Cover Story

Tracing Time – Featuring Rima Kallingal

Many people think it’s about women having superiority. I just don’t understand, feminism is about promoting equality, but the sad truth is that women are not even considered to be an equal.

Published

9 years ago

September 14, 2015

FWDmedia

Remember the last time you wrote a letter? Pressed the nib of your pen so meticulously on a postcard and signed off ‘with love’? Or even a time you stood near the postbox with a crisp envelope, and imagined your letter reaching your loved one’s doorstep?
It was not too long ago, a huge bundle of letters was discovered at Sreejith’s hometown. That led to the masterful interpretations of what our stylist was neatly ironing for Rima’s shoot. On the rack, I spotted a chequered trapeze dress that had postage stamps and on a ruffled cotton coat were gilded embroidered postcards. A calligraphic ‘love’ was inscribed till the end of the pallu of a decadent black saree with a blouse that had me fall in line with its vintage military buttons. Sreejith’s collection, Write to Me, was composed in a calm harmony of cream tones that evoked stories into their own proceedings. His stories were tailored in crisp lines and the designs were punctuated with nostalgic hues of the ruby reds,the familiar golden kara, and handwritten letters away from the machinations of typed words. “I spotted letters that dated back to the sixties. letters that were written to my grandmother.”Sreejith narrated. ‘Write to Me’ instilled an idea for his first saree, yet another fresh memory to add to his memory trove. I wasn’t sure what instigated an insatiable longing in the abyss of our minds. Perhaps it’s sublime and yet a surreal enigma that this time the designer, the muse, the photographer and the writer knew only their pasts would tell them a story.

Rima as Ritu

Remembering Rima, I was just a teenager when I watched Ritu – her first film. There was an odd fascination about how she was never an ingénue. I always felt that she had an aura about evolving beyond the saccharine characters that Malayalam cinema abide to portray. She mentioned, “I remember while shooting the climax for Ritu, Shyam Prasad said, ‘Rima be powerful when you deliver the dialogues’. I was surprised, I thought beginners were usually dubbed, and I had quite a husky voice, but he believed in me.” Her stellar performance in 22 Female Kottayam became an ‘influential’ character. She soon became an actress who was known for voicing her opinions, as she just commented about the FTTI protest. She’s fierce and steadfast in accepting who she is. “We are so different; it will be unfair to think that everyone there will understand my perspective. I am not disappointed by that fact. But when I look at society as a whole, I wish people would be more sensitive and respectful.”

As the car stopped at Pepper house, we went to the hall to check out the collection. She met Subhash; they broke into a hug. It took her back to her first shoot, it was with him. “After my win at Miss Kerala, I had this outlandish haute couture shoot with Subhash. From sitting on cycle to wearing a crazy skirt in front of a tea stall. It was so carefree, and he made sure that he made us do something unconventional.” After five years they catch up for their next shoot, and the rapport hasn’t changed a tad. Subhash enjoyed the little surprise with her haircut – a bob cut styled in burgundy ombre. He quickly remarked, “ She’s got the spark of Indira Gandhi.” Leading to little changes in his plans, he never took it as an ‘emergency situation’, in fact, he took off with an intuition and new sketches spontaneously combusted in his mind. Rima’s make- up artist, Anez asked, “Would you like her to put hair extensions.” Subhash said, “No just the way she is.”

Breakfast at Pepper House

Before the shoot started, we settled for an early breakfast. Rima ordered Bombay toast whilst Subhash was busily sketching way. Rima and I finally got into a conversation – an inside joke that it was a very clandestine interview. We looked at the nonherd mentality room- the library. What if Jane Austen dined with us, and she actually gave a lecture on misconstrued feminism? Rima quickly quipped, “Many people think it’s about women having superiority. I just don’t understand, feminism is about promoting equality, but the sad truth is that women are not even considered to be an equal.” Moving to Jane Austen’s lust for libraries, I was always curious to know how hers was. She laughed,” You should have come home and seen it. I always love shopping for books when I go travelling. “ I then asked her whether she shares her books with Aashiq. She looked at me,” Oh never, in fact, he rarely reads. He’s the type who looks around for inspiration, not from books and other movies.” A book that took her to Neverland? She did claim that she went into a hibernation mode during college, after her childhood of turning pages to the classics of Enid Blyton, Nancy Drews. Her wake-up call was when Five Point Someone was gifted by her close friend. “But now Chetan Bhagat is a little mushy.” But when she reads, she’s engrossed, and she lands in ‘two states’.

