Latest news with #WildRose
NDTV
10-07-2025
- Entertainment
- NDTV
Exclusive: Rahul Mishra Reveals Why Cardi B Wore His Creation But Missed His Paris Show
Cardi B turned heads at the Paris Couture Week 2025 in Rahul Mishra's 'Wild Rose' ensemble and the celebrated Indian designer says working with the American rapper was "a surreal and heartfelt experience". But, not many know that the recording artiste ended up missing his show. Cardi B, known for tracks such as WAP, I Like It, and Bodak Yellow, wore a ruby red hand-embroidered bustier long dress from Rahul Mishra Fall 2025 Couture collection. What added to the drama was the Crimson Mirage - Rose tourmalines which brought out the effect of dancing flames. In an exclusive interview with NDTV, Rahul Mishra said the rapper arrived late at the July 7 (Monday) showcase of his collection 'Becoming Love', inspired by the artistic language of Austrian symbolist painter Gustav Klimt. Cardi B, however, more than made up for her late arrival. "When she arrived-albeit after the show-it turned into a moment of unexpected grace. Often after a show, I'm swept into the chaos of media, guests, and industry conversations. But that evening, because of the timing, we had the rare luxury of stillness. She spent nearly an hour with us. A full, generous hour. "And within that, we had a deeply engaging 20-30 minute one-on-one conversation. We spoke about Becoming Love not as a theme, but as an emotional journey-moving through longing, surrender, devotion, transformation. She connected with it on a profound level, responding to each stage with reflections of her own. There was something so sincere in the way she received the story-it wasn't performative, it was personal," the Delhi-based couturier told NDTV. Sometimes, when things don't go as planned, they end up going just right, added Rahul Mishra. "She also apologised warmly for missing the show due to a personal emergency, and I completely understood. I always start shows on time-it's my way of honouring every guest who shows up, especially those who come with back-to-back commitments. But in this case, the delay led to a far deeper encounter. It gave us the kind of connection that rarely happens in the fashion world... That evening was one of those gifts," he said. Did Cardi B have any brief to share with the designer before he and his team started working on her outfit, which is still garnering a lot of love online? Working with the American rapper was "a surreal and heartfelt experience", said Rahul Mishra.. Photo Credit: Rahul Mishra's Instagram Rahul Mishra said the Grammy winner had already seen the sketch through her stylist Kollin Carter, who he was closely working with. "Collaborating with Cardi was an incredibly surreal and heartfelt experience-one of those moments where art, emotion, and instinct all come together effortlessly... But the real magic happened the day before the show, when my team brought the three-dimensional flowers to her-flowers we had sculpted and hand-embroidered to feel like they were blooming with memory and meaning. There was an immediate sense of fascination and reverence from her and her team." What struck him was how organically the process unfolded, he said. "Once she resonated with the sketch, there were no heavy briefs-just trust. We had less than a week to finish the garment, but luckily, we had already been working on that piece in parallel. It was almost as if it was waiting for her." There was another Indian connect to Cardi B's second look from the Paris Couture Week. She completed the look with a necklace set which was embellished with natural diamonds and paisley swirls in 18 karat white gold from Tanishq Diamonds.
The National
28-05-2025
- Entertainment
- The National
Taggart star 'couldn't be happier' with new career in music
'Someone who was in the audience said they overheard someone near them saying: 'Aw, they years in Taggart an' she never sang once',' says the actor, fresh from her run as the scene-stealing mother to Dawn Sievewright's Roselynn in the hit stage production of Wild Rose at the Edinburgh Lyceum, where the quip was spilled. 'But actually that's not quite true. I was singing in a choir in my very first episode of Taggart.' That debut performance on STV's famous police drama may not have forced her to consider how she'd define herself, however it's a question she has waited a long time to be asked. 