Latest news with #BrideandPrejudice
New Indian Express
6 days ago
- New Indian Express
TNIE impact: Four FIRs filed in child marriage, teenage pregnancy case in Krishanagiri
KRISHNAGIRI: A total of four FIRs were filed in connection with child marriages in Krishnagiri district on Saturday, and the district administration is inquiring about two more cases. On June 18, TNIE carried a story — 'Bride and Prejudice: Aadhaar fudged to mask child marriages in K'giri'. The dates of birth on the Aadhaar cards of six child marriage victims were changed by their relatives to evade arrest in the past six months in Kelamangalam block. Currently, all four victims are pregnant. The social welfare department is inquiring with a 15-year-old child marriage victim near Denkanikottai, and one near Rayakottai is still untraceable. Earlier, the Kelamangalam Block Rural Welfare Officer and Block Extension Officer of Kelamangalam filed four complaints at Rayakottai, Denkanikottai and Kelamangalam police stations on Saturday. The police booked cases under sections 5(i), 5(j)(ii), read with 6(1) of the Pocso Act, and section 9 read with 10 of the Prohibition of Child Marriage Act. Apart from this, Kelamangalam Block Medical Officer Dr C Rajesh Kumar filed a complaint at Rayakottai, Kelamangalam, and Denkanikottai police stations for Aadhaar tampering. Based on this, two persons were arrested in Rayakottai and Denkanikottai. Krishnagiri District Social Welfare Officer R Sakthi Subashini told TNIE, "Police will inquire with the child marriage accused and will inquire at three temples where the marriages took place in Krishnagiri and Dharmapuri districts."
Indian Express
25-06-2025
- Entertainment
- Indian Express
Scandinavian scarf or a dupatta: What the TikTok trend reveals about cultural appropriation in fashion
Remember Kareena Kapoor Khan's iconic character Poo in Kabhi Khushi Kabhie Gham flaunting a black dupatta with her beige jacket and halter-neck top? Chic, classy and oh-so-elegant, Poo became a fashion icon in the 2000s, setting off a trend among college students and young millennials. Aishwarya Rai Bachchan, too, rocked a similar look in Bride and Prejudice, pairing a slinky dupatta with her Indo-Western ensembles. Now, decades later, TikTok has repackaged this dupatta-wearing '2000s baddie' look into a Western concept, calling it the 'Scandinavian scarf' trend. Harshita Srivastava, senior faculty of fashion styling at Pearl Academy, explained that the Scandinavian scarf refers to 'a soft piece of fabric resting on the front of the neck and shoulders, cascading down the back.' It's now being sported by celebrities, models, and pop culture influencers, and widely adopted by young Western fashion enthusiasts. The trend has sparked criticism on social media, as the so-called 'Scandinavian scarf' looks suspiciously similar to the South Asian dupatta. But the phenomenon of the West acknowledging and celebrating something only when they adopt it is hardly new. 'In 1498, Vasco da Gama 'discovered' India, they say, and paisley 'rose to popularity' in the 1800s because of Queen Victoria's taste. It raises the question: discovered for whom, and popular where?' asked Srivastava. 'The list of such trends is endless: yoga, chai tea lattes, turmeric milk, incense sticks, curry sauce, 'namaste', henna tattoos, naan bread, mango lassi… The point is, this isn't an isolated event, and certainly not the first time Europe has viewed itself as the centre of the world,' she said. We live in a world that has been tilted, one where no act of borrowing from another culture can exist without historical context. 'When a privileged community adopts from a marginalised one, especially one that has faced historic oppression, colonisation, etc., they trigger and repeat the original trauma. Imperialism, identity, and systemic erasure are linked,' said Srivastava. According to her, Eurocentric aesthetic preferences are how dominant cultures engage with a trend while actively shrinking the visibility of the culture and people they are adopting from, reinforcing unfair and oppressive structural dynamics. 'Cultural appropriation happens when patterns, symbols, silhouettes or designs are taken from an oppressed culture without context or consent. Especially when the dominant culture 'appreciates' things it once dismissed, or even punished,' Srivastava said. She raised an important concern –– who gets to profit from a culture and who is punished for it? Raghavendra Rathore, founder of Raghavendra Rathore Jodhpur, said that in the ever-shifting world of fashion, the line between inspiration and appropriation has grown even more difficult, and more critical. 'Inspiration comes from various periods and cultures and even the structures and textures of nature; creativity lives on references. For designers, this referencing is a means of storytelling, a process that revitalises classic forms, not an imitator strategy,' he explained. But when reverence becomes replication, the integrity is lost. 