pass, the connections we form in those moments never just leave us or disappear. Our heart is made up of layers that can be repaired, held, relayered, much like fabric. When we stitch it all back together, something beautiful emerges, like healing. Through nostalgia, we walk through not just our memories, but a map of where we've been and who we've become. I do believe nostalgia is forever. A sign that we’ve lived life. That we’ve loved, and lost, and have had things we held dear in life. A life without loss, without nostalgia, without melancholy is one where we do not know the value of the happy moments, of connection, of a shared past and to think about the future with hope. This thesis and my work helped me understand this, and I hope that my work invokes the same clarity and understanding in others. In a world divided by hatred, we all have things we’ve held dear, we’ve all had things we wish we still had, and we all know what loss feels like. Many would say that nostalgia, loss, sorrow, they’re all the only guarantees we have, but their presence implies that love, hope, friendship, all of those are guaranteed too. For without them, what, really, do we stand to lose? It takes courage to love enough to be vulnerable, to hold something so dear it becomes part of you, and then, when it is gone, to relearn life through the lens of that loss, to learn to work around the patchwork that our heart becomes. The frayed edges, the muted colors, every messy little stitch and every imperfection are things people would not welcome in their hearts, in their lives, but I hoped to take these symbols of loss and love, and to turn them into something beautiful regardless. It was like my own little mission to prove that there’s beauty in the emotions we’re often too afraid to face, just like there is defiance and bravery in admitting that we lost something, that we may not be perfect, all of our hearts and our inner gardens fractured by this or that.