Ranveer Singh's mehendi surprise at his wedding to Deepika Padukone will melt your heart
In a new podcast interview with Filmibeat Prime, Nagda fondly recalled being invited to do Deepika's bridal mehendi at the couple's 2018 wedding in Lake Como. She talked about Ranveer's involvement that stood out for her the most.
'No words can do him justice,' Veena said. 'It was very cold in Lake Como, and I was wondering how Deepika and I were going to get through the intricate design we had planned for her. Ranveer came around after an hour, and the entire climate changed. The sun came out. He really lit up the room.'
The artist recalled that Ranveer even interrupted the session with a memorable compliment: 'A queen is doing the mehendi for another queen.'
And the most heartwarming thing, Veena shared, was Ranveer's own mehendi — a minimalist design featuring "Deep" (a sweet abbreviation of Deepika's name), accompanied by three stars. According to Veena, each star represented a woman important to Deepika: one for Deepika herself, one for her mother Ujjala, and one for her sister Anisha.
She also revealed that Deepika had made good on a promise she had made years ago. After watching Veena work her magic on the set of Yeh Jawaani Hai Deewani, Deepika promised to bring her on for her future wedding.
Ranveer and Deepika got married on November 14, 2018, in an intimate but grand affair attended by close friends and family. The couple only made their wedding video public in 2023, during the premiere of Koffee With Karan Season 8 on Disney+ in the UAE.
The power couple are now proud parents to a baby girl, Dua Padukone Singh, born on September 8, 2024. While they've shared the news with fans via a sweet Instagram post, they've chosen to keep their daughter out of the public eye for now.
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Khaleej Times
8 hours ago
- Khaleej Times
Why artist Marita Setas Ferro has been crocheting sea creatures
With its kaleidoscope of colours, underwater marine life has been an eternal muse for textile artist Marita Setas Ferro. Luminescent corals, vibrant sea anemones, and shimmering sea beds are reinterpreted through intricate knitting and crochet techniques with her deft hands. Blending craft, culture and contemporary expression, the Portuguese artist brings alive marine and geological forms with yarn and needle. As part of her ongoing series, Things in Nature, a collection of soft textile sculptures, titled Anemones in Volcanic Rock, are currently on display at Hotel Indigo, Downtown, and at Double J Collective Gallery in Dubai. At the heart of Ferro's creations lie subtle messages around conserving environment and sustainable traditional textile practices. 'I wanted to crochet a piece that would invite engagement and provoke thought about these beautiful yet vulnerable marine creatures. Sea anemones with their vibrant colours, graceful organic forms, and spherical shapes have always mesmerised me,' says Ferro, who is the artistic director at Double J Collective Gallery, a European Union climate ambassador and a sustainability fashion specialist. The centrepiece of this series is a striking hexagram-shaped crochet installation in bold hues of grey, burgundy, saffron, and copper soldered together with metal rings. The threads used in the sculpture are carefully chosen from old shops with leftover stocks and yarn boutiques, to keep the craft practice eco-conscious. Found across all oceans, sea anemones are invertebrates that resemble blooming flowers; they are very flexible, with tentacles that can regenerate. While creating her installation, Ferro says, she was inspired by several intriguing aspects of the sea creatures. 'Regeneration and metamorphosis are integral to an artist's work. Anemones with their regenerative powers and poetic movements perfectly embody this concept. Their presence in my work is not just aesthetic but also metaphorical as they have the ability to reinvent, survive change and express beauty through transformation,' she details. In continuation with her artistic representation of marine natural elements Ferro has crocheted corals, starfishes and shells. Woven with spools of vivid yarn, the creatures appear as seen through a magnifying glass. At the eighth Espinho International Art Biennial, which opened in June 2025 in Portugal, Ferro presented Luminescent Corals — a captivating textile artwork inspired from bioluminescent corals found in the ocean's depths. 'During my research on marine life I discovered deep sea corals that emit bioluminescence. Even in darkness they glow with their internal light. And their colours are exceptionally eye-catching in deep blues, purples and greens. Some of them possess medicinal values. The fact that such tiny creatures hidden away from humanity could emit light and heal life was profoundly inspiring for me, and it became the seed for this namesake artwork,' she says. The series, Things from Nature, is an artistic alert, a call to protect the irreplaceable beauty of nature. Through her textile reinterpretation, the artist expects to evoke a sense of wonder and awareness about life underwater. 'I hope when people see my work, they not only admire it aesthetically but also reflect on the fragility of our planet and the urgent need to stop harming the very world that sustains us.' Her intense love for the sea and her attempt to capture its beauty with her needles stems from having lived along the seashore for many years. Born in 1967 in Beira, Mozambique, Ferro spent the first two years of her life barefoot on the beach playing by the Indian Ocean. Later, her family moved to Porto, a beautiful historic city in Portugal, shaped by granite and sea mist at the mouth of the Douro river. 