Shedding some Light

Subhash and I commented on the herbs that sprung out of the bharanis. Fresh like the herbs were his sketches. He took some time to admire the effortless architecture detailing. Then he sketched a cartoon of Rima seated against the window sill on a wall carpeted with creepers. A particular fascination towards the old-fashioned windows, Subhash said that it reminded him of his school days, whilst the decrepit clay walls reminded him of his Illam at his hometown. Exploring the eras through the architecture, our eyes panned over an arch. It led us to look into the sea through a rustic ajar door. He said, “That’s definitely a frame.” While Rima climbed her way to the dark lit hall, I looked through the window to see a huge sized reflector propped on the lawn meters away. The camera assistants were cleverly balanced on the tiled roof, adjusting the lights- the shot, precisely planned. “Subhash always knows his angles and how he wants his photos, ”Rima said. Going back to the earlier days of her shoot, she did mention that at her first shoot, she was cautious because she was a dancer and stage performer. She hoped she never over performed. But Subhash looked back, “Rima was a natural, and she always took directions well.” This shoot was different, he wanted to interpret the old times with Rima’s body language. As she sat on the solid wooden floor, her face was natural, unlike a polished primadonna. It was a photo that took him to the past’s simplicity in the days of yore.

Shoot and Transform

As the shoot progressed, Rima’s personality transformed through different silhouettes and the way she emoted. It started with a demure Rima in a chequered dress that ballooned out below her a waist. Then a fierce and bold Rima when she wore a button tie up blouse with a figure hugging saree paired with cigarette pants. I was certain, she could pull off anything. I have always wondered with her synergy between the ability to emote and interpret life, could she conquer the world? She broke into a laugh, “ At the dance company I worked in Bangalore, I used to take two buses and hour to reach while in the evening it took two to three hours.
My parents hoped I would quit and settle for an engineering or an MBA degree but they understood after a while. It’s not easy being an artist but we do have a vantage point.” It’s only some weeks ago her dance school, Mamangam, celebrated its anniversary. The shoot finally wound up; she kicked off her Jimmy Choos( her first one that she purchased from Europe five years ago, it almost called off her wedding she joked.) She ran to Sreejith, “This saree would look lovely for the Lakme Fashion Week.” Sreejith broke into a warm smile. Discerning my anticipatable face, she asked, “ You have a question don’t you?”

“When was the last time you wrote a letter? Rima smiled,” When I was in fourth grade, I wrote it to my close friend Parvathy. Although I did write one to my father recently but not a posted one.” Subhash Maheswar, laughed in between, he claimed that he’s never written a letter but if he did, it will be worthwhile. It’s going to be to Narendra Modi. And who would Rima send it to? With a hint of mystery, she said, “ Well you have to wait to know that.” Until then, until when, in another time.
Photos: Subhash Maheswar, Stylist: Sreejith Jeevan, Assistant Stylist: Lakshmi Babu, Hair and Make up: Anez Anzare Location Courtesy: Pepper House, Fort Kochi, Special Thanks: Rouka

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Cover Story

Starlit Wedding – Diya Krishna

Published

2 months ago

September 18, 2024

Reshma Vivekanandan

Actor Krishna Kumar’s daughter, Diya Krishna, a popular social media influencer, recently married Ashwin Ganesan, a software engineer, after a long-term relationship. The couple celebrated their special day with a beautiful ceremony at a luxurious hotel in Thiruvananthapuram. Diya’s family, including her siblings Ahaana, Ishani, and Hansika, along with her parents Sindhu Krishna and Krishna Kumar, looked radiant in coordinated light pink ensembles. The wedding was an intimate gathering, attended by close family and friends. Here are all the details of their magical day.

