Latest news with #PonniyinSelvan:II
News18
13-06-2025
- Entertainment
- News18
Inside Sobhita Dhulipala's Style Diary: Sarees, Gilded Gowns, And Quiet Luxury
Last Updated: Sobhita Dhulipala's impeccable fashion picks have always left her fans swooning. Here's a look at some of her best fashion moments. Actor Sobhita Dhulipala never misses an opportunity to turn heads with her ever-evolving style that beautifully balances quiet luxury with bold confidence. The actor was recently spotted at Akhil Akkineni and Zainab Ravdjee's wedding reception. In true Sobhita style, the actor stunned in a vibrant red saree that she had paired with a sheer blouse that was dripping in pearls. While the red saree with its minimal embroidery detailing on the hemline exuded quiet luxury, the sheer halter neck bejewelled blouse was a statement in itself. Whether it's experimental draping, contemporary tailoring, or traditional craft elevated with a modern twist, Sobhita Dhulipala 's fashion choices have consistently reflected thought, intent, and individuality. Here's a look at some of her standout fashion moments. Gilded Glam in Rahul Mishra For her appearance at a luxury haircare brand launch in Mumbai, Sobhita opted for a gilded look by Rahul Mishra. The intricately hand-embroidered Resurgence gown from the designer's Spring 2025 couture collection, The Pale Blue Dot, which debuted at Paris Haute Couture Week, was crafted in over 1,600 hours at the designer's Noida atelier. The gown featured cascading brass leaves, bringing a touch of theatrical flair, while traditional Indian embroidery was elevated with shimmering glass bugle beads, mother-of-pearl accents, and metallic sequins. Sobhita embodied ethereal glamour – radiant, regal, and every bit the couture goddess. For a jewellery campaign that called for a hint of ethereal allure, Sobhita mesmerised in a seaweed olive gown by Rohit Gandhi + Rahul Khanna. Handcrafted with intricate silver and olive sequin grids, delicate crystal embellishments, and soft turquoise detailing, the gown shimmered against sheer tulle. A pleated cape and a trailing silk organza fringe brought fluidity and drama, while the structured silhouette offered a perfect harmony of boldness and grace. Styled with a sleek bun and understated makeup, the look was both celestial and grounded, much like Sobhita herself. Subtle Shine in Arpita Mehta While promoting Ponniyin Selvan: II, Sobhita channelled effortless elegance in a hand-embroidered georgette sari set by Arpita Mehta. Adorned with subtle cream and sand-hued garden prints and layered accents, the ensemble was paired with a maze-embroidered blouse that added texture and intrigue. Oxidised silver jewellery complemented the earthy palette, while soft waves and minimal, neutral-toned makeup let her quiet poise shine through – proof that true elegance speaks in whispers, not volume. Quiet Luxury in Manish Malhotra For WAVES 2025, Sobhita chose a stunning olive green tissue saree by Manish Malhotra. The lightweight fabric, known for its delicate sheen, was brought to life with intricate floral embroidery that shimmered beautifully under the lights, lending her an almost celestial glow. She paired it with a matching blouse featuring cap sleeves, embroidered accents, and a refined high neckline, adding a touch of understated royalty to the ensemble. The result was a look that blended classic elegance with Sobhita's signature quiet power. Modern Elegance in Tarun Tahiliani top videos View all For her post-wedding cocktail soirée, Sobhita chose a striking Tarun Tahiliani ensemble. She exuded modern elegance in a signature sculpted, draped gown that hugged her frame with effortless grace. Completing the look were statement TT jewels and a matching TT clutch, adding just the right touch of glamour to her intimate celebration. 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 : Arpita Mehta fashion lifestyle Manish Malhotra Rahul Khanna+Rohit Gandhi Rahul Mishra sobhita dhulipala Tarun Tahiliani Location : Delhi, India, India First Published: June 13, 2025, 13:33 IST News lifestyle Inside Sobhita Dhulipala's Style Diary: Sarees, Gilded Gowns, And Quiet Luxury
The Print
04-06-2025
- Politics
- The Print
What copyright, plagiarism mean for art and artists
While the Ponniyin Selvan: II case is sub-judice, we can shine the torch on the details of Aziz-Dube case. Copyright is a right that protects your valuable intellectual property. When it is not honoured, it results in a loss of equity for the creator and can attract costly consequences for the infringer—especially at a time when awareness of intellectual property rights (IPR) has grown and legal enforcement has become stronger. In April, Justice Pratibha M Singh of the Delhi High Court passed an interim order on allegations of copyright infringement in the song Veera Raja Veera from the film Ponniyin Selvan: II . The same week, poet Aamir Aziz challenged the unauthorised use of his poem, Sab Yaad Rakha Jayega , by artist Anita Dube. During the 2019 anti-CAA protests, Aziz's Sab yaad rakha jayega (Everything will be remembered) echoed on the streets. In May that year, he also released the song Ballad of Pehlu Khan on the mob lynching of the 55-year-old dairy farmer from Haryana. Sab yaad rakha jayega was recited, in English, by Pink Floyd guitarist Roger Waters in a 2020 protest in London against the arrest of Wikileaks founder Julian Assange. Aziz had found his voice, his oeuvre, and a place in the hearts of many, including artist and first woman curator of the Kochi-Muziris Biennale, Anita Dube. In 2023, Dube came up with a set of four works carrying excerpts from Aziz's poem. They were on exhibition and available for sale from 15 March to 19 April 2025 at the Vadehra Art Gallery in New Delhi. As there were no wall captions, no credit was given to Aziz. Dube had used another poem by Aziz in an earlier work, Intifada, which was exhibited in Delhi and Mumbai. When Aziz got to know that his work was borrowed without his 'knowledge, consent, credit or compensation', he posted on Instagram, calling it 'theft'. 