'Our summers were spent by the seaside or in the countryside harvesting almonds, picking grapes, climbing trees, and tasting fruit straight from the trees,' she recollects. Her father, a nature-loving doctor, and mother, a ceramist, deeply influenced her love for nature and the arts. 'At home we would watch nature programmes by Sir David Attenborough and the underwater adventures of French diver Jacques Cousteau. These weekend family rituals planted lasting visual and emotional impressions on my mind that even today pulse through my artistic brain. When I began experimenting with thick yarn and crochet hooks, I naturally gravitated towards creating three dimensional forms, tactile sculptures that echo the complexity of marine life,' Ferro says. With her background in fine arts and sculpture, Ferro initially worked with metal, wood and leather. Later, as she discovered textile techniques, she instantly felt aligned with the flexibility of the material. Crochet came into her life 16 years ago, when she was 42. Until then, she says, she only knew how to knit. 'I made my first crochet sculpture in 2013 as a way to de-stress. I loved it so much that I kept creating. I exhibited my work for the first time in 2015 and again in 2018 in Portugal, but back then textile art was not widely understood. It was only in 2022, when I participated in World Art Dubai, that my work received due recognition,' she reveals. Today she finds crochet meditative and soothing. 'Now I crochet all the time. It's repetitive motions feel like I am having a quiet conversation with myself. I am most at peace with my hook and ball,' she adds. Her creative process involves watching documentaries, browsing through underwater photography books and collecting images of coral reefs and ocean landscapes. She then carefully selects threads and textures. The final artistic composition, she says, emerges intuitively as she crochets each element while mentally envisioning the entire piece. 'Each crochet sculpture takes hours of handwork. Anemones in Volcanic Rock has been one of my most lengthy projects. Between choosing materials, creating the metal structure, stuffing, hand stitching the backing and refining each detail, it took me around 400 hours.' Besides being a sculptor and crocheter, Ferro also runs an award-winning sustainable accessories brand focused on upcycling and zero waste, made with eco-friendly materials. In her role as an EU climate ambassador she creates awareness about climate change and the importance of sustainable handicrafts. 'Sustainability is our responsibility. It's about questioning how we live, create and consume. Overproduction and excess are wasteful and ultimately harmful. As artists and makers we must reflect deeply on the materials we use and the legacy we would leave behind,' she suggests. Textile art, agrees Ferro, is experiencing a powerful renaissance as a contemporary form of expression. Crochet and knitting are part of broader movements where traditional handicrafts are being revalued. 'Textile craft carries emotional resonance and cultural memory, which make them especially compelling. In an increasingly digital world, handmade, unpredictable and deeply human creations remind us of our connection with materiality, traditions and the beauty of imperfection,' she says.
Khaleej Times
8 hours ago
- Khaleej Times
Meet the Dubai-born DJ behind a viral Frank Sinatra cover with 60 million streams
DJ and music producer Shoby has a story that's tied to Dubai's own evolution. He first discovered his love for music as a teenager in the emirate, spinning tracks at private events and school parties long before Spotify streams would define his career. What began as a hobby in his childhood bedroom has grown into a global success story — with over 1 million monthly Spotify listeners and viral hits like his Frank Sinatra cover (which has crossed 60 million streams) and 'She Will Be Loved.' Yet, after a decade spent hustling in Europe's underground music scene and earning his stripes with indie labels, Shoby has returned home. Now back in Dubai, the 35-year-old Indian/German artist is working on new music that blends regional influences with his signature chill house sound. In this candid conversation, Shoby reflects on his rise, the challenges of starting from scratch in Germany, and why Dubai remains the heartbeat of his inspiration. You started producing music in your teens, right here in Dubai. What first drew you to music? Growing up in Dubai, I was always surrounded by a vibrant mix of cultures and sounds - you are exposed to music from many different cultures in Dubai. The idea that I could take these diverse influences and create something entirely new and personal was incredibly exciting. I had friends from a variety of universities and schools and each time they planned an event, they went on the search for a DJ or someone who understood sound and lights. So I started getting my name out there and playing for various events. I was fascinated by how a simple piece of music can change the mood of the room and unite people on the dancefloor. It was a creative outlet that allowed me to express myself and connect with others in a unique way. What I love is the challenge of turning a blank canvas into a compelling piece of music. What was the music scene in Dubai like when you were starting out, and how did it shape you? It was a fascinating time to be starting out. While the city is well-known for its vibrant nightlife and international DJs playing in clubs, the local and independent music scene was just beginning to find its footing. With fewer established venues and a smaller pool of local talent, there was a lot of room for experimentation and collaboration. I learned the importance of hustling, of networking with other artists, and of creating your own