Latest news with #ArtDeco
Yahoo
an hour ago
- Business
- Yahoo
Why isn't Rochester's skyline a bit more impressive?
May 31—Dear Answer Man: Why can't Rochester encourage at least some developers to think tall? Verticality shows we have arrived, that we are a place to live and work. Well-designed and architecturally interesting towers can be important landmarks, giving Rochester its own unique skyline and character. Can Rochester get something that truly stands out among its dull downtown buildings? — Disappointed Dan. Dear Disappointed, It seems like you're asking for two things: height and pizzazz. Preferably in the same building. Think New York City's Empire State Building or the Transamerica Pyramid in San Francisco, I assume. Well, don't expect something akin to the Burj Khalifa to be built on the old Post Bulletin site. That said, whatever replaces the old Post Bulletin building can only be an improvement. Overall, I think you're being a bit hard on the Med City. First, many of our larger buildings are somewhat utilitarian. The Gonda Building, for example, is a clinical building meant for patient care. That said, considering the purpose, I think it's quite lovely. Want more evidence of a quality skyline? The Plummer Building comes with bona fide 1920s Art Deco style. Broadway Plaza tops off at 29 stories tall. The space-age Anna-Maria and Stephen Kellen Building is both energy efficient and stylistically forward. But for a bit more context, I reached out to Chris Osmundson, director at Onward Investors, to discuss why tall buildings are not a priority in Rochester. Osmundson said it all comes down to the differences between Type III and Type I construction. Type III — "lumber typically over a pre-cast concrete podium" — can only be built up to 75 feet, up to seven stories. Just one more story would require a different, and much more expensive, construction type. Type I — post-tension concrete — can be build taller, but at a 35% increase in costs per floor. Examples of Type I construction in Rochester would be The Berkman. And while that building got built at 11 stories, it also came with $10.5 million in tax-increment financing funding. Then there's the matter of rents. No one is probably going to pay the rents that would make such a tall building profitable — especially at today's construction prices — in Rochester. "The taller projects that are working to get done or have gotten done in Rochester are trophy assets trying to command rents that they can only get from a small percentage of the population, and also need significant subsidy," Osmundson said. So, dream all you like about a one-third scale model of the Taipei 101 tower (good luck building something so tall and heavy atop our karst geology) in downtown Rochester, but my guess is nothing in the next 10 years will top Broadway Plaza. And, considering how I feel about Rochester's current skyline, Answer Man is OK with that. Send questions to Answer Man at answerman@ .
Time of India
2 hours ago
- Time of India
Exhibition traces the story of India's first ‘fairytale palace of modernism'
In place of a turban, a safari hat crowns the Maharaja's head. As if weary of pearls and emeralds, the Maharani—seated beside him—wears a glowing smile instead. The striking black-and-white photo of Indore's royal couple in their minimalist chic—he in sunglasses and a blazer, coolly gazing out of his car; she, beautiful and jacket-shrouded, glancing shyly at the camera—was taken in 1933 by a German architect who understood their flair for understatement. By then, Berlin-based Eckart Muthesius spent over three years building the style-forward, young duo a sleek palace without a dome, a "temple of avant-garde" that was India's—perhaps Asia's—first centrally air-conditioned home. Even as external affairs minister S Jaishankar recently flew to Germany to strengthen diplomatic ties, an exhibition in Mumbai is showcasing a much older dialogue between the two nations, albeit in the realm of architecture. Sepia images on the green walls of the Kamalnayan Bajaj Gallery in Byculla's Dr Bhau Daji Lad Museum trace the century-old friendship between Yeshwant Rao Holkar II of