Haldi

For the Haldi ceremony, Diya and Ashwin were spotted in coordinated white outfits by Santini. The look was beautifully elevated with a pop of color from Diya’s pink dupatta and stunning floral jewellery by Florita Florals, adding a fresh, vibrant touch to the celebration.

Diya’s Outfit : Santinni

Aswin’s Outfit : Santinni

MakeUp : Amala Brahmanandan

Jewellery : Florita Floral

Event Planner : Grand Oyster

Photography : Abhijith SK

Location : Taj Green Cove Resort & Spa

Mehendi

Diya looked effortlessly chic in a vibrant multi-colored skirt set by Mahek Designs for the Mehendi celebration. Ashwin complemented her perfectly with a multi-hued jacket by Santini, completing their joyful and lively Mehendi look.

Diya’s Outfit : MAHEK DESIGNS

Aswin’s Outfit : Santinni

Mehandi : MISHMA KAMAL

Event Planner : Grand Oyster

Photography : Abhijith SK

Sangeeth

Diya and Ashwin absolutely rocked their Sangeet in stunning black outfits by Santini, exuding elegance and style as they celebrated the night in perfect sync!

Diya’s Outfit : Santinni

Aswin’s Outfit : Santinni

Jewellery : Atelier by Regal Jewellers

MakeUp : Laxmi Venugopal

Event Planner : Grand Oyster, Decor Lab Events

DJ : TONIQ SQUAD

Photography : Abhijith SK

Wedding

For the wedding, Diya truly dazzled in a polished pastel-themed saree designed by the talented M Loft by Joel. Styled in a manner reminiscent of Bollywood star Alia Bhatt’s iconic fashion sense, the saree was a vision of beauty, adorned with elegant detailing, intricate embroidery, and flowing glamour, imparting a regal charm to her bridal look.

Diya’s Outfit : M LOFT

Aswin’s Outfit : M LOFT

Jewellery : Atelier by Regal Jewellers, Regal Jewellers

MakeUp : Laxmi Venugopal

Draping : Aamee Hafsa Nazar

Event Planner : Grand Oyster, Decor Lab Events

Garlands : Black Gold Flowers

Photography : Abhijith SK

Wedding Second Look

For her second wedding look, Diya embraced a simple yet elegant white Kerala traditional set mundu, perfectly complemented by traditional jewelry from Bhima. Ashwin matched the aesthetic, dressed in a silk shirt and mundu by M Loft, creating a timeless and graceful duo.

Aswin’s Outfit : M LOFT

Jewellery : Bhima

MakeUp : Laxmi Venugopal

Draping : Aamee Hafsa Nazar

Event Planner : Grand Oyster, Decor Lab Events

Photography : Abhijith SK

Reception

At the Delhi reception, Diya stunned in a maroon saree, perfectly capturing the elegance of a newlywed. The North Indian-style chooda added a beautiful touch to her look. Ashwin complemented her effortlessly, looking sharp in a sleek black suit by Santinni.

Diya’s Outfit : Shazara Design Studio

Aswin’s Outfit : Santinni

Cover Story

Onam Elegance: Decoding the Traditional and Modern Looks of M-Town Celebs

Published

2 months ago

September 16, 2024

Reshma Vivekanandan

Onam, the grand harvest festival of Kerala, is a celebration of tradition, culture, and elegance. Each year, Malayalam movie celebrities embrace the essence of the festival by donning a mix of timeless traditional outfits and contemporary styles that reflect their unique flair. From graceful sarees to classic set mundus, the stars bring out the best of Kerala’s sartorial heritage. In this lookbook, we decode the standout fashion moments from your favorite M-Town celebs, showcasing how they beautifully combine tradition with modern elegance to make a statement this Onam season.

Anushree

Anushree looked stunning in a double-colored set mundu from Naithu by Sruthi Prasanth, beautifully accessorized with exquisite jewels from Malabar Gold and Diamonds. Her look was perfectly complemented by flawless makeup by Sajith & Sujith.