opportunities rather than waiting for them. It taught me to be resourceful and to embrace a wide range of musical influences, from the mainstream to the underground. I was lucky to have really great mentors and a robust network where I could sneak into their events and watch from backstage and keep note of what they were doing. Then I would go home, practice the same and it just kind of grew from there. What motivated your move to Germany in 2013, and what were those first few months like? I had visited Europe a couple of times and came to appreciate the music scene there. What I can say is – it was not easy. It was extremely challenging starting your network from scratch. It took an immense amount of work and pain to build connections, talk to people, play for a few hundred events until someone noticed you. I lived in multiple cities around Germany each of which taught me something new about the local music scene. I think the city that changed me the most was Berlin. That is definitely a very big creative hub and the connections and people I met there opened a lot of doors for me. How did starting from scratch in a foreign country challenge you, both personally and professionally? Something we often take for granted and forget is how developed Dubai is in terms of its way of thinking, its processes and most importantly its safety. But apart from that I think the most challenging thing for me was the readiness for event organizers to try new talent. In Dubai, there is this constant energy to grow, try new things, try new musical talent and experiment. Things were a bit different in Europe to break into the scene, to get event organizers and venues to give you that first break. Most importantly, I moved to Germany not knowing the language, so learning that, getting fluent in it quick to have discussions with labels and event organizers was a challenge. Having said that like I always say, its not impossible. If you put in enough time and effort into anything, you can crack it. Can you tell us about the first time a label said yes to one of your songs? What made that moment special? I think what made the first time a label said Yes to a track special was the amount of times I faced rejection before that. I lost count of the number of tracks I sent to labels and faced a rejection. It can be quite demotivating and I think any music producer can relate with it. But in order to reach that YES, I started asking for feedback to labels and exploring what is it that was wrong with those tracks. I had this constant interest to understand what I can do better, where can I make a difference to better fit a label. That understanding and translating that into my track that finally got a Yes – made all the difference. I think the first time a label said Yes, I had to read the email 4 times just to make sure im not misreading their response. I am eternally thankful to indie labels such as Soave, Spectrum recordings, GTS, Casual Jam, Loudkult that took the chance and gave me the platform when I was starting out. Trust me when I say that these indie labels put in 10 times more work into their artists when compared to big labels. Your Frank Sinatra cover crossed 60 million streams — did you expect that kind of response? Honestly, I discovered Izzie (the singer) online by chance. Fell in love with her voice and reached out to her. She has been one of my favorite collaborations to work with. The track just kind of happened in a matter of few days and I had no idea how special this track would become. I was excited when it got signed but never imagined the level of reach this song could have. I have had people using this track for their first wedding dance, for videos of their first born child and even playing it at venues on the other side of the world which I have never visited. That's the power of social media, streaming platforms and just a good uncomplicated song. This track was also used in some advertisements for a very well known financial company. So yea, it still blows my mind when I hear this track and I am eternally grateful for the peoeple that supported us. What do you think it is about your music that resonates with listeners around the world? I truly believe it's the simplicity. I try not to overcomplicate songs. Whether I am making a cover song or an original song, I try to keep things simple for the listener. Infact if you pick up any famous song today, its not an overly complex song. Its probably just a few layers of well produced and well selected sounds. I try to think from a listeners perspective and imagine what would resonate with my listeners. With my artist name Shoby, its always been associated with soft, chill house. Stuff you can listen to while your working, take a road trip or just chilling with your friends on the weekend. What made you decide to return to Dubai? I have really strong roots in Dubai which includes family and a strong friends network – I mean in the end Dubai is still home alongside Germany. Moreover, I have been silently in awe of the level of development and speed at which Dubai is transforming. There is so much that others can learn from how UAE does things, how forward thinking they are and that is what brought me back (of course, I love the sunshine too). I feel this is the time for anyone who wants to grow a business and test new concepts to move to Dubai. How has the city's creative and music scene evolved since you first left? Honestly, I can hardly put it into words. I am so proud of the level of events, the concepts and the talent that is currently here in Dubai. When I was growing up, the music scene was quite 'mainstream'. But not any more. I've seen the emergence of dedicated creative districts like Alserkal Avenue and the Dubai Design District (d3), which provide physical