Indore, his wife Sanyogita, and Muthesius—a bond that gave India one of its earliest modernist buildings: Manik Bagh. Commissioned amid the global economic crisis of 1930 by the slim, English-educated Maharaja who met like-minded Muthesius in Oxford in the 1920s, "Manik Bagh was far ahead of its time," says Raffael Dedo Gadebusch, head of the Asian Art Museum in Berlin who curated the showcase. Built long before Le Corbusier's Chandigarh, "the palace was a so-called Gesamtkunstwerk," says Gadebusch, the curator of the current exhibition, using the German term for a 'total work of art'. "It was a synthesis of architecture, arts, and design like hardly any other building in that period," he adds, comparing the palace—with its sleek lines and pitched roof—to The Bauhaus, the groundbreaking steel-and-glass art school designed by architect Walter Gropius in 1926. Art Deco buildings were just beginning to bloom along Mumbai's Marine Drive in 1933 when the palace—designed in the International Style—was dubbed by the media a "fairy tale palace of modernism". With just nine bedrooms and twenty-four rooms in all, "...this really was a family home rather than a Maharaja's palace," wrote Shivaji Rao 'Richard' Holkar, the Maharaja's son from his third marriage, in the run-up to the 2019 Paris exhibition on his father titled Modern Maharajah. Sent to England at the behest of the British at the age of 12, Yeshwant Holkar II returned to India at age 17 to ascend the throne. By the time he turned 22, he commissioned Muthesius to create his vision of a modernist palace—an Art Deco and Bauhaus-inspired fantasy called Manik Bagh. Muthesius, the son of renowned architect Hermann Muthesius, grew up in a country home frequented by intellectual luminaries such as Albert Einstein. His love of detail came from his mother, a singer and self-taught interior designer. Alongside little-known watercolours, drawings, and design studies by Muthesius, the show features 50 rare vintage photographs by Muthesius, German photographer Emil Leitner, and American visual artist Man Ray, who famously captured the royal couple between moments of affection. Sourced from collections loaned by art patrons Taimur Hassan and Prahlad Bubbar, the images highlight curated objects from the palace, crafted by avant-garde designers who shared Muthesius's minimalist vision. The use of already produced furniture—like the tubular steel chaise longue by Le Corbusier, red armchairs by brothers Wassili and Hans Luckhardt, and pieces by London's PEL company—reflected the jazz-music-loving Maharaja's admiration for the democratic ideals embedded in modernist design. "He was consciously moving away from colonial aesthetics," points out Gadebusch, who believes the Kamalnayan Bajaj gallery, with its original Art Deco tiles, harmonises beautifully with the abstract-patterned carpets designed by Ivan da Silva Bruhns, the French-Brazilian visionary known for his innovations in Art Deco textiles. In a picture titled The Machine Room, the palace's sophisticated air-conditioning unit, manufactured by Borsig in Berlin, looks like a grungy installation—an echo of the 1920s, when machines commanded their own aesthetic category. "Technically, it was a marvel," says Gadebusch, about the palace whose water faucets, staircase banisters, light fixtures, and retractable awnings were all produced in Germany as per Muthesius's strict specifications. Instead of wallpaper, the walls were painted with pigments mixed with glass or metal particles. Doors and windows employed steel frames and thick tinted glass—unprecedented in Asian architecture. Lighting elements, such as the lamps above the Maharani's bed and the wall fixture in the Maharaja's library, were so stark and abstract that, as Gadebusch notes, "they seem to anticipate the minimalism movement of the late 1960s." This subtle aesthetic even extended to a train Muthesius designed later for the Maharaja, standing in sharp contrast to the ostentatious railcars associated with Indian royalty. When the initial plans and furnishings were unveiled in Berlin in the early 1930s, art critics celebrated it as a "fairy tale palace of