'I've been 21 years in Taggart and 21 in the theatre. But the amount of people who have said to me: 'I didn't know you could sing.' I suppose at a certain point in your life it's very hard to be revelatory because people know who you are, but I've always sung, just not in public. People have grown up with you, brought their kids up with you, and they just think: 'That's her from Taggart'. I'm totally happy with that.' She's happy to challenge it, too. Duff might have been a singer but she didn't have a platform to show it. As the woman from the stalls at the Lyceum observed, the singing detective she wasn't. Then came Christmas 2020. In the middle of the pandemic, with the impending strain of families held apart by socially distanced Christmas restrictions, she and Fife songwriter Cameron Barnes recorded a version of The Fairytale of New York, which transposed the context of Shane MacGowan and Kirsty MacColl's battling Manhattan lovers into a mother and son held apart by the government response to a global virus. Incredibly, their Pogues cover – a tearjerker ripe for the aggravated emotion of the time – scored a Top Ten position in the UK download chart, landing at No 6. 'I suppose that allowed folk into that part of my world,' she says, of becoming chart singer in her late 50s. 'But now that I have been singing with this band, I just love it,' she says. This band is Lacunas Music Society, an experimental collaboration between Duff and composer Malcolm Lindsay, with Inverclyde folk singer Yvonne Lyon. Lacunas means gap, the resonance between unfulfilled and realised ambition perhaps unintentional. The trio share lead vocals, harmonies and spoken word deliveries over layers of atmospheric soundscape. Having performed together just once, in Glasgow last November – a performance of music and complementary visuals so beguiling it belied any notion of debut – they'll embark on a mini-tour of Scotland in coming weeks, with an album due for release at the end of the summer. 'I like the fact that it's more a music society than a band,' laughs Duff. 'It's not so easy to pin down what our show is and I quite like it for that. It takes on the best parts of what we each do and I think that's what's lovely about it – we can be inspired by each other's world.' The experience has been as revelatory for her collaborators. Lyon had been a long time fan of Lindsay's compositions and met him at a memorial gig for a friend. 'I loved his album Solitary Citizen. We got talking about music at the memorial and it went from there. I really wanted to explore layers of composition,' says the Greenock-based singer, who juggled this project and another separate collaboration with Boo Hewerdine. (Image: Lacunas Music Society) 'Then when Malcolm said Blythe was interested I was star struck again. I grew up watching Taggart and she was one of the first strong female characters in my psyche, a big image in my mind growing up. It was exciting to get into a room and make some music together. She carries storytelling in her vocal performance so well.' For musician Lindsay, the connection with Duff dates to his time as a composer on Taggart, although they only met towards the end of the series' decades-long run. 'You'd be staring at the actors and actresses for six or eight weeks, so you feel like you know them,' he says. 'I had no idea Blythe wanted to do music. I didn't know her well enough to know she was musical. It was a very pleasant surprise to find out. You might think Blythe coming from an acting background into music means she would be a lesser player but it's the opposite. She's as much an influence as Yvonne or I which is a nice surprise. 'She brings a totally different attitude to the performance.' The project will return Duff to Edinburgh's live stage weeks after her acclaimed turn in Wild Rose, the musical version of Glasgow writer Nicole Taylor's stirring Britflick starring Julie Walters and Jessie Buckley. With the stage show widely expected to tour (it was originally conceived as a possible opener at the refurbished Citizen's in Glasgow until date clashes scuppered the plan), Duff is likely to be back on stage alongside Sievewright and Louise McCarthy soon. 'There's no three ways about it, the singers on Wild Rose are big singers who can belt it out with extraordinary range,' she says. 'I know I'm not that so I have to find the right platform with the right songs and with people who understand I am an actress who enjoys singing.' With Lacunas Music Society, she might just have found it, finally playing the role she always wanted: the singer in a band. 'I like the fact that it seems to be a revelation for folk,' she says. 'I'm fortunate the people I have been able to be in tow with have so many things they bring to the party. The more I sing, the more folk ask me to and I'm quite enjoying that. Maybe that's an ego thing but if people are having a good time and saying it for the right reasons then I'm tickled pink. I really couldn't be happier.' Love Loss Data by Lacunas Music Society is released in September. They play Edinburgh's Traverse on June 12, Glasgow's Cottiers on June 26 and Birnam Arts, Dunkeld, on June 28.
