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Indiafication of fashion: How global luxury is basically shopping in Sarojini now

Indiafication of fashion: How global luxury is basically shopping in Sarojini now

Time of India16 hours ago

Digital journalist, news junkie, and self-proclaimed gossip connoisseur. If it's trending, she's talking about it. From national to international affairs, she's got an eye for the big stories — when she's not busy, she's turning her canvas into a masterpiece. A journalist with a centrist approach and a love for the messy, thrilling world of news. LESS ... MORE
Forget yoga on the Ganga, yaar. India isn't just trending, we're low-key taking over the global fashion scene. One Kolhapuri at a time.
Let's get this straight. Indians have never been behind in fashion. We created drapes before the West learned about belts. And now, fashion finally catches up, by taking our style and selling it back to us for the price of a small 2BHK in Mumbai (on rent).
Take Prada, for example. Their latest 'innovative' sandal bears a suspicious resemblance to what your chacha wears to the market. You know, good old Kolhapuri chappal. Now just with a posh label and a four-figure price tag in Euros. Shabash, Prada. Heritage hai, but haute-ify it.
When Milan went full Maharashtra: Prada's Kolhapuri knockoff
At Prada's Spring/Summer 2026 men's show in Milan, the models walked the ramp in sandals that made every Indian blink twice. 'Is that? Is that a Kolhapuri chappal?' Yes, beta. But now it's 'Artisanal leather sandal with toe loop.' Fancy.
Even the invitation card for the show had a leather toe ring. Somewhere in Kolhapur, a mochi likely got a hiccup and did not know why.
People on X in India, of course, lost it. 'You're welcome, Prada. Next time, give us a shoutout.' Because while the sandals walked the global ramp, the credit quietly walked out the back door.
Kolhapuri 101: For those who missed the memo
In case you've been living under a Swiss rock, the Kolhapuri chappal is not just footwear, it's a way of life.
Handcrafted in Maharashtra for over a century, these leather beauties are tough, timeless, and totally wedding-approved. They've even got a GI tag, okay? That's like a VIP pass in the world of craftsmanship.
So no, it's not 'rustic minimalism.' It's pure desi swag.
Louis Vuitton tries an Indian wedding starter pack
Not wanting to be left behind in this cosplay of culture, Louis Vuitton released a fresh range of trunks that yell 'mere cousin ki shaadi is in Noida.' Monogrammed, yes. Luxury, perhaps. Original, definitely not.
All Indians will agree that these 'private travel trunks' resemble the very ones Sharma aunty has piled up in her storeroom from her daughter's wedding in 2004. Only LV omitted the nariyal and haldi stains.
Puebco's Jhola drama: Now on sale at Nordstrom for Rs 4,200
Ah yes, the humble jhola. That cotton bag you receive free with Basmati rice. Or to carry sabzi in. Or books. Or dreams.
Now enter Puebco's rendition. The 'Indian Souvenir Bag.' It's listed on Nordstrom's site for $48. Our verdict? Somewhere in India, an uncle in a banyan is laughing and muttering, 'Arre, mere wale mein jaida jagah hai.'
Flashback: Do you remember the polybag purse?
Balenciaga once attempted to sell what appeared to be a plastic thela for $2,000.
Dior embarked on an embroidery shopping spree in Jaipur.
H&M collaborated with Sabyasachi and retailed you what you could purchase from FabIndia, only ten times more expensive and with a waiting list.
Moral of the story? Indian design is the moment. But Indian designers are nowhere to be found in the credits.
So… appreciation or just appropri-yawn?
We get it. Indian motifs are pretty. Embroidery is detailed. Chappals are comfy. But if you're lifting our designs, at least name-drop us, no?
It's one thing to be inspired. It's another to repackage a Kolhapuri chappal as 'Rustic Milanese Footwear.' Baba, it's Kolhapuri. Say it. Spell it. Credit it.
India's fashion revenge tour has begun
From jholas to juttis, desi fashion is dominating international runways, and it's high time we took our place. If a chappal can strut the ramp in Milan, we can enter the dialogue and ask for our due.
The next time you spot a $5,000 lehenga on a Paris catwalk, simply say, 'Sab kuch copy hai.'
And smile. Because the world may be late to the party, but we threw it.
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'Maa' box office collection Day 2: Kajol starrer crosses Rs 10 crore mark with strong Saturday surge
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Time of India

time22 minutes ago

  • Time of India

'Maa' box office collection Day 2: Kajol starrer crosses Rs 10 crore mark with strong Saturday surge