'Inspired work is legitimate when it's honest –– it acknowledges the source, respects the context, and adapts with purpose. It's about paying respect to history and the original creator, not just copying a look,' he said. That said, now, with social media, we have the tools and the power to question and disrupt a repressive cultural erasure with radical visibility. We get to take part in a trend while combating it at the same time. To wear, flaunt, and celebrate the dupatta without calling it a 'Scandinavian scarf'. The rise of artificial intelligence complicates the conversation further. 'AI recycles and redefines past work by scanning billions of images, designs and styles. While this enables rapid creation, it risks diluting originality, leading to a homogenised visual culture,' said Rathore, adding that today's idea of 'originality' is already shifting since almost everything we create is built on something that came before. This debate is especially relevant for Indian fashion, with its deep well of artisanal techniques, regional crafts, and visual diversity. As Indian designers reinterpret global influences and global houses borrow from Indian aesthetics, the question of inspired vs appropriated becomes a complex one. This dialogue is especially important for Indian fashion, which rests on a rich foundation of tradition, craftsmanship, and diverse regional aesthetics. The challenge, according to Rathore, is to move from surface-level borrowing to respectful cultural exchange. In fashion – as in all creative work – it comes down to the integrity of the process. 'If one finds inspiration in another's work, the garment must clearly deviate in form, function, or context,' said Rathore, who believes that paying respect to a source honestly marks intellectual and artistic strength rather than a sign of weakness. In a world becoming ever more transparent and algorithm-driven, Rathore believes the future of fashion belongs to those who can responsibly and honourably turn influence into innovation. If you are bored with the regular way of draping a dupatta and serving major traditional vibes, Srivastava shared some quick and easy ways to style this piece of fabric. 'You can either drape it like a dupatta from the same or a contrasting colour and fabric family, draped like a shawl around the shoulders or the head, as a 90s scarf to tie the hair on a hot summer day or you can even opt for a monochrome set, adding bindis, chudis and even some ribbons,' said the fashion expert. Ishika Roy is a is a Trainee Sub Editor for the lifestyle desk at The Indian Express. She shares a keen interest in reading, writing and researching on all things beauty, entertainment, pop culture and lifestyle. Ishika holds a Bachelor's degree in Sociology from Miranda House, Delhi and a Post-graduate degree in Journalism from Symbiosis Institute of Media and Communication, Pune. ... Read More
India.com
17-06-2025
- Entertainment
- India.com
Why did 1993 Miss India Namrata Shirodkar leave Bollywood? Did she sacrifice her career for husband, or it was...
Before choosing a quieter life away from the arc lights, Namrata Shirodkar had carved a niche with memorable performances in films like Vaastav and Pukar . She even made an international appearance alongside Aishwarya Rai in Bride and Prejudice . But while Bollywood had its doors wide open for her, Namrata drew her boundaries — and stuck to them firmly. In a throwback interview with Rediff, Namrata admitted to turning down multiple offers that required her to perform intimate or bold scenes. 'So many!' she said when asked if she was offered such roles. 'But I'm not comfortable doing such things. I will not kiss or make love on screen. I'm not desperate. Thank God I come from a safe background.' Her decision wasn't limited to just selective scripts. After marrying Telugu superstar Mahesh Babu in 2005, Namrata consciously chose to step away from acting altogether. Speaking to journalist Prema, she revealed, 'Mahesh was very clear about wanting a non-working wife. Even if I had a corporate job, he would have asked me to quit. We had something very special between us.' Namrata and Mahesh met on the sets of Vamsi in 2000, and while sparks flew early on, the couple kept their relationship under wraps for a while. The former Miss India (1993), crowned at just 21, eventually shifted her focus entirely to family life. Today, Namrata and Mahesh are parents to two children — their daughter Sitara, a budding social media star, and a son who has already made brief appearances in films. Namrata's on-screen journey may have been short, spanning just 14 films, but her graceful exit and steadfast choices continue to be remembered and respected.
