Life & Style

Redevelopment is not viewed as an isolated activity in metros or even tier-II cities. 
| Photo Credit: Getty Images/iStockphoto

“I would say my journey so far has been exciting, adventurous, and full of learning. It had its highs and lows, but every time I was low, I rose again stronger,” says jewellery designer Farah Khan Ali. Over the past two decades, Farah has carved out her own space in the world of fine jewellery, redefining what it means to design with soul with her two brands — Farah Khan Fine Jewellery and Farah Khan Atelier. 

Last week, we caught up with her in Chennai, where she showcased her contemporary collections — Miracle, Aayat, Amaira, Gemspire, and Sca-Ra — each inspired by geometry and symbolism. 

“At 22, I had no intention of being a jewellery designer, but I was extremely artistic as a child. So, when a friend suggested we take a course together, I thought it was an artistic course, but it turned out to be gemology — a scientific study of gemstones, minerals, and their properties,” she recalls.

After completing her gemology course, she enrolled for jewellery designing. “I fell in love with it because it came so naturally to me; creating beautiful pieces of jewellery from nothing, just your imagination made me feel on top of the world.” Starting her career in 1993, she began interning with established jewellers, like Tribhovandas Bhimji Zaveri, Anmol Jewellers, Mahesh Notandass, and AKM Mehrasons Jewellers, . 

“I realised, at that point, the concept of a jewellery designer did not exist. People were mainly working with babus and in-house designers, and because I came from a family that has been associated with Bollywood, there was curiosity — why wasn’t I acting? In a way, I glamorised the profession. For me, jewellery became not just a product, it became a piece of art because I was making things that were going to outlive their wearer and go down generations,” Farah shares. 

For Farah, her collections draw heavily from Nature, spirituality and storytelling. “With the Miracle collection, I wanted to remind people that it is a miracle to be alive. When I created the collection, I put my monogram Aayat, which means miracle in Urdu, into the pieces as a reminder of divinity within and around us. With my Nature’s Nectar collection, I drew from bees, butterflies, and flowers — celebrating God’s unmatched design.”

In the Indian jewellery market, which is deeply rooted in traditions, Farah spoke on how she has created a universal design language. “I choose motifs that are close to Indian heritage, but pair them with a Western colour palette because I want to create a universal design that can be worn in India and abroad, and goes with a sari or gown.” 

“Today’s clients are design-driven and knowledgeable. They are experimental, adventurous, and willing to pay for something unique. Jewellery has shifted from religious motifs to lifestyle expressions — affirmations of gratitude, spirituality, and individuality. There is a market that wants luxury, and it wants statement pieces that nobody else can get,” she adds. 

Though her brand shines today, the road to it was not easy. “People thought that I was getting it easy, but the trade is very guarded. Early on, various people stole my designs, made copies of them, and even took me to court, prevented me from using my own brand name.” 

“I was in a litigation that lasted for six months, but those six months were the best thing ever happened to me because I learned business, law, trademarks — everything. Today, I can read a legal document like a book of fiction,” she says.

Farah also touched on the debate around real versus lab-grown diamonds. “Anything made by man cannot be real,” she says. “A diamond that takes millions of years to form in the Earth’s crust is rare, and it is the rarity that gives the value. As far as the sustainability of man-made diamonds is concerned, the truth is that they use more energy in the lab than Nature does in the process…mining is far more sustainable than it once was, and it supports entire communities and even wildlife conservation.”

Published – September 12, 2025 04:06 pm IST

Michael Kors as he brought his love of nature to urban New York City, for a celebrity-heavy Spring/Summer 2026 show at New York Fashion Week Thursday.

The iconic designer likes to make his guests comfortable in his clothes and at his shows, so he turned an empty warehouse space into a cozy room inspired by his beach house, lit by giant paper lanterns, with wood paneling and side tables filled with ceramic vases and succulent plants.

A model walks the runway during the Michael Kors Spring/Summer 2026 fashion show as part of New York Fashion Week.
| Photo Credit:
AP

The front row was buzzing as stars like Gwyneth Paltrow, Olivia Wilde, Leslie Bibb, Ariana DeBose and Suki Waterhouse chatted before the show.

