Latest news with #ArtDeco
News18
a day ago
- Entertainment
- News18
Sobhita Dhulipala to Samantha Ruth Prabhu: The Saree Not Sorry Diva Moments
Last Updated: It's raining sarees this monsoon season and the actresses are embracing the six yards of sheer elegance with elan. Alia Bhatt paid ode to the Indian saree in a custom Gucci creation at the 78th Cannes Film Festival and the world wouldn't stop talking about it. The Indian drape has been the centre of attention not just at weddings but also at red carpets. In spite of the monsoons, the six yards of sheer elegance has turned showstopper in many celebrity outings. From traditional drapes to contemporary styling, the saree is a haute and happening outfit of day this monsoon season. From Sobhita Dhulipala going Bold in a contemporary red saree to Samantha Ruth Prabhu celebrating the art deco movement in a traditional drape, Bollywood divas and their stylists are making sure it's raining sarees this season! Here's a look at some traditional and contemporary saree designs adorned by Bollywood's favourite actresses: Sobhita Dhulipala If you browse through Sobhita Dhulipala's Instagram, you will fall in love with every saree she has draped. From Manish Malhotra to Torani, every saree weaves a story of tradition and craftsmanship. The highlight of Sobhita's saree looks are the innovative blouses she pairs them with. The iconic pearl embellished blouse she adorned at Akhil Akkineni's wedding reception was bold and timeless at the same time. Sobhita Dhulipala's choice of sarees play the perfect moodboard for brides and their bridesmaids. Samantha Ruth Prabhu's vision when it comes to saree is a beautiful blend of contemporary and traditional styles. Be it the Raw Mango sari that drew inspiration from the Art Deco movement releasing in gold zari hand embroidery and satin silk or the Arpita Mehta floral printed saree with rose gold mirror work, every drape has upped Samantha's style game. Samantha ensures every drape is styled to her liking and celebrates each saree like a superstar. Sonam Kapoor Ahuja The OG queen of unconventional styling, Sonam Kapoor Ahuja's saree moments have always been epic. From radiating surreal glamour in Abu Jani Sandeep Khosla's woven tissue saree with hand embroidered zardozi to acing Masaba's iconic motifs in an ethereal ivory saree, Sonam will always be an icon. Wamiqa Gabbi View this post on Instagram A post shared by Eka (@ekalakhani) Wamiqa Gabbi's saree game has been on point. From colourful palettes to traditional designs, each saree has celebrated Wamiqa with elan. The retrorani saree in candy pink from Raji Ramniq to the quintessential Varun Bahl embroidered saree, every drape celebrates the timeless Indian elegance. Kajol View this post on Instagram A post shared by Kajol Devgan (@kajol) top videos View all For the promotions for her upcoming movie Maa, Kajol's stylish moments have been taken over by a series of vibrant sarees. A colour palette ranging from deep red to vibrant sunshine yellow, each saree resonates with the colour of the rainbow. Kajol's stylish moodboard is as versatile as her acting prowess. From the radiant ode to summer Devnaagri floral saree to the soft pastel organza saree from label Anushree, each drape exudes royalty. About the Author Akshata Shetty Completing almost two decades in journalism, Akshata Shetty's journey from print to online journalism is a celebration of fashion, art and music. Akshata's fashion stories are about the people who celebrate More The News18 Lifestyle section brings you the latest on health, fashion, travel, food, and culture — with wellness tips, celebrity style, travel inspiration, and recipes. Also Download the News18 App to stay updated! tags : fashion Kajol lifestyle Samantha Ruth Prabhu sobhita dhulipala Location : Mumbai, India, India First Published: June 19, 2025, 09:46 IST News lifestyle Sobhita Dhulipala to Samantha Ruth Prabhu: The Saree Not Sorry Diva Moments
Fashion Network
3 days ago
- Business
- Fashion Network
Schiaparelli doubles Harrods space with grand vision on designer floor
Maison Schiaparelli opened its Harrods boutique in early 2023 and now it's launching what it says is a 'significant new chapter in the brand's presence' in the UK as it doubles its footprint in the luxury department store. It's moved to a new location on the store's key first floor dedicated to luxury womenswear and said the space 'reaffirms the Maison's commitment to offering its international clientele an immersive experience that blends the brand history with artistry, heritage, and unique design'. Schiaparelli, under creative chief Daniel Roseberry, is having something of a moment as it continues to be a top choice for red carpet events globally. Simon Longland, director of buying, fashion at Harrods, said the store is 'committed to curating a fashion offering that celebrates