spaces for artists to work, collaborate, and showcase their talent. There's also been a significant increase in government support and initiatives, from grants to new visa policies for creatives, which has made it a much more viable place for artists to build a career. You have dedicated niche venues for all kinds of events and I personally know so much great talent. The artists and events happening here are on another level and can't be compared to any other city. What role does Dubai play in your current sound or inspiration? Interesting you ask that. I come from a mixed family and I see so much amazing music being made in the Arabic music world and the south Asian / Indian music scene. There is this mix of genres, lyrics and styles that's on a big rise right now and I have already been working on some music that takes these different genres and languages into consideration. You can definitely expect some really great tracks in the coming future. What's been the most rewarding feedback you've received from a listener? A few years ago, I produced a track that was very personal to me — and it was at a time that a lot was changing in my life as a family. I poured a lot of raw emotion into it. I made my mum listen to the track in the car on one of her trips to Germany, and she heard it and had tears in her eyes. She said, wow this is very sweet. I think nothing beats the feeling of someone of your own getting touched by a song and that's always going to be an important memory. Where do you see your sound heading next — any upcoming releases or new directions? Oh, a ton of new music. I have been producing day and night for my own artist name but also for other artists as a co producer so I am involved in a lot of projects in various styles of music. But as I mentioned, I do want to use all this inspiration from the Asian and Middle Eastern music scene and make songs which mix these cultures, genres while still respecting the original styles. Moreover, I have also been approached by some companies to work on some short background music for their commercials, so that is something that is keeping me busy as well. What I would love to do is get my music to the radio stations in Dubai and hopefully get their support to promote local born talent. In short, there's a lot in the pipeline.
The National
15 hours ago
- The National
Weekly UAE museum and gallery guide: Artists reflect on walls of Gaza and waste collectors of Tunisia
This week's exhibitions explore how personal and collective identities are shaped through conflict and displacement. From glass sculptures that reflect on migration and marginalisation to haunting canvases that preserve Gaza 's memory, the featured works confront systems that seek to erase or contain. They prompt questions of how borders define lives and how individuals assert themselves against systemic forces. Here are three exhibitions to see this week. Tempted by Other Suns at Tabari Artspace In Tempted by Other Suns, Bechir Boussandel presents a series of glass-blown works that draws inspiration from Tunisia 's berbasha or individuals who survive by collecting waste. The project was formed after the artist encountered a Senegalese man who collected plastic bottles to pay for his journey into Europe. After following him to a waste depot, Boussandel began seeing the practice as a powerful allegory of survival and ambition. Boussandel, a French-born artist of Tunisian descent, then began creating plaster moulds from discarded plastic objects, transforming them into glass sculptures in collaboration with Tunisian artisans. The glass pieces were also fitted with metal birds, solidifying the metaphor of migration in the artworks. The birds are rendered in still, flightless forms. As such, Boussandel's works express the conflict between the desire for mobility and the restrictions enforced by social systems. Until September 5; Monday to Friday, 11am to 6pm; Gate Village, Building 3, Dubai International Financial Centre Gaza: Between Rubble and Memory at Zawyeh Gallery This online exhibition presents a series of mixed-media works that Mohammed Joha created in Gaza in 2006. The paintings echo the destruction and trauma experienced by Palestinians, embodying shards of the city's emotional and physical landscapes. The artist is a Gaza-born Palestinian artist living in France. Using acrylic and spray paint, Joha transforms canvases into symbolic walls, scarred and layered like those once filled with graffiti, martyr portraits and slogans, many now destroyed by bombings. Faded Arabic text and ghostly portraits, meanwhile, evoke the history that risks erasure under Israeli onslaught. The abstracted forms are drawn from real demolished homes. As such, Joha's paintings serve as a visual archive. The works are searingly relevant today, as Gaza faces continued devastation. Until August 15; online; Alserkal Avenue, Dubai It Starts Where It Ends at 421 Arts Campus Colombian artist Ana Escobar Saavedra's exhibition at 421 Arts Campus explores concepts of identity through linguistic, philosophical and material investigations. A pivoting point is the distinction between the Spanish verbs 'ser' and 'estar'. While both mean 'to be', they reflect different states, permanent and temporary. This conceptual contrast is reflected in her use of marble and granite, materials tied to permanence and historical preservation, which she reshapes to reflect the body's changing nature. The exhibition incorporates elements such as identification documents to question how identity is constructed and recorded, and whether official records or lived experience shape us more. It Starts Where It Ends comes as part of 421's Artistic Development Programme and the centre's commitment to nurturing early-career artists in the UAE.