'This is my poem, written in velvet cloth, hung inside a commercial white cube space, renamed, rebranded, and resold at an enormous price without ever telling me,' the poet wrote. He added that it was not 'conceptual borrowing', but 'the entitled section of the art world doing what it does best, extracting, consuming, profiting while pretending it's radical.' For Aziz, it was ironic that while his poem raged against injustice, Dube, by commodifying it, extended the injustice. In her defence, Dube claimed that she used Aziz's lines with clean intent, as an act of celebrating them. She added that she has also quoted Martin Luther King and bell hooks in the past 'in the same spirit'. Moral rights and plagiarism Using someone's work as inspiration as against structure are two different things. In response to the famous copyright dispute in the US involving a portrait of American singer Prince, Columbia Law School professor Timothy Wu said, 'If the underlying art is recognisable in the new art, then you have got a problem.' Dube's act, by this measure, is problematic. In academic writing, to lift even an idea without adequately crediting the source is considered plagiarism. Here, stanzas were taken in an unauthorised manner. Copyright is possible only for original work and automatically belongs to the author. For using such copyrighted work, you need a licence, you need to give credit to the creator, and share remuneration. And when the intentions are clean, none of this can happen post facto. Dube clarified that she had credited Aziz, in an accompanying sheet available at the gallery, but admitted that no permission had been taken. Here, the moral rights of the creator come into play. Moral rights, also called the right of attribution, require that the name of the author must always be displayed with the work. The author has this right even if they choose to remain anonymous or use a pseudonym. These rights are inherent and cannot be sold or assigned, but can be acknowledged via permission and credit, and used as pre-determined terms. All this has to be ensured before the derivative work goes public. They can also be waived in whole or in part as per the protocol of exceptions. However, Aziz's work was not in the space of exceptions, although he has created a special exception for this particular poem—a political protest anywhere can have placards saying Sab yaad rakha jayega. Behind Dube's use of Aziz's poem is possibly the tradition of borrowing, including replications and repurposing elements from previous works or styles. According to art consultant and author Anupa Mehta, 'In postmodernist art, artists draw from eclectic sources. Sometimes these 'borrowings' are in part and used within an art work, as part of its conceptual axis. Usually, source is acknowledged. If the poet's poem is used in full without permission and sans royalty, it's clearly a breach'. Mehta suggested that the issue of copyright in the art world needs to be looked at on a case by case basis, creating space for a more nuanced reading. It begs several questions. 'Was it a creative collaboration? Were terms clarified prior? Artists often work with artisans, craftspeople, and younger artists. Should drawing upon another creative person's skills be considered a contribution to the artwork? For instance, artist Bharti Kher employs women to fill in bindis in her paintings. These women are paid a per diem, while Kher's works sell for high prices. Similarly, artist Binoy Varghese hires young artists to fill in paint on his canvases. Should those strokes be protected by copyright? 'It's not all as straightforward as it should be,' said Mehta. Art curator Alka Pande found the allegation of 'theft' against Dube too strong. 'Even the best writers are inspired by the work done before them. These are opaque, porous borders,' she said. Pande described Dube's work as part of a creative process where activism, propaganda, and politics coalesce. However, she added that due credit must be given and the collaborative process should be acknowledged. 'If there is a financial aspect to the work, then the financials should be clear with the collaborating parties.' That, precisely, is the problem in Aziz's case. Also read: In the Mood for Love in Delhi—artist reimagines Wong Kar-wai's film in his paintings 'Borrowing' work We know that post-colonial 'borrowings' of cultural and material expression were, in effect, a continued resistance to colonial and neo-colonial hegemony, and that resistance must be relentless. While the past undoubtedly continues to shape the present, dominant meta-narratives are being resisted, and the local prioritised. Aziz's work represents this evolving idea of decolonising. Dube may well have intended her work as part of that arc, but it has ended up reading as contrarian. Even if we use the relatively neutral term 'borrowing', the nature of such borrowings must be examined in today's context. In borrowing Aziz's poem, which calls for fighting injustice, we see how injustice itself can be perpetuated. In a twisted way, it echoes Homi K Bhabha's theory of mimicry, where the adoption of the coloniser's language simultaneously subverted colonial power and the