modernism". Later, the palace evolved to blend beauty and utility, featuring innovations such as clear and darkly tinted glass panes set in metal frames to regulate natural light, India's first air-conditioning system, cubist para vents, pictorial carpets, and vibrantly coloured walls. The circulatory verandas facing the inner courtyard were a thoughtful nod to India's tropical climate. "My father put his foot down on only one major design element," wrote Richard Holkar. "Muthesius wanted a flat roof, in line with the modernist idiom of Le Corbusier, but my father insisted it wouldn't withstand the monsoon. Muthesius relented, designing a sloped roof covered with custom-made green ceramic tiles. International acclaim followed its completion in 1933. The palace became a showcase for modernist masterpieces, and Muthesius was appointed 'Chief Master Builder' of Indore. In 1934, he curated an exhibition at Bombay's Town Hall (now the Asiatic Society of Mumbai), bringing Manik Bagh's bold aesthetic to the heart of India's art scene. Even Romanian sculptor Constantin Brancusi became involved, travelling to Indore in 1937 to design a 'Temple of Love and Peace' for the royal family. That year, after the sudden death of the young Maharani in a Swiss clinic at age 23, the temple was reimagined as a memorial. Among the standout vintage prints at the exhibition, you will find Brancusi's iconic 'Bird in Space'—a sculpture that the Maharaja bought in black marble, white marble, and bronze—soaring in the Maharaja's living room. A dedicated section showcases other unrealised projects, including a sleek lakeside villa and houseboat in Kashmir. Though Manik Bagh faded from public consciousness following World War II—when Muthesius returned to Germany and Indore merged with the Indian state in 1947—the palace briefly resurfaced in 1970, when French journalist Robert Descharnes stumbled upon it, astonished by its preservation. Some years later, the Indian govt abolished the privileges of the Maharaja families and revoked the state's obligation to pay them maintenance. As a result, furniture, carpets, and lighting fixtures from their residences found their way—often via circuitous routes—back to Europe. In 1980, Sotheby's auctioned off many of these items, including rugs and a striking aluminium and chrome bed with built-in glass bookshelves. Among the bidders was designer Yves Saint Laurent, who also sought a pair of distinctive floor lamps. Stripped of his power and forced to adjust to a new socio-political landscape after independence, the Maharaja of Indore married twice more before passing away in Mumbai at age 53. His children and heirs, Usha Devi and Richard Holkar, preserved his legacy. However, after the abolition of privy purses and royal titles in 1976, they were required to hand over Manik Bagh Palace to the govt. Its eclectic European furnishings were sold at auctions and replaced with utilitarian Godrej cupboards now filled with bureaucratic files. Unironically, the former home of a couple who once enjoyed tax-free govt stipends now serves as the headquarters of the central GST and excise commissioner. When the Maharaja's Mumbai-based grandson, Yeshwant Holkar, visited Manik Bagh last year to invite the commissioner to an exhibition, he found the palace in a state "not befitting of its history or importance." "It's important that govt officials are made aware of its heritage so that any renovations are sensitive to its legacy," says Holkar, who believes the palace could thrive as a museum or a design institute. "Given its global reputation as a modernist icon, the govt could do far more with it." According to Gadebusch, Manik Bagh remains largely unknown to the Indian public outside design and architecture circles. Yet, it is a remarkable example of Indian patronage of Western design and architecture during the Great Depression. Few are aware of Muthesius's pivotal role in creating what is arguably India's most avant-garde residence. "On one hand, it's saddening to see it fall short of its potential. On the other hand, there's real hope. Much can still be restored," says Yeshwant Holkar. "The ball is in the govt's court."
Time of India
3 hours ago
- Entertainment
- Time of India
The making of India's first ‘fairytale palace of modernism'
In place of a turban, a safari hat crowns the Maharaja's head. As if weary of pearls and emeralds, the Maharani wears a glowing smile instead. The striking black-and-white photo of Indore's royal couple in their minimalist chic—he in sunglasses and a blazer, she beautiful and jacketed—was taken in 1933 by a German architect who understood their flair for understatement. By then, Berlin-based Eckart Muthesius had spent over three years building the young couple a sleek palace without a dome, a "temple of avant-garde" that was India's first centrally air-conditioned home. Even as external affairs minister S Jaishankar recently flew to Germany to strengthen diplomatic ties, an exhibition in Mumbai is showcasing a much older dialogue between the two nations, albeit in the realm of architecture. Sepia images on the walls of the Kamalnayan Bajaj Gallery in Byculla's Dr Bhau Daji Lad Museum trace the century-old friendship between Yeshwant Rao Holkar II of Indore, his wife Sanyogita, and Muthesius—a bond that gave India one of its earliest modernist buildings: Manik Bagh. Commissioned in 1930 by the maharaja, who met Muthesius in Oxford in the 1920s, "Manik Bagh was far ahead of its time," says the show's curator Raffael Dedo Gadebusch, who heads the Asian Art Museum in Berlin. "The palace was a synthesis of architecture, arts, and design like hardly any other building in that period," he adds, comparing it to The Bauhaus, the steel-and-glass art school designed by Walter Gropius in 1926. Art Deco buildings were just beginning to bloom on Marine Drive in 1933 when the palace—designed in the International Style—was dubbed a "fairytale palace of modernism". Alongside watercolours, drawings, and design studies by Muthesius, the show features 50 rare photographs by Muthesius, German photographer Emil Leitner, and American visual artist Man Ray. Sourced from collections loaned by art patrons Taimur Hassan and Prahlad Bubbar, the images highlight curated objects from the palace, crafted by avant-garde designers who shared Muthesius's minimalist vision, such as Constantin Brancusi. His iconic 'Bird in Space'—a sculpture the Maharaja bought in black marble, white marble, and bronze—are seen soaring in the maharaja's living room, in vintage prints. The palace's readymade furniture—like the tubular steel chaise longue by Le Corbusier and red armchairs by Wassili and Hans Luckhardt —reflected the jazz-loving Maharaja's admiration for the democratic ideals embedded in modernist design. "He was consciously moving away from colonial aesthetics," points out Gadebusch. "Technically, it was a marvel," says the curator about the palace, whose water faucets, staircase banisters, light fixtures, and retractable awnings were all produced in Germany as per Muthesius's strict specifications. Instead of wallpaper, the walls were painted with pigments mixed with glass or metal particles. Doors and windows employed steel frames and thick tinted glass—unprecedented in Asian architecture. Over time, the palace evolved to blend beauty and utility, featuring innovations such as clear and tinted glass panes set in metal frames, India's first air-conditioning system, pictorial carpets, and vibrantly coloured walls. "My father put his foot down on only one major design element," wrote Shivaji Rao "Richard" Holkar, the Maharaja's son from his third marriage. "Muthesius wanted a flat roof, in line with the modernist idiom of Le Corbusier, but my father insisted it wouldn't withstand the monsoon. Muthesius relented, designing a sloped roof with custom-made green ceramic tiles. International acclaim followed its completion in 1933. The palace became a showcase for modernist masterpieces, and Muthesius was appointed 'Chief Master Builder' of Indore. However, after the abolition of the privy purse, Manik Bagh found several of its furnishings auctioned off by Sotheby's. These included an aluminium-and-chrome bed with built-in glass bookshelves, for which designer Yves Saint Laurent made a bid. Stripped of his power and forced to adjust to a new socio-political landscape after independence, the Maharaja of Indore married twice more before passing away in Mumbai at age 53. Some years later, Manik Bagh Palace passed over to the govt, and its once eclectic European furnishings were replaced with Godrej cupboards filled with bureaucratic files. The former home of a couple who once enjoyed tax-free govt stipends now serves as the headquarters of the central GST and excise commissioner. When the Maharaja's Mumbai-based grandson, Yeshwant Holkar, visited Manik Bagh last year to invite the commissioner to an exhibition, he found the palace in a state "not befitting of its history or importance." "It's important that govt officials are made aware of its heritage so that any renovations are sensitive to its legacy," says Holkar, who believes the palace could thrive as a museum or a design institute. "Given its global reputation as a modernist icon, the govt could do far more with it. The ball is in its court."
Time of India
5 hours ago
- Time of India
From Berlin to Indore: The making of India's first 'fairytale palace of modernism'
In place of a turban, a safari hat crowns the Maharaja's head. As if weary of pearls and emeralds, the Maharani—seated beside him—wears a glowing smile instead. The striking black-and-white photo of Indore's royal couple in their minimalist chic—he in sunglasses and a blazer, coolly gazing out of his car; she, beautiful and jacket-shrouded, glancing shyly at the camera—was taken in 1933 by a German architect who understood their flair for understatement. By then, Berlin-based Eckart Muthesius spent over three years building the style-forward, young duo a sleek palace without a dome, a "temple of avant-garde" that was India's—perhaps Asia's—first centrally air-conditioned home. Even as external affairs minister S Jaishankar recently flew to Germany to strengthen diplomatic ties, an exhibition in Mumbai is showcasing a much older dialogue between the two nations, albeit in the realm of architecture. Sepia images on the green walls of the Kamalnayan Bajaj Gallery in Byculla's Dr Bhau Daji Lad Museum trace the century-old friendship between Yeshwant Rao Holkar II of Indore, his wife Sanyogita, and Muthesius—a bond that gave India one of its earliest modernist buildings: Manik Bagh. Commissioned amid the global economic crisis of 1930 by the slim, English-educated Maharaja who met like-minded Muthesius in Oxford in the 1920s, "Manik Bagh was far ahead of its time," says Raffael Dedo Gadebusch, head of the Asian Art Museum in Berlin who curated the showcase. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 2025 Top Trending local enterprise accounting software [Click Here] Esseps Learn More Undo Built long before Le Corbusier's Chandigarh, "the palace was a so-called Gesamtkunstwerk," says Gadebusch, the curator of the current exhibition, using the German term for a 'total work of art'. "It was a synthesis of architecture, arts, and design like hardly any other building in that period," he adds, comparing the palace—with its sleek lines and pitched roof—to The Bauhaus, the groundbreaking steel-and-glass art school designed by architect Walter Gropius in 1926. Art Deco buildings were just beginning to bloom along Mumbai's Marine Drive in 1933 when the palace—designed in the International Style—was dubbed by the media a "fairy tale palace of modernism". With just nine bedrooms and twenty-four rooms in all, "..this really was a family home rather than a Maharaja's palace," wrote Shivaji Rao "Richard" Holkar, the Maharaja's son from his third marriage, in the run-up to the 2019 Paris exhibition on his father titled 'Modern Maharajah'. Sent to England at the behest of the British at the age of 12, Yeshwant Holkar II returned to India at age 17 to ascend the throne. By the time he turned 22, he commissioned Muthesius to create his vision of a modernist palace—an Art Deco and Bauhaus-inspired fantasy called Manik Bagh. Muthesius, the son of renowned architect Hermann Muthesius, grew up in a country home frequented by intellectual luminaries such as Albert Einstein. His love of detail came from his mother, a singer and self-taught interior designer. Alongside little-known watercolours, drawings, and design studies by Muthesius, the show features 50 rare vintage photographs by Muthesius, German photographer Emil Leitner, and American visual artist Man Ray, who famously captured the royal couple between moments of affection. Sourced from collections loaned by art patrons Taimur Hassan and Prahlad Bubbar, the images highlight curated objects from the palace, crafted by avant-garde designers who shared Muthesius's minimalist vision. The use of already produced furniture—like the tubular steel chaise longue by Le Corbusier, red armchairs by brothers Wassili and Hans Luckhardt, and pieces by London's PEL company—reflected the jazz-music-loving Maharaja's admiration for the democratic ideals embedded in modernist design. "He was consciously moving away from colonial aesthetics," points out Gadebusch, who believes the Kamalnayan Bajaj gallery, with its original Art Deco tiles, harmonizes beautifully with the abstract-patterned carpets designed by Ivan da Silva Bruhns, the French-Brazilian visionary known for his innovations in Art Deco textiles. In a picture titled 'The Machine Room', the palace's sophisticated air-conditioning unit, manufactured by Borsig in Berlin, looks like a grungy installation—an echo of the 1920s, when machines commanded their own aesthetic category. "Technically, it was a marvel," says Gadebusch, about the palace whose water faucets, staircase banisters, light fixtures, and retractable awnings were all produced in Germany as per Muthesius' strict specifications. Instead of wallpaper, the walls were painted with pigments mixed with glass or metal particles. Doors and windows employed steel frames and thick tinted glass—unprecedented in Asian architecture. Lighting elements, such as the lamps above the Maharani's bed and the wall fixture in the Maharaja's library, were so stark and abstract that, as Gadebusch notes, "they seem to anticipate the minimalism movement of the late 1960s." This subtle aesthetic even extended to a train Muthesius designed later for the Maharaja, standing in sharp contrast to the ostentatious railcars associated with Indian royalty. When the initial plans and furnishings were unveiled in Berlin in the early 1930s, art critics celebrated it as a "fairy tale palace of modernism". Later, the palace evolved to blend beauty and utility, featuring innovations such as clear and darkly tinted glass panes set in metal frames to regulate natural light, India's first air-conditioning system, cubist para vents, pictorial carpets, and vibrantly coloured walls. The circulatory verandas facing the inner courtyard were a thoughtful nod to India's tropical climate. "My father put his foot down on only one major design element," wrote Richard Holkar. "Muthesius wanted a flat roof, in line with the modernist idiom of Le Corbusier, but my father insisted it wouldn't withstand the monsoon. Muthesius relented, designing a sloped roof covered with custom-made green ceramic tiles. International acclaim followed its completion in 1933. The palace became a showcase for modernist masterpieces, and Muthesius was appointed 'Chief Master Builder' of Indore. In 1934, he curated an exhibition at Bombay's Town Hall (now the Asiatic Society of Mumbai), bringing Manik Bagh's bold aesthetic to the heart of India's art scene. Even Romanian sculptor Constantin Brancusi became involved, travelling to Indore in 1937 to design a 'Temple of Love and Peace' for the royal family. That year, after the sudden death of the young Maharani in a Swiss clinic at age 23, the temple was reimagined as a memorial. Among the standout vintage prints at the exhibition, you will find Brancusi's iconic 'Bird in Space'—a sculpture that the Maharaja bought in black marble, white marble, and bronze—soaring in the Maharaja's living room. A dedicated section showcases other unrealised projects, including a sleek lakeside villa and houseboat in Kashmir. Though Manik Bagh faded from public consciousness following World War II—when Muthesius returned to Germany and Indore merged with the Indian state in 1947—the palace briefly resurfaced in 1970, when French journalist Robert Descharnes stumbled upon it, astonished by its preservation. Some years later, the Indian govt abolished the privileges of the Maharaja families and revoked the state's obligation to pay them maintenance. As a result, furniture, carpets, and lighting fixtures from their residences found their way—often via circuitous routes—back to Europe. In 1980, Sotheby's auctioned off many of these items, including rugs and a striking aluminium and chrome bed with built-in glass bookshelves. Among the bidders was designer Yves Saint Laurent, who also sought a pair of distinctive floor lamps. Stripped of his power and forced to adjust to a new socio-political landscape after independence, the Maharaja of Indore married twice more before passing away in Mumbai at age 53. His children and heirs, Usha Devi and Richard Holkar, preserved his legacy. However, after the abolition of privy purses and royal titles in 1976, they were required to hand over Manik Bagh Palace to the govt. Its eclectic European furnishings were sold at auctions and replaced with utilitarian Godrej cupboards now filled with bureaucratic files. Unironically, the former home of a couple who once enjoyed tax-free govt stipends now serves as the headquarters of the central GST and excise commissioner. When the Maharaja's Mumbai-based grandson, Yeshwant Holkar, visited Manik Bagh last year to invite the commissioner to an exhibition, he found the palace in a state "not befitting of its history or importance." "It's important that govt officials are made aware of its heritage so that any renovations are sensitive to its legacy," says Holkar, who believes the palace could thrive as a museum or a design institute. "Given its global reputation as a modernist icon, the govt could do far more with it." According to Gadebusch, Manik Bagh remains largely unknown to the Indian public outside design and architecture circles. Yet, it is a remarkable example of Indian patronage of Western design and architecture during the Great Depression. Few are aware of Muthesius's pivotal role in creating what is arguably India's most avant-garde residence. "On one hand, it's saddening to see it fall short of its potential. On the other hand, there's real hope. Much can still be restored," says Yeshwant Holkar. "The ball is in the govt's court."
Mint
9 hours ago
- Entertainment
- Mint
Get your cues for ocean-inspired fashion here
We are a little over a week away from celebrating World Ocean's Day that is celebrated annually on 8 June. The central theme for the year is 'Sustainable Fishing Means More…" to raise awareness about sustainable fishing practices that will ensure the 'the health and abundance of marine resources for generations to come" states the Marine Stewardship Council. As conversations around protecting our oceans continue to gain ground year on year, it would also be timely to talk about how the expansive ocean and the marine life it holds in its depths have inspired fashion designers over the years. The 'mermaidcore' aesthetic that comes in iridescent colours and uses motifs of seashells and clams and pearls was a popular micro-trend a few years back. But every year, the refreshing tones of the ocean, from sea green to deep blue, and fascinating sea life including seahorses, starfishes, dolphins, whales, clown fishes and even sea weed have all been embroidered, stitched, moulded or painted onto multiple silhouettes. Lounge's round up shows you how you can add elements of marine life to add a splash of whimsy and joy into your wardrobe. Also read: Want to add a touch of Art Deco to your wardrobe? Here's some inspiration MANTA TIME Seiko's limited edition range seeks to raise money for ocean conservation efforts. What better way to have fun with this than with the iconic Seiko Turtle dive watch with an engraved blue dial featuring Manta Rays? Available on ₹54,000. MERMAID MODEL Inspired by amorphous glowing marine forms, this top by designer Amit Aggarwal is meticulously crafted in handwoven metallic polymer. Pair the top with pants or a fitted skirt for a statement-making look. Available on ₹54,500. HELLO NEMO If you are a fan of the movie, Finding Nemo here's a bag you'll find irresistable. This sea creature-inspired bag from label Anya Hindmarch has a recycled-satin base, leather trims, fin-shaped drawstrings and is embellished with pink and lime paillettes and crystal-encrusted eyes. Available on ₹1.14 lakh. SHE SELLS 9 SHELLS Nothing screams ocean-inspired fashion louder than accessories adorned with shells. Exude chill beach babe vibes with this necklace from Chloé crafted in vintage gold brass features nine shell pendants in various shapes around a short chain. A logo plate finishes this piece. Available on ₹1.06 lakh. Also read: Monsoon style: Boots and brollies BEACH-CODED If you are a beach person, your holiday wardrobe should have a few pieces of clothing with sea-inspired prints and patterns. Like this Versace gathered, stretch-jersey midi skirt. Featuring Barocco elements with coral, starfish and shell motifs and Medusa '95 hardware on the front wrap panel, pair it with a matching top or a white tank top. Available on ₹53,366. FISH FACE Crafted from glass, this quirky water green-hued jar seems life-like thanks to features like a set of fins and texture to resemble scales. Use it to store sweets or as a decorative feature and add some quirky humour into your home decor. Available on ₹12,503. DIVE BOMB Whether you are swimming in a pool in your apartment or bathing in the sea, a little element of fashion by way of swimming trunks is always a good idea. This pair of swim shorts with drawstring waist and all-over sea animals pattern from Emporio Armani is a neat addition. Available on ₹10,580. BEAD THE WAY Starfish are fascinating creatures - they are not fish, don't have brains or blood and can live up to 35 years. They also make for pretty motifs on any item of clothing or shoes. This pair of Valentino Garavani espadrilles crafted with fabric upper and leather lining look even more lively thanks to the neon-pink beaded starfish embellishments. Available on ₹51,170. Also read: Indian women's power dressing awaits a makeover