Mahima Nambiar

Mahima Nambiar looks stunning in T & M Signature’s Onam collection, “Thumbayum Thulasiyum.” Her festive look is perfectly complemented by exquisite jewelry from MOD Signature. Styled by Jobina Vincent, the ensemble is further enhanced with flawless makeup and hair by Pinky Visal, creating a captivating Onam look.

Ahaana Krishna

Ahaana Krishna exudes her signature charm with a simple yet effortlessly stylish look for this Onam in Black Set Mundu. Staying true to her unique “Ahaana style,” her minimalistic makeup and elegant hair were beautifully crafted by Amala Brahmanandan, perfectly complementing her festive vibe.

The Sukumaran Family

The Sukumaran family radiates elegance in their traditional Onam attire. Indrajith and Prithviraj opted for timeless simplicity, donning classic white shirts paired with mundus, while Mallika Sukumaran exudes a proud motherly grace in a beautiful, classic Kerala saree, perfectly capturing the spirit of the festival.

Shilpa Bala

Shilpa Bala looks stunning and stylish in a white and orange traditional salwar by Kalaakari, exuding festive charm. The look, styled by Rashmi Muraleedharan, is perfectly complemented by elegant jewelry from Pure Allure. Her radiant makeup and hair, done by Sanaah, complete this beautiful Onam ensemble.

Anikha Surenderan

Draped in the stunning ‘Nila’ saree by Anusha Reji, Anikha Surendran mesmerizes with her grace and style. Styled to perfection by Mehaka Kalarikkal, her look is elevated by exquisite jewelry from Goldencup Bridal Rental Jewellery. With flawless makeup and hair by Ashif Marakkar. Anikha’s Onam look is truly captivating.

Nikhila Vimal

Like a muse straight from Raja Ravi Varma’s timeless canvas, Nikhila Vimal exudes ethereal charm in a stunning Pen Kalamkari Kanchipuram saree by The Saffron House. Styled by Smiji, her look is further elevated by flawless makeup and hair by Femy Antony

Dulquer Salman

Dulquer Salmaan looks ravishing in a classic white kurta set, effortlessly blending tradition with chic style. His Onam look radiates simplicity and elegance, making a timeless fashion statement for the festive season.

Pearly Maany

Pearly Maany looks stunning in a saree from T & M Signature’s Onam collection, “Thumbayum Thulasiyum.” Her elegant look is perfectly complemented by exquisite jewelry from MOD Signature Jewellery, with flawless makeup and hair by Touch by SiRe. The saree draping, beautifully done by Krishnapriya P V, completes Pearly’s enchanting festive ensemble.

Arya Babu

Arya graces this Onam in a pure Kerala handloom set saree by Kanchivaram.in, embodying the true essence of tradition and festivity. Styled by Sabari Nath, her look is beautifully complemented by elegant jewelry from Gemforher, with flawless makeup and hair crafted by Manju Michael’s Salon. Arya’s ensemble is a perfect reflection of timeless Onam elegance.

Navya Nair

Navya stuns in her Onam look, wearing a beautiful outfit by Jugalbandhi. Her flawless makeup and hair, crafted by Sijan Joseph, enhance the festive charm. Adorned with exquisite jewelry from R. Giri Pai Jewellery, the look is captured to perfection by Black Lenzio, making Navya a vision of elegance this Onam.

Priya Prakash Varrier

Priya Prakash Varrier looks gorgeous and modern in a stunning saree by Mloft. Styled by Asaniya Nazrin, her look is flawlessly complemented by makeup and hair crafted by Unni, making her stand out with a perfect blend of traditional elegance and contemporary chic.

Aparna Balamurali

Aparna Balamurali looks traditionally beautiful in a Kerala saree by R O U K A by Sreejith Jeevan. Styled by Rashmi Muraleedharan, her look is complemented with flawless makeup and hair by Sruthi Sai. The ensemble is completed with exquisite jewelry from Nakshathra Gold and Diamonds, making Aparna’s Onam look timeless and elegant.