Daily Mail
26-04-2025
- Lifestyle
- Daily Mail
Weleda has released a new vegan face cream – here's what we thought
What's the story? Weleda, a Swiss company founded in 1921, has grown to be the world's number one producer of certified natural skincare (one Weleda Skin Food moisturiser sells every three seconds worldwide). Its range is recognised by Natrue, the benchmark for products created without synthetic ingredients, artificial additives, microplastics or mineral oils. Wild Rose & White Tea Smoothing Day Cream £22.95 Shop Why should I buy? This new cream is vegan and contains extract of Sri Lankan white tea (from certified organic small family farms), which has antioxidants that protect skin as effectively as vitamin C. Organic wild rosehip oil sourced from Chile strengthens the skin's barrier, and its damask roses are grown by a women's cooperative in Morocco that uses snowmelt from the Atlas Mountains to water plants. The cardboard packaging is made from a minimum of 80 per cent recycled fibres, while the glass jars are recyclable. Why shouldn't I buy? The ingredients are from Chile, Morocco and Sri Lanka, so need to be transported to Switzerland, where the cream is made. The extra mile Transportation is by road or sea (not air), and Weleda makes just one large container shipment a month to its UK HQ in Derbyshire, rather than numerous smaller deliveries. The brand has also financed a community area to provide a childcare facility for the growers in Morocco, where children are looked after while mothers work. Made in Switzerland. Made from Cold-pressed wild rosehip oil, organic white tea extract, damask rose and organic apricot oil. Journey Road and sea. Our rating ★★★★✩
The Guardian
23-03-2025
- Entertainment
- The Guardian
Wild Rose review – heart-grabbing musical of the Jessie Buckley-starring film
Rose-Lynn is twentysomething and wild, feisty (an understatement), funny. Her dream? To sing country songs on Nashville's Grand Ole Opry stage. The reality? Glasgow, a criminal record, a curfew bracelet on her ankle, two young children and a job as a cleaner. In this fast-moving, heart-grabbing new musical by Nicola Taylor, directed by John Tiffany, we follow Rose-Lynn – a star performance from Dawn Sievewright – as she stumbles, staggers, dances, sings and fights her way along the path to self-realisation, backed all the way by a mood-shifting eight-piece band country-kaleidoscoping from rockin' rhythms to hushed ballads under Ali Roocroft's toe-tapping direction. Taylor's storyline, based on her award-winning 2018 film starring Jessie Buckley, follows a Wizard of Oz trajectory, mussed up and gritted down, highlighted in the lyrics of the climactic closing number: 'Ain't no yellow brick road/ Running through Glasgow… Ain't no place like home.' In overcoming obstacles of self-doubt and social deprivation, Rose-Lynn is fairy-godmothered by her art school-trained, bored housewife employer (pitched perfectly by Janet Kumah) and enlightened by an invisible presence (real-life DJ, 'Whispering' Bob Harris, 'appearing' as voice-off in a BBC studio). At times, plot improbabilities require us to do more that merely suspend disbelief: we have to eradicate it from our consciousness. What makes us want to do this is an involving emotional through line. Rose-Lynn's evolving relations with her three companions – mother (played by Blythe Duff) and children (Lily Ferguson and Alfie Campbell) – are touchingly credible. Their peculiar, particular situation nevertheless connects to anyone who has ever felt torn between family and career. The gradual shift from fracture towards healing begins with their soul-stretching rendering of Peace in this House (who knew Duff could sing like that?). Changes of tone, tempo and location are executed with the brio of a Texas two-step thanks to an excellent creative team and Tiffany's clear-sighted direction. In Sievewright's generous performance, the mega-watt Rose-Lynn commands the stage without dominating an impressive ensemble in which every actor/singer and musician shines. Wild Rose is at the Royal Lyceum, Edinburgh, until 19 April
The Guardian
16-03-2025
- Entertainment
- The Guardian
Wild Rose review – Glasgow meets Nashville in big-hearted country musical
If you can't be sentimental in a show about country music, when can you be? The most affecting moments in this big-hearted musical come when tough talking gives way to tenderness. Like the genre itself, Wild Rose is forthright, vibrant and emotionally raw. Wittily adapted by Nicole Taylor from her 2018 film of the same name and staged with elan by John Tiffany, it is the story of ex-con Rose-Lynn Harlan as she tries to reconcile the need to care for her children with her ambitions to make it as a singer. Believing no country star ever came out of Glasgow, she sets her sights on Nashville. That is, after she has dealt with the cleaning job, ankle tag and night-time curfew. This is all the excuse choreographers Steven Hoggett and Vicki Manderson need to stage exuberant line dances, propelled by Ali Roocroft's jolly eight-piece band sitting across the back of the open set by Chloe Lamford. That's all great fun, as is the class-based comedy provided by the hard-up singer who uses 'Shazam for bathrooms' to identify the price of fancy floor tiles and the appeal court judge who is surprisingly well versed in country music's origins in Irish/Scots folk. Beneath the fanfare, this is also a show about inequality of opportunity. But what strikes deep is the scenes of fragility. It is when Rose-Lynn (Dawn Sievewright) quietly articulates why country music means so much to her: 'Three chords and the truth.' It is in the delay before she finds a way to sing with her children (on my night, Alfie Campbell and Lily Ferguson, both excellent). And it is when mother Marion (Blythe Duff) stands alone and vulnerable for a second-half solo. Through it all, Sievewright is a star in the most unstarry way. Quite brilliantly, she captures Rose-Lynn's charm and streetwise patter as well as her defensiveness and fear. Scarcely off the stage, she retains an air of modesty even while singing, gloriously, without fanfare or histrionics. As with the film, the ending does not quite deliver the feelgood bounce you crave – but, fronting a joyful ensemble, Sievewright's aim is true. At the Royal Lyceum, Edinburgh, until 19 April