creative vision, craftsmanship, and exclusivity. Schiaparelli's expanded presence reflects the growing demand from our clients for design that is both daring and refined. Daniel Roseberry's unique approach to storytelling and silhouette continues to resonate deeply with our global clientele'. The new Harrods space 'is a collaboration with' Roseberry and architecture agency Halleroed and covers 222 sq m (2,390 sq ft), drawing inspiration from some of the brand's key historical elements — 'most notably, the surrealist and theatrical themes born from Elsa Schiaparelli's collaboration with Salvador Dalí, her work with designer Jean-Michel Frank, and the brand's signature blend of whimsical sophistication and true French elegance'. Halleroed said: 'Our vision was to create an environment that feels both intimate and residential — but with a bold, elevated twist. To evoke the spirit of Schiaparelli's original salon at Place Vendôme, we adopted an enfilade layout, creating a sequence of interconnected rooms framed by striking black decorative portals. These not only guide the visitor through the space but also define a sense of privacy and exclusivity.' Gold, a label signature, plays a central role throughout the boutique, both in colour and texture. Two separate entrances lead visitors through corridors finished with white-wrapped moulding on the walls, echoing the Paris flagship. These corridors open onto a central lobby with a gold-leaf domed ceiling featuring original hand-drawn sketches by Roseberry. Mirrors are used extensively throughout, both as reflective surfaces and 'decorative and illusionistic elements that expand and animate each room'. The individual rooms include a jewellery room, conceived as a surrealist bathroom, with walls clad in hand-cut, hand-installed Venetian gold glass mosaic, reminiscent of an Art Deco bathroom. Jewellery is presented in the marble bathtub. There are three separate rooms showcasing RTW. Then there's the Boudoir, 'tucked away in the apartment-like boutique' as a private VIP lounge that's followed by a bedroom complete with bed and fireplace, and embroidered artworks and mirrored panelling. Next is the shoe room, cased in mirror and tobacco velvet. Delphine Bellini, CEO of Schiaparelli, said: 'This new boutique-atelier reflects our vision of luxury retail as a singular, elevated, and tailor-made experience. It is a tribute to the trust of our clients, the unwavering dedication of our teams, and the exceptional partnership we share with Harrods. The creative alchemy between Daniel Roseberry and the design duo Halleroed gave birth to this sophisticated, daring and immersive concept — our very first of its kind — crafted to surprise and enchant our clients while remaining profoundly true to the spirit of Schiaparelli.'
The Print
3 days ago
- Business
- The Print
Bombay buildings' modernism was driven by the middle class, not elites
Here's a story on how a local version of modernism that was both global in form and regional in spirit was shaped by the people of Bombay. But how did Bombay outrun Calcutta and Madras in aesthetic innovation? What events led it to distinctly project a modernist urban identity? Who was behind this drastic transformation that made Bombay catch this global modern wave? Why Bombay? Why not any other Asian city? And how exactly? In the early 20th century, Bombay stood at the crossroads of empire, migration, and modernity, emerging as the focal point of modernism in the Indian subcontinent. While Calcutta and Madras shared similar morphology—both being trading ports and sites of global exchange—Bombay was unique, cosmopolitan, and a crucible of cultural experimentation and architectural transformation. The Rise of a modern metropolis By the 1920s, Bombay was bursting with industries, manufacturing units, and people. Overcrowding in the City of Seven Islands, coupled with industrial expansion and plague outbreak, prompted the city administration to shift attention toward suburban development, especially in Salsette Island, the island north of Bombay. This was not just a response to urban congestion but an opportunity to reimagine the city's built environment. The mistakes made by the Bombay City Improvement Trust in the island city could be resolved in the suburbs. Hence, a new body was formed—the Bombay Development Department (BDD)—in 1920, which aimed to create suburban schemes in Salsette for the upper and middle classes of Bombay. Acquiring land from the Indian villagers of Salsette, creating roads and then demarcating new uniform plots was the groundwork laid for suburban planning by the BDD. Unlike the chawls for the working class and the colonial bungalows of the elites, something new was needed. This took shape in the form of new modern architectural typologies—detached appropriated villas, and apartments which catered specifically to a unique