self. Borrowings may show the mirror to the world, but today, ethical lines are more clearly drawn. Ethical protocols now distinguish borrowing from appropriation. In a neo-capitalist context, the sharp power imbalance between a hounded protest poet and an established artist selling work based on his angst-ridden poetry—without acknowledgement—can nullify even the best of intentions. The concept of borrowings, especially in this globalised, nationalist moment, must be revisited. The silver lining in this misadventure is that it opens space for reflection, self-criticism, and a deeper dive into copyright, plagiarism, and the exceptions that govern them. Also read: 24, Jor Bagh gets its last hurrah—the art space that became a metaphor for Delhi Copyright vs plagiarism When ideas are copied without attribution and no direct financial gain is sought, it qualifies as plagiarism. This often occurs in academia. Direct quotations from earlier work must be properly cited using established norms. Even paraphrased ideas require credit. An insufficient citation is also plagiarism. Notably, plagiarism can be identified not just by the original author but by a third party. Copyright, by contrast, protects original work—written, musical, dramatic, or visual. Once created, a work is protected by default, though formal registration offers added protection. Copyright grants creators exclusive rights to control how their work is used, copied, translated, distributed, adapted, incorporated into other works, or monetised. Some exceptions exist: fair use, Creative Commons, and copyleft. Fair use is a high-ethics space. It allows work to be used strictly for purposes like teaching, journalism, and public analysis. It's a balancing act between the author's rights and public interest—never a free-for-all. Creative Commons licenses allow authors to waive some rights (often monetary) in exchange for credit and acknowledgement. Wikimedia Commons is a well-known example. Copyleft is a more altruistic approach. It allows anyone to use, improve, or build on a work—so long as the derivative is shared on the same terms. This model is widely used in software. None of these exemptions apply in the case of Aziz and Dube. As things stand, Dube has apologised, withdrawn those works from all platforms of exhibition, distribution, and sale 'in the future and in perpetuity'. She has offered the artwork Intifada to the poet 'with full ownership rights as compensation and as a gesture of reconciliation'. All attempts at financial settlement have so far reached a dead end. In fact, a unilateral post facto financial offer can be a double whammy. Only the original author—or an authority the author designates—can agree to a post-facto settlement. In searching for resolution, intent matters. And two principles must anchor this process: that no solution can be one-sided, and that the final word belongs to the wronged party—unless ruled otherwise by a court. Arshiya Sethi is a two-time Fulbright Fellow, dance scholar, researcher and 'artivist', supporting management of arts institutions in creating inclusive and safe practices. Views are personal. (Edited by Aamaan Alam Khan)
Mint
30-05-2025
- Entertainment
- Mint
Aishwarya Rai's unseen photoshoot from Cannes surfaces online, netizens say ‘insane face card'
Bollywood actor Aishwarya Rai recently attended the Cannes Film Festival and made headlines with her multiple red-carpet looks. While she was praised for serving traditional and non-traditional looks at the festival, an unseen photo from her photoshoot has now surfaced online. Reportedly, it is from France. For a change, Aishwarya ditched her usual outfits such as black gowns and sarees and slipped into a mauve pantsuit. She was only accessorised in a ring on her hand while her luscious wavy hair became the highlight of the look. She finished it off with her signature red lips and looked effortlessly gorgeous in the photos. While she posed confidently in the first picture, the second one had her in the middle of the makeup session. The pictures have emerged on Reddit. Reacting to the new look, many hailed Aishwarya for her refreshing look. A user wrote in the comments, 'I'm happy as long as its not a tent outfit and middle partition hair (sic).' 'Love this look so much. And her in the second slide (sic),' added another. One more commented, 'That insane face card! Can still mog half the film industry.' Someone else also called it her 'best look.' Aishwarya attended the film festival at Cannes as the global ambassador for L'Oréal Paris. She walked the red carpet on May 21 and 22. On day 1, she stunned in a traditional saree with her sindoor and bindi look. She wore a white saree from Manish Malhotra with golden embellishments and a golden border. Her saree came with a long pallu on her left with another flowy train-like extension to her right. Her look was accessorised with traditional Indian jewellery made out of diamonds and red rubies. The highlight of her look was the bright red sindoor on her forehead with a bindi. On day 2, she switched to a modern look in a body-fitting strapless black gown, along with a silver cover-up around her. She was accessorised in diamond rings and earnings. She opted for bold red lipstick which held her look together. Ditching her signature sleek, straight hair, she opted for soft curls for the gown look. Aishwarya Rai attended Cannes with her daughter Aaradhya Rai Bachchan as usual. Besides her, Alia Bhatt also made her Cannes debut this year. She too attended the film festival as the global ambassador for L'Oréal Paris. Aishwarya was last seen in Mani Ratnam's Ponniyin Selvan: II.
India Gazette
24-05-2025
- Entertainment
- India Gazette
Aishwarya Rai, Aaradhya Bachchan twin in black as they arrive in Mumbai post-Cannes
Mumbai (Maharashtra) [India], May 24 (ANI): Actress Aishwarya Rai Bachchan returned to Mumbai on Friday night after representing India at the 2025 Cannes Film Festival. She was accompanied by her daughter Aaradhya, and the duo was seen greeting the paparazzi warmly outside the Mumbai airport. Aaradhya, holding onto her mother, also smiled at the crowd as they made their way to the car. The mother-daughter duo coordinated their outfits, both dressed in black. Aishwarya wore a sleek black top paired with matching tights and a stylish coat, while Aaradhya donned a black top, denim jeans, and a black jacket. At Cannes, Aishwarya continued her legacy of iconic red carpet moments. On the first day, she embraced a traditional look, wearing a regal ivory saree with a dramatic pallu and lace trail. She completed the ensemble with a layered ruby necklace and a dash of sindoor, adding a cultural touch to her appearance. For her second outing at the festival, she made a bold fashion statement in a custom creation by designer Gaurav Gupta. The ensemble featured a striking black shimmer gown accompanied by a voluminous white cape. The Banarasi brocade cape was handwoven in Varanasi. The cape stood out not just for its rich texture but also because it was inscribed with a Sanskrit shloka from the Bhagavad Gita. Meanwhile, Aishwarya was last seen in 'Ponniyin Selvan: II' (2023), directed by Mani Ratnam, where she starred alongside a stellar cast including Vikram, Karthi, Trisha Krishnan, and Sobhita Dhulipala. She has not yet announced her next project. (ANI)
India.com
24-05-2025
- Entertainment
- India.com
Aishwarya Rai Bachchan Returns From Cannes 2025 With Daughter Aaradhya
Mumbai: Actress Aishwarya Rai Bachchan returned to Mumbai on Friday night after representing India at the 2025 Cannes Film Festival. She was accompanied by her daughter Aaradhya, and the duo was seen greeting the paparazzi warmly outside the Mumbai airport. Aaradhya, holding onto her mother, also smiled at the crowd as they made their way to the car. The mother-daughter duo coordinated their outfits, both dressed in black. Aishwarya wore a sleek black top paired with matching tights and a stylish coat, while Aaradhya donned a black top, denim jeans, and a black jacket. At Cannes, Aishwarya continued her legacy of iconic red carpet moments. On the first day, she embraced a traditional look, wearing a regal ivory saree with a dramatic pallu and lace trail. She completed the ensemble with a layered ruby necklace and a dash of sindoor, adding a cultural touch to her appearance. For her second outing at the festival, she made a bold fashion statement in a custom creation by designer Gaurav Gupta. The ensemble featured a striking black shimmer gown accompanied by a voluminous white cape. The Banarasi brocade cape was handwoven in Varanasi. The cape stood out not just for its rich texture but also because it was inscribed with a Sanskrit shloka from the Bhagavad Gita. Meanwhile, Aishwarya was last seen in 'Ponniyin Selvan: II' (2023), directed by Mani Ratnam, where she starred alongside a stellar cast including Vikram, Karthi, Trisha Krishnan, and Sobhita Dhulipala. She has not yet announced her next project.