Kors called the collection “earthly elegance” and says he was inspired by recent trips to tropical destinations where they know how to deal with the weather.

A model walks the runway during the Michael Kors Spring/Summer 2026 fashion show.
| Photo Credit:
AP

“How do you take those lessons, whether it’s, you know, pareos and sarongs from Bali and Polynesia, how do you bring those to Manhattan?” Kors mused to The Associated Press backstage before the show. “How do you take all these wonderful soft draped trousers you would find in Morocco and how do you make that urban and make that work in a city?”

What’s in Kors’ Spring/Summer 2026 fashion line

All the clothes had a loose feel, starting with oversized button-down silk blouses paired with loose cargo, or wool crepe draped culotte pants. White linen matching sets of skirts and pants looked like aspirational yacht-wear. The fabrics were all light and often sheer, lending to the comfort and wearability.

At the New York Fashion Week on Thursday, Sept. 11, 2025.
| Photo Credit:
AP

The dominating colors were Kors’ typical black, white, and brown, but with accents of buttery yellow and pink. “There’s a lot of beautiful earth tones, so gorgeous shades of brown and branch colors, and olive and all of these colors that you would find in nature,” Kors said. “But then highlighted all of that with beautiful sunset shades of pink that you find in the desert, beautiful yellows that you would find in a gorgeous sunrise.”

Suiting is a must for Kors core, and several looks included oversized blazers in wool gaberdine or linen. Some had a softened look with no lapels — some even sleeveless — but others were more classic with a bikini top underneath for a modern touch.

A model presents a creation from the Michael Kors Spring 2026 collection.
| Photo Credit:
REUTERS

Shoes were flat sandals or open-toed chunky heels, blending comfort and style. Kors also loves a coat and a brass leather trench with matching metallic purse was a standout moment.

Even the eveningwear had an easy feel, as tank dresses made of hand-embroidered paillettes with sheer bottoms continued the flowy vibe. Paillette covered pants were covered in sheer draped jersey, which could be dressed up or down.

Accessories featured extra-long leather tassels dripping off earrings and handbags, and exaggerated leather belts cinching the models’ waists but dangled down.

Designer Michael Kors appears on the runway at the conclusion of the presentation of his Spring 2026 collection.
| Photo Credit:
REUTERS

What the stars say about Kors’ latest fashion line

Actor Olivia Munn said everything in the collection looked “comfortable and chic.”

“What I really love is thin fabrics. I feel that thin fabric just hangs on your body so much nicer, and it just feels light and airy and really feminine,” Munn said after the show.

Actor and recording artist Audra McDonald said she wanted to figure out how to get three of the pieces she saw immediately. “I had Judith Light, and I had Laura Carmichael on the other side of me and we were picking outfits for each other. I like this one, you get that one, you get that one!” she recounted.

A model walks the runway.
| Photo Credit:
AP

Recording artist Kelsea Ballerini called the show beautiful and wearable and said she can’t wait to “get her paws” on some of it.

“I loved the silhouettes — it felt very loose and lived in and natural, especially with the color palette. I did love the pop of pink and obviously a little bit of glitter here never hurt anyone,” she said with a smile.

Published – September 12, 2025 11:09 am IST

India’s premium consumer market is expanding beyond luxury fashion and cars to everyday categories, such as food, wellness, and lifestyle. Artisanal snacks, craft coffee, and plant-based dairy have moved from niche to mainstream, driven by the urban middle class seeking provenance, quality and purpose in what it consumes.

It is into this landscape that Australia Essence — a house of brands co-founded by former Australian cricket captain Steve Waugh and entrepreneur Tim Thomas — made its Indian debut.

“For us, the idea was simple. Australia has something unique to offer, and we wanted to give family-owned, intergenerational businesses a platform to scale in markets like India,” says Tim, founding CEO of Australia Essence.

Conscious luxury for a new market

The company’s proposition rests on what Tim calls conscious consumption. In his view, Indian consumers are asking sharper questions about where products come from, how they are produced, and whether they meet credible standards of quality and sustainability.