set of people—the burgeoning middle class. The middle class of Bombay itself was unique. The English-educated, white-collar job-going, upper-caste people, after saving a good percentage of their income, were left with just enough money to live through the vagaries of life—some characteristic features of the Bombay middle class. No one knew better functional and economic efficiency than them. Further, unlike the working class, they were educated. Partly with the knowledge of modern hygiene and a strong desire to be categorised away from the working class, they adhered to the modern forms of hygiene and sanitation. This meant standardised living, modern flushing toilets, and houses in well-planned neighbourhoods with clean air and water, which was hardly possible for the middle class in the island city; hence the suburbs. This also meant embracing new and modern ways of living, which entailed modern style and aesthetics—houses designed in Western styles. In the 1930s, the striking Art Deco style was considered modern worldwide. Miami and Paris had houses, furniture, and artefacts designed in Art Deco. The elites in Bombay were at par with Parisians and Miamians. They built houses with curved balconies, geometric motifs, and streamlined facades, and had sleek furniture and furnishings. Inspired by the elites, the middle class built similar houses, bought similar furnishings, and equipped their homes with modern-looking tiles and kitchen and toilet appliances. Houses designed with Art Deco aesthetics could be seen popping up in the suburbs of Juhu, Bandra, and Khar. At this point of time, Art Deco became a bold cultural symbol for anything which was modern. It got more popular with the Ideal Home Exhibition of 1937, a first-of-its-kind architectural exposition in India, organised by the Indian Institute of Architects, which displayed reinforced concrete models, modern bathroom fixtures, and ferrocement innovations. It brought global design sensibilities to an Indian middle class hungry for aesthetic modernity. Modernism was not just about architectural style, it was about breaking from the past, making progress, and creating new social norms. People who came from villages had strong notions of caste purity and pollution. To an extent, these were dissolved in Bombay. Partly due to English education and partly because of colonial urbanity, Indians had to share spaces with people of other caste, religion, ethnicity, and other sub identities—something which would be unimaginable in the villages—in local trains, offices, and also their new homes and neighbourhoods. With toilets coming inside the houses, new notions of caste pollution and purity were formed. Sharing a compound space and walls with people of other castes and religions meant breaking a centuries-old tradition of caste purity, while forming new notions of cosmopolitanism provided through the ideas of progress and development. Also read: How Jaisalmer architecture cools its buildings. It has the answer to heat in Indian cities The middle class as agents of modernism A unique feature of Bombay's modernism movement was that it was not entirely state-led or elite-driven. Instead, it was shaped significantly by the aspiration and agency of the middle class. Through English education, credit networks, and political mobilisation, Bombay's middle class actively participated in reimagining domestic and urban life. The suburbs became sites where this new identity unfolded—not just architecturally, but socially. For example, in neighbourhoods like Vile Parle, Santa Cruz, and Bandra, residents petitioned municipal authorities and the BDD for better infrastructure—roads, drainage, sewage system, and amenities like hospitals, playgrounds, temples, and schools. It was not just the Art Deco cinemas like Eros and Regal which were modernised, but playgrounds and reading rooms got a modern makeover too. In 1925, the Vile Parle residents' association wrote to the municipality to create a literary association which would be inclusive and accessible to everyone. In 1946, Khar residents asked the municipality to develop a reading room in Khar which could be used by people of every caste, creed, and religion. In 1922, middle class residents of Santa Cruz wrote to the Santa Cruz municipality asking to develop a hospital for the use of everyone in the community. In the 1930s, the residents of Khar asked the municipality to establish a Ramakrishna Mission Ashram in the locality, which could be used for everyone even though it was a religious building. The design of the building was modernist—simple, plain façade with no ornamentation, curved canopy, geometric pattern in iron grill on windows. Not only the architectural style of the reading room or the Ramakrishna Mission Ashram was inspired by modern Art Deco, but the idea and rationale behind the creation of such a space