's much-anticipated return to the big screen with the horror thriller Maa is off to a promising start at the domestic box office. Directed by , the film registered a strong upward trend on Saturday, pushing its two-day India net total to an estimated Rs 10.30 crore. Tired of too many ads? go ad free now Released in theatres on Friday, Maa collected Rs 4.65 crore net on Day 1, according to This surpassed the pre-release trade estimates that had predicted an opening in the range of Rs 3.50 to Rs 4.50 crore. The film's production house confirmed the opening day figures on its official X handle with a poster captioned, 'Fear Finds Faith – Rs 4.93 Cr Day 1 NBOC India.' On Saturday, the film saw healthy growth, adding Rs 5.65 crore to its tally, aided by increased footfalls across evening and night shows. Hindi occupancy rose to an average of 26.38% through the day, with night shows peaking at approximately 38.45%. Maa stars Kajol alongside , Kherin Sharma, and , and follows the story of a mother who transforms into Goddess Kali to break a sinister curse rooted in fear, blood, and betrayal. Marking her first major theatrical release since Salaam Venky (2022), Kajol expressed her excitement ahead of the film's release. 'I am very excited. My film is releasing in theatres after a long time and I am extremely happy about it,' she said in a statement to ANI. The actress added, 'Every actor has to reinvent himself or herself with time. I had never thought I would do a horror film, but here we are. I am extremely proud of this film. The script is quite good. I am a big mythological buff. I love our Indian mythology. We have so many stories. So, I think it was one of my favourite stories.' Tired of too many ads? go ad free now In her signature style, Kajol concluded, 'I am very grateful that I have done this film. I think we have made a very good film. Now the audience will tell... But, Maa ki kasam, humne achhi film banai hai,' she laughed. Despite a limited release across 1,500 screens in India and facing stiff competition from Sitaare Zameen Par, Kannappa, and the Hollywood action-drama F1: The Movie, Maa has held its ground and looks poised for a solid opening weekend.

The silence of the reels: Why Hindi cinema never faced the Emergency
The silence of the reels: Why Hindi cinema never faced the Emergency