“Conscious consumption in India is increasingly about ethical supply chains, genuine certifications for organic or clean products, and social governance standards,” Tim explains. Families, he adds, are also more mindful of what they feed their children. “Convenience matters, but so does nutrition. That’s where we see intentional snacking and premium products coming into play.”

This idea of conscious luxury positions Australia Essence against both local innovators and global competitors, with authenticity and provenance as its differentiators. Steve frames the venture in terms of a generational shift. “I think younger Indians are far more aware of what they eat, how products affect their health, and whether they are environmentally responsible,” he says. “That’s what makes this the right time for us to introduce authentic Australian brands here.”

A curated portfolio

The launch portfolio spans nine brands: gourmet olive oil from Pukara Estate, therapeutic honey from Bee-Fused Honey Co, ritual gifting with authentic sandalwood from Silvalis, high-performance apparel from SA1NT and Star Grip Socks, sunglasses from Carve, alkaline water from Alka Power, protein-rich snacks from Blue Dinosaur, and plant-based dairy alternatives from OMG.

For Steve, the connection with India goes back decades. That familiarity has shaped his role at Australia Essence. “I have had so many people in Australia over the years ask me how to get into India,” he recalls. “I did the best I could to help, but without a proper team it was difficult to make it happen.” He adds, “I am not going to put my name to something I don’t believe in. Every brand we’ve brought in is one I have personally tried and can vouch for.”

Strategy and scale

Australia Essence is entering India with a hybrid go-to-market strategy. Initial pilots will focus on Mumbai and other metro cities, with rapid expansion through online channels and retail partnerships. Hospitality tie-ups are also on the cards, alongside curated experiences such as the Australia Essence Pavilion and the Steve Waugh Gift Hamper.

A hamper from Pukara Estate
| Photo Credit:
Pukara Estate

The company estimates a serviceable market opportunity of AUD 500 million annually across its chosen categories, within a broader AUD 5 billion premium consumer opportunity. “If we present globally niche, culturally grounded propositions, that will matter more than price,” says Tim, acknowledging India’s price-sensitive reputation.

Steve puts it in cricketing terms: “Like the game, it’s about putting in the hard work and perseverance. You’ve got to play the long innings here. If the brands are consistent and deliver quality, Indian consumers will back them.”

Building cultural bridges

Beyond commerce, the venture is positioned as an extension of ties between India and Australia. Cricket has been the most visible bridge.

“India has given me so much, both on and off the field,” he says. “If people trust me, then I want to repay that trust by bringing in brands that genuinely deliver. But ultimately, it’s not about me. It’s about showcasing Australia’s best to Indian consumers in a way that builds lasting connections.” Steve also links the venture to his own journey towards mindful living. “As I get older, I’ve become more aware of my health. I do Pilates, I exercise regularly, I watch what I eat.”

Published – September 11, 2025 04:42 pm IST

A nose pin design of Mookuthi.
| Photo Credit: Special Arrangement

Viswabharath Allamsetti, with his roots in Guntur, Andhra Pradesh, recently finished the gruelling Ultra-Trail du Mont-Blanc in France.
| Photo Credit: Special Arrangement

A nine-foot tall, 15-foot wide hand-drawn kalamkari wall panel, dyed in natural colours, dresses up Mamata Reddy’s workspace in Hyderabad. The wall panel features a rare combination of Shiva and Hanuman. Large images of the two deities are flanked by 16 four-inch horizontal panels bearing smaller pictorial narration of stories of Shiva and Hanuman, interspersed with text. Mamata, founder of the three-decade old Kalam Creations that supports 45 artisan families in Tirupati, reveals that the wall panel is a labour of love of 14 months.

This panel is proof that kalamkari artisans have kept the tradition of narrating stories on cloth, alive. Kalamkari, whose origins can be traced to 3000 years, historically witnessed artisans using the ‘kalam’ or pen to narrate stories from the Ramayana, Mahabharata and Bhagavatham.

Shiva-