was also modern. Modernism on the one hand meant modern hygiene and infrastructure, but on the other hand, it also meant empowerment to demand these things. The middle class was empowered to an extent that resistance in the form of petitions, delegations, and press was prominent in the 1930s. Local resistance and advocacy shaped these suburban spaces of Bombay, embedding notions of self-governance and civic modernity into the urban fabric of Bombay. The files at the Maharashtra State Archives are filled with petitions from individuals, groups, resident associations, and press cuttings detailing how the middle class would conduct public meetings, make resolutions, and draft letters addressed to the municipal boards asking for better infrastructure, better roads, drainage system, seawalls and sluices, better administration, and less taxes. This grasp on colonial laws and bureaucratic rationality, knowledge of rights and freedom, and English-speaking capability shows that the middle class was modern in social terms not in just superficial terms. Modernism was also present inside the houses, not just outside. Perhaps the most intimate expressions of Bombay's cultural modernism occurred inside the house. As historian Jordan Sand argues, modernism often took root not in monumental public spaces but in the private realm. In Bombay, this meant functional internal planning. While houses before the modernisation had halls which were used for multiple functions, modern houses in Bombay meant areas designated for every purpose. But connecting and arranging these areas in order to get enough light and ventilation was not an easy task and thus builders, architects, and designers (all inspired by modernist style) were hired. Modern houses in Bombay, like Vilhervin in Bandra, had the living-cum-drawing room becoming the fulcrum of the house, located spatially close to the kitchen and bedrooms, with the staircase, located at the front with a different entrance, and toilets at the end. These houses were embellished with imported bathroom fittings, mosaic-tiled floors, teakwood furniture inspired by Bauhaus ideals, and kitchens reconfigured for hygienic living. The Beautiful Homes column in The Times of India and illustrated guides in the Indian Concrete Journal propagated ideals of the modern Indian home. These publications suggested that to be modern was not merely to live in a new building but to inhabit it in new ways—through rational spatial planning, efficient fixtures and furniture, and new consumer products. The Art Deco architecture and modernist interiors created a hybrid aesthetic: Western in influence but adapted to Indian lifestyles. Balconies became transitional zones for prayer and gossip; drawing rooms reflected a blend of Persian carpets and chrome-legged chairs. This adaptation, far from being derivative, reflected a vernacular modernism that was distinctly Bombay. Parallel currents in Madras and Calcutta While Bombay emerged as a visual and spatial emblem of modernity in the Indian subcontinent, Madras and Calcutta cultivated their own modernist movements, albeit along different trajectories. In Madras, modernism was shaped by its intellectual and bureaucratic elite. The city's urban transformation in the early 20th century was less dramatic than Bombay's, but equally significant. Modernism in Madras, by virtue of Art Deco, became visible in cinema theatres like Casino, preview halls of Gemini, AVM, and Vijaya Vauhini studios, commercial buildings like Dare House, hotels such as Oceanic and Dasaprakash, and in residential areas including T Nagar, Mylapore, Alwarpet, and Adyar. Architects from the Government College of Architecture in Guindy experimented with tropical modernism—designing homes and public buildings that responded to heat, humidity, and vernacular forms. The Madras School of Art (now Government College of Fine Arts), under figures like KCS Paniker became a hub for modernist expression in painting, blending indigenous symbolism with abstraction. Meanwhile, Calcutta, once the imperial capital, bore the weight of colonial legacy and radical politics. Its modernism was deeply intertwined with the Bengal Renaissance and Leftist intellectual circles. Writers, artists, and architects in Calcutta grappled with questions of identity, class, and social justice. Calcutta's rich legacy of Art Deco architecture and therefore modernism—blending Western styles with Indian traditional elements—is clearly visible in the iconic Victoria House, Metro Cinema, the Shyambazar Mullick House, and the Seksaria House. Modernism in Calcutta is well depicted in its residential neighbourhoods like Southern Avenue, Jodhpur Park, and Lake Gardens. Modernist architecture appeared in pockets—through the works of Habib Rahman and others who studied in the West. But Calcutta's modernism was perhaps more ideological and