Time of India

timean hour ago

  • Time of India

The silence of the reels: Why Hindi cinema never faced the Emergency

Power games: The few filmmakers who did deal with the subject, either directly or indirectly, faced bans and attacks For an industry that prides itself on chronicling the nation's struggles, Hindi cinema's silence about the Emergency is more revealing than any film could ever be. The 21 months between June 1975 and March 1977, when Indira Gandhi suspended civil liberties, censored the press, and jailed thousands without trial, were arguably the most consequential in India's modern political history. Yet, in the decades since, Hindi cinema—the self-appointed mirror of Indian society—has barely mustered a smudge to reflect it. This conspicuous absence did not arise from creative oversight or timidity alone. In the early decades of Independence, popular cinema was never truly free. Nehruvian socialism shaped public policy and the ideological contours of the industry. The so-called golden triumvirate—Dilip Kumar, Raj Kapoor, Dev Anand—crafted personas that echoed Pandit Nehru's vision of the self-sacrificing, morally upright everyman. Dilip Kumar's dialogue seemed like leftovers from Nehru's speeches, Dev Anand's rebellious charm served the establishment's romantic socialism, and Raj Kapoor's everyman heroes peddled idealism to the masses. Such intimacy with power set the template. The state could inspire cinema, but never the other way around. When that same state turned authoritarian, the industry found itself unprepared and unwilling to challenge it. In the Emergency years, the machinery of coercion extended directly into the corridors of Bombay. V C Shukla, Indira's information & broadcasting minister, became infamous for exerting his influence over the film industry. Wielding the Maintenance of Internal Security Act like a scythe through the industry, the political establishment wasn't breaking new ground—it was merely weaponising an existing dependency. Kishore Kumar, the mercurial genius whose voice had soundtracked a generation's dreams, was banned from All India Radio and Doordarshan for refusing to perform at a Youth Congress rally. Dev Anand, tricked into attending a Sanjay Gandhi event and asked to praise his 'dynamism', found his films blacklisted when he refused to comply. When he sought an explanation from the I&B Minister, he was told with chilling matter-of-factness that it was 'a good thing to speak for the govt in power.' Shatrughan Sinha , then one of cinema's busiest stars, saw his films banned for the cardinal sin of supporting Jayaprakash Narayan. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like The Most Unwelcoming Countries in the World, Ranked BigGlobalTravel Undo Gulzar's 'Aandhi', merely suspected of drawing inspiration from Indira Gandhi's life, while most argued it'd taken a few chapters from the life of Tarkeshwari Sinha, was banned for the duration of the Emergency, releasing only after the Janata victory restored a semblance of democratic normalcy. 'Maha Chor' starring Rajesh Khanna casually inserted a 'Vote for Congress' graffiti into a musical sequence. Most telling was the fate of Amrit Nahata's 'Kissa Kursi Ka', a political satire that dared to mock the Emergency's absurdities. All prints of the film were destroyed allegedly by Sanjay Gandhi at a factory in Gurgaon. This was not subtext—it was brazen collusion between art and authority. Yet what happened after the Emergency lifted reveals the true depths of the industry's moral bankruptcy. When the time came to reckon with the period—its absurdities, its tragedies, its moral squalor—Hindi cinema fell silent. There was an almost immediate return to sycophantic normalcy. Feroz Khan's 'Qurbani' (1980), the biggest hit of the year when Indira Gandhi returned, opened with a short film eulogising Sanjay Gandhi, narrated by Khan himself as he dedicated his film to the memory of the 'Prince' and bowed in reverence to the 'Mother'. If films between 1977 and 1980 did not address the Emergency, to expect that to happen after Indira Gandhi returned would perhaps be hoping for a miracle. This wasn't just political calculation—it was the instinctive reaction of an industry that had learned to worship power. Some filmmakers attempted to address the Emergency but it was often through the refuge of allegory—Hrishikesh Mukherjee's 'Kotwal Saab' and 'Khubsoorat' chose not to cast a direct look; the latter managed to justify the Emergency as a necessary evil. Mukherjee's 'Naram Garam' gave Hindi cinema's smartest comment on the era in the form of a nervous joke — Om Prakash, told to hurry because of some emergency, haplessly comments, 'Phir se?' While not Hindi cinema, Satyajit Ray's 'Hirak Rajar Deshe' and Jabbar Patel's 'Jait Re Jait', used the same route. Parallel cinema, too, largely skirted the challenge and despite their social conscience, filmmakers preferred the microcosm to the macro. Over the years, some films such as 'Ghashiram Kotwal' based on a Vijay Tendulkar play and directed by K. Hariharan, Mani Kaul, Kamal Swaroop, Saeed Mirza were cited as a film about the Emergency. However, it was written in 1972 as a response to the rise of a local political party in Maharashtra. There are structural reasons for this reticence. Hindi cinema has always struggled with ambiguity, preferring neat endings where heroes redeem all. The Emergency, by contrast, offered no catharsis—only a nation capitulating to authoritarianism without resistance. The definitive Emergency film still eludes the screen even as we enter the fiftieth year of the Emergency. The exceptions remain sparse: Sudhir Mishra's 'Hazaaron Khwaishein Aisi' would not arrive until 2005, nearly three decades later. Even then, it couched its indictment within the personal journeys of three idealistic young people, careful not to indict the broader complicity of society. Even today the few who try to confront the past are harassed —Madhur Bhandarkar's 'Indu Sarkar' provoked shrill attacks and legal threats simply for attempting a fictionalised retelling. The Emergency may have ended in 1977, but its most lasting victory was psychological: the creation of a cultural establishment that polices itself more effectively than any censor ever could. Perhaps it was simpler to pretend nothing happened. After all, if cinema cannot process a trauma, maybe the nation never really did. (Chintamani is a film historian and author)