Amala Paul & Family

Amala Paul’s family Onam picture is an absolute dream, with the family dressed in stunning red and white outfits. Amala shines in an elegant ensemble by Made by Milan, while Jagat looks dapper in his outfit from House of Messcal. Styled by Sapna Fathima Kajha, the look is further enhanced by flawless makeup and hair by Sajith & Sujith, and exquisite jewelry from Cressida Signature Jewels. Together, they capture the perfect festive spirit in this beautiful Onam portrait.

Rajisha Vijayan

Rajisha looks stunning in a leaf-printed saree by ALDA Designer, effortlessly blending tradition with a modern twist. Styled by Amritha Lakshmi, her look is perfectly complemented by makeup and hair by Laxmi Venugopal. The ensemble is enhanced with elegant jewelry from TT Devassy Jewellery, and the draping, beautifully done by Exotic Makeover’s Elizabeth Shinitha, completes this mesmerizing Onam look.

Miya

Miya embraces the spirit of Onam in a pure Kerala handloom Kasavu saree by Kanchivaram.in, radiating traditional elegance. Styled by Sabari Nath, her look is beautifully complemented by makeup and hair by Sijan Joseph. The ensemble is further enhanced with exquisite jewelry from Mayoora Jewelry Designs, and the saree draping, skillfully done by Krishnapriya P V, completes this timeless Onam look.

Cover Story

Sarees of India : Punjab’s Phulkari

Published

3 months ago

August 27, 2024

Reshma Vivekanandan

The traditional Punjabi art form ‘Phulkari,’ derived from the terms ‘phul’ and ‘kari,’ meaning flower and effort, is thought to have begun in Punjab in the 15th century by Punjabi women. Bright and bright textile art uses needlework and the most basic designs to create a fascinating, appealing, and ornamented result. Phulkari work is reported to be mentioned in Heer Ranjha’s Waris Shah love romance. References to this needlework tradition can also be found in the Vedic period. Women’s phulkari chadar, dupattas, sarees and other veil garments were traditionally exchanged as bridal gifts or heirlooms.

The inspiration for the Phulkari motifs would originate from their imaginations based on their surroundings, nature, animals, birds, gardens, or even a mother-daughter conversation. Marigolds, jasmine, peacock, and mustard flowers were frequently used as a means of expressing their feelings, inventiveness, and expressiveness.

Because Phulkari is made out of symmetrical designs, the craftsmen and women must count the amount of stitches on each side before proceeding, making Phulkari a time-consuming method. However, as time passed, people moved on to new techniques, and in addition to coarse khaddar fabrics, silk, georgette, chiffon, and normal cotton began to be used. Darning stitch- the most significant stitch- was used to border the khaddar in the past. Other stitches like herringbone, buttonhole, and running stitch were also utilized. These stitches were employed to make a unique motif or as a border.

The use of colors is extremely important in Phulkari art. Traditionally, just four hues were utilized, each with its unique meaning. For example, white is appropriate for elderly women and widows, red is appropriate for young girls and brides-to-be, and blue, black, and dark tones are appropriate for everyday use. Red was the most commonly used color to express enthusiasm, followed by orange for vitality and green for fertility.

In India, there is not just one sort of Phulkari, but numerous. What distinguishes one Phulkari from another is the darn stitching process, which is done on the reverse or wrong side of the fabric, which makes this handcraft unique. Here are some of the most popular Phulkari designs.

Bagh– A design in which horizontal, vertical, or diagonal stitching cover the entire fabric surface.

Chhamas – Chhamas fabric has mirrors stitched or woven onto it with yellow, grey, or blue threads.

Neelak– Neelak patterns have a black or red backdrop with bright yellow or red embroidery on top. For a distinct shining texture, the design is combined with metal or copper threads.

Chope– Chope is traditionally done in yellow and red threads and involves embroidering on both sides of the fabric. This embroidery is made out of a series of triangles or a step-ladder pattern.

There used to be 52 different types of Phulkaris, but that number has since been reduced to only a few. The states that use the Phulkari traditional art and needlework the most are Punjab, Haryana, and Rajasthan.