literary than visual. The proliferation of the 'little magazine' culture and the influence of Marxist thought shaped a version of cultural modernism steeped in debate, art, and radical politics. What set Bombay apart was its middle class. There were elites in both Calcutta and Madras and one can find bigger Art Deco bungalows and cinemas built for the elites. However, the middle class and its emulation to be modern was what was missing in both Calcutta and Madras. And this is reflected in the mundane-looking yet profound simple Art Deco houses for the middle class in Bombay. Public housing for the non-elites came in Bombay before any other Asian cities. Further, the non-elites were shaping, re-shaping, and appropriating it constantly. This agency of the non-elite middle class is unique to Bombay, making it different from any other city. There were reading rooms and spaces where these discussions and discourses on 'being modern' were formed. Additionally, there were cinemas and theatres which made this information accessible for the middle class. This reinforced Bombay's image as the beating heart of modernism in the Indian subcontinent. Also read: Ratnagiri vs Mumbai—What 'All We Imagine as Light' gets horribly wrong about cities, Bahujans The legacy of Bombay's modernism Bombay's modernism was not a singular, linear movement, but one driven by aesthetic, social, and spatial practices. It emerged from a convergence of material conditions—overcrowding, technological innovations like reinforced concrete, new professional networks of architects—as well as intangible aspirations for cosmopolitanism, progress, and self-definition. Compared to the intellectual modernism of Calcutta or the climatically responsive architecture of Madras, Bombay's modernism was visual, performative, and deeply embedded in everyday life. The interesting and often overlooked question is: who actually built those modern spaces? And the answer is, the middle class. Those who are ubiquitous but have been seldom given any recognition. They used tools like bureaucracy, knowledge of their rights and social capital, and networks to emulate the modern ways of living, which reflected in the spaces they inhabited. From suburban neighbourhoods to Deco reading rooms and curated interiors, modernity in Bombay was lived and experienced at every level of the city. Today, remnants of this modernist past survive in fading murals, crumbling facades, heritage public buildings, and old family homes. Sabine Ameer is an architect-urban planner and a doctoral researcher in International Relations at the University of Glasgow. She tweets @Sabineameer. Excy Hansda is a doctoral researcher in Architectural History at the University of Liverpool, and a visiting researcher at the University of Antwerp. He tweets @excy_hansda. Views are personal. (Edited by Aamaan Alam Khan)
Miami Herald
3 days ago
- Automotive
- Miami Herald
Bentley's $37.5M Miami Penthouse Is a Car Collector's Sky-High Playground
Bentley Residences Miami has today unveiled a two-storey penthouse on the 61st floor of its residential tower overlooking the Atlantic Ocean on Sunny Isles Beach where the lucky resident will be able to quite literally drive into the sky. The $37.5 million luxury residence comes complete with a glass-enclosed garage in the living room and EV charging for up to seven vehicles, accessed via a private patented car elevator dubbed the Dezervator first seen in its neighbor the Porsche Design Tower and developed by Dezer Development. The apartment is a blend of Bentley showroom and luxury beach villa with 22-foot ceilings, private indoor and outdoor pools, floor-to-ceiling windows, and enough space to house more cars than most people will own in a lifetime. There are four bedrooms, seven bathrooms, a powder room, and study. The design boasts Art Deco vibes with beautifully carved walls to match Miami's architectural heritage, with optional interiors provided by Bentley Home featuring natural stone, crystal panels, quilted leather, handcrafter furniture and a floating staircase. For gearheads that like to party, there's a summer kitchen, sunset terrace, entertainment loft plus a Gaggenau-equipped kitchen that probably costs more than your first sports car. Venture downstairs and there's a whisky bar, cigar lounge, private cinema, golf simulator, wellness spa and even a pet spa. When complete in 2028, the 62-story Bentley Residence will host 216 residences, and just two penthouses. Bentley isn't the first, and likely won't be the last, to create condos catered to car collectors. The Porsche Design Tower debuted in 2017 and introduced the original car lift allowing for 2-4 cars to be parked up in each apartment. Bentley has taken this to a new level with up to 7 cars in a space that looks more art gallery than garage. Copyright 2025 The Arena Group, Inc. All Rights Reserved.