Time of India
11-06-2025
- Entertainment
- Time of India
Throwback: When Aishwarya Rai Bachchan silenced David Letterman over ‘living with parents' jibe
has long been admired not just for her beauty and talent, but for her grace under pressure, and one memorable moment from her international media appearances continues to prove just that. Tired of too many ads? go ad free now Back in 2005, while promoting Bride and Prejudice on The Late Show with David Letterman , the Bollywood icon found herself on the receiving end of a culturally loaded question. The host asked, 'Do you still live with your parents, and is that common in India?' Without skipping a beat, Aishwarya delivered a poised and razor-sharp response that drew thunderous applause from the studio audience. 'It's fine to live with your parents,' she said coolly. 'Because in India, we don't have to make appointments with our parents for dinner.' The clip, which has since become a viral favourite, resurfaced on social media once again, reigniting praise for the Ponniyin Selvan actress's composed confidence and cultural pride. Nearly two decades later, the exchange still resonates as a reminder of how Bachchan's intelligence and dignity often speak louder than any scripted line. Netizens laud the smart reply Aishwarya Rai's answer was as much a cultural primer as it was a comeback. By turning the question on its head with her wit, she highlighted the warmth of multigenerational households while deflating the notion that such arrangements are somehow regressive. One Reddit user wrote, 'Aishwarya Rai has so much class. She has dealt with so much nonsense being hurled at her over the years in the most civil way possible. A great ambassador for my country along with currently, who is also someone that's constantly under scrutiny and a recipient of vitriol.' Another one wrote, 'Living with your parents is also normal in Eastern Europe too.' Work front On the professional front, Aishwarya's previous hit film was 's directorial epic drama movie 'Ponniyin Selvan 2'. The actress played the role of Oomai Rani and Nandini in this epic drama film directed by the veteran. This Aishwarya Rai Bachchan's doppelganger is Aishwarya Rai Ultra Pro Max
Hindustan Times
24-05-2025
- Entertainment
- Hindustan Times
When Aishwarya Rai in 2005 left New York swooning in gold backless dress for Bride and Prejudice premiere: Pics
Aishwarya Rai has been the talk of the town after she walked the 78th Cannes Film Festival red carpet in two glamorous looks - an ivory and gold custom saree by Manish Malhotra and a hand-embroidered charcoal black gown by Gaurav Gupta. Also Read | Aishwarya Rai's Cannes necklace with ivory saree had insane 500 carats of Mozambique rubies and uncut diamonds But the Queen of Cannes's sartorial prowess on the international stage is not just limited to Cannes; there have been several moments in the past where the former Miss World wowed the international audience with her impeccable style. For instance, when Aishwarya attended the Bride and Prejudice premiere in New York in 2005. It's a pity that many are oblivious to the Indian adaptation of Pride & Prejudice titled Bride and Prejudice. And more disappointing, that we don't talk enough about Aishwarya's golden goddess look in a chic dress that served Hollywood glamour at the film's premiere. Ash, who starred as the main lead in the Bollywood musical, donned a champagne gold hue and took over New York. The premiere ensemble featured a crew neckline, a sleeveless design, cross-stitched ribbon threads on the side adding character to the dress, side zip closure, ribbon ties on the back showing off a backless design, a draped skirt, an asymmetric high-low hem, and a bodycon silhouette that hugged her enviable frame perfectly. Aishwarya accessorised her glamorous dress with embellished gold peep-toe heels, a statement ring, and dainty diamond ear studs. With her luscious tresses styled in old Hollywood style curls and a side parting, what's not to like? Today's stylists need to take notes. As for the glam, she chose a minimal look, including feathered brows, winged eyeliner, glittery pink eye shadow, mascara-adorned lashes, flushed cheeks, glowing highlighter, and glossy pink lips. Meanwhile, apart from Aishwarya Rai, Bride and Prejudice also starred Martin Henderson, Naveen Andrews, Namrata Shirodkar, Indira Varma, Anupam Kher, and others.