‘Sardaar Ji 3': After demands for revoking citizenship, Diljit Dosanjh gets support from BJP, DSGMC
‘Sardaar Ji 3': After demands for revoking citizenship, Diljit Dosanjh gets support from BJP, DSGMC

Time of India

time4 hours ago

  • Time of India

‘Sardaar Ji 3': After demands for revoking citizenship, Diljit Dosanjh gets support from BJP, DSGMC

Jalandhar: Punjabi singer and actor Diljit Dosanjh , who has been under fire for his film 'Sardaar Ji 3' starring Pakistan actor Hania Aamir, has gotten support from BJP national spokesperson R P Singh and former DSGMC chief Manjit Singh G K. In a post on his X account on Friday R P Singh described Dosanjh as "a national asset and a global ambassador of Indian culture" as he slammed the Federation of Western India Cine Employees for demanding action against the celebrity. "FWICE's call to revoke his Indian citizenship over an inadvertent and pre-incident film shoot is not only unfair but shockingly disproportionate. The film featuring a Pakistani actress was shot before the Pahalgam attack. If there is anguish, it can be expressed through a boycott or by urging that the film not be screened in India. But attacking Diljit's patriotism and demanding such an extreme step is simply irrational," he wrote. R P Singh pointed out that the Indian cricket team played a match against Pakistan just days before the Pahalgam massacre. "Did FWICE or others object then? TV news channels routinely invite Pakistani guests to boost TRPs. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 5 Books Warren Buffett Wants You to Read In 2025 Blinkist: Warren Buffett's Reading List Undo Should those anchors now relinquish their citizenship too? Let's not cheapen nationalism or weaponise patriotism. FWICE should reconsider its stance—such targeting of our own talent only weakens our moral standing," he added. Punjabi actor and BJP culture cell convener Hobby Dhaliwal, too, extended support to Diljit at a press conference at the party's Chandigarh office. Dhaliwal said that Diljit was not just an artist but a globally respected face of Punjabi culture. "At a time of national tension, attempts are being made to defame him with baseless allegations. This is unfortunate and condemnable," he said. "Diljit is the son of this soil. Punjab stands with him—and India too," Dhaliwal said, while being flanked by Punjab BJP media cell in-charge Vineet Joshi. He expressed regret that certain elements were now demanding the cancellation of his citizenship and a ban on his films. He felt the demand was not only unjustified, but politically motivated and entirely baseless. "Every citizen is patriotic, but using this as a pretext to target a single artist is wrong. BJP stands firmly with Diljit Dosanjh," he added. Shiromani Akali Dal leader and former Delhi Sikh Gurdwara Management Committee chief Manjit Singh GK too issued a statement in his support and questioned what he called the "selective targeting" of Diljit. He said the way Diljit was being targeted appeared like an "undeclared emergency". "He represented the country and Punjab, and has become an icon," G K said. He also questioned the silence of the present DSGMC leadership. On the other hand, singer Mika Singh came under attack from the X handle @Tractor2twitr_P, which is popular for its stance on pro-farmer issues in Punjab and Haryana. "Weeks before the Uri attack, @MikaSingh flew to Karachi to sing at the wedding of a billionaire who was a close aide of Parvez Musharraf, the mastermind of the Kargil war. Today he is lecturing @diljitdosanjh for acting alongside a Pakistani artist in a film produced, directed, and cast by someone else," read a post on the handle.

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