The Star
4 days ago
- Business
- The Star
Rare museum-quality clocks steal the spotlight at the Hong Kong Watch Auction
Phillips in Association with Bacs & Russo achieved a remarkable result for the Hong Kong Watch Auction: XX, realising over HK$212mil or US$27mil, which surpassed the pre-sale high estimate of HK$181mil (US$23mil) and marked a 30% year-on-year increase. The auction, held late last month, attracted enthusiastic participation of 1,800 registered bidders from 70 countries and regions. In addition to a packed saleroom and active telephone bidding, there was robust online engagement where 70% of the lots offered were sold to online buyers. Cartier Unique Mystery Clock with a coral sculpture. While wristwatches performed strongly, the spotlight was decisively taken by an extraordinary selection of museum-quality clocks, particularly the Art Deco Cartier masterpieces that garnered international attention and set new benchmarks in decorative horology. Auctioneer Perazzi selling lot 933. — Courtesy photos These achieved a 100% sell-through rate, with all 18 exceptional timepieces selling well above their pre-sale estimates. The collection drew keen interest and realised a total of over US$5mil. Among the top performers were rare and historically significant Cartier desk and mystery clocks, including 19th-century pieces made for the Chinese market, which ignited bidding wars and far surpassed expectations. Leading the pack was a Cartier nephrite lantern clock originally commissioned as a wedding gift for princess Fawzia of Egypt in 1939 when she married Iran's crown prince Mohammad Reza Pahlavi. An intense 20-minute contest involving 59 bids drove its final price to US$1.16mil, nearly five times its pre-sale high estimate, underlining the allure and provenance of exceptional Cartier creations. Another standout item, the extremely rare Cartier Coral Mystery Clock (circa 1930), also soared past estimates to achieve US$973,074. The clock features exquisite rock crystal, mother-of-pearl, diamonds, onyx, coral, platinum, yellow gold, and enamel, with delicate craftsmanship mirroring Chinese culture and style. Cartier's 1925 Modèle A Mystery Clock. Meanwhile, a circa 1925 Modèle A Mystery Clock in pristine condition fetched US$583,844, reflecting collectors' reverence for the intricate mechanics and recognition of Cartier's outstanding workmanship. The auctioneers' head of watches (Asia) Thomas Perazzi, and head of sale Gertrude Wong jointly said, 'Marking a decade of excellence in Asia, the various owner sale achieved the third highest result in our history in the region. 'The past three days have powerfully reaffirmed the strength and depth of the watch market, with passionate bidding and outstanding results for timepieces spanning over three centuries of horological excellence. Lot 933 – Patek Philippe watch. 'We are sincerely grateful to the global watch-collecting community and all participants who made this sale such a success.' At the auction, important Patek Philippe wristwatches continued to captivate collectors, with a possibly unique ref.5970P-013 in platinum leading the sale at over US$1.29mil. This fresh-to-market, factory double-sealed example features four stunning red hands, an English calendar and the inscription 'A Mon Fils' (To My Son) on its sapphire caseback, reflecting its profound sentimental value. The F.P. Journe Tourbillon Souverain. F.P. Journe timepieces also continued to get strong results, led by the Chronomètre à Résonance 'Black Label' which achieved more than US$583,844, nearly double its pre-sale high estimate. Other standout results include the Tourbillon Souverain from the brand's fourth generation, which sold for US$454,101, and a Centigraphe Souverain that garnered US$421,665, more than three times its pre-sale high estimate. Unique Cartier illuminated nephrite lantern clock. Vintage Rolex wristwatches commanded bidders' attention as well, with the Cosmograph ref.6263, featuring the UAE Quraysh Hawk emblem and the Arabic script signature of the ministry of defence, sold for over US$324,358. Following this Hong Kong auction was one held in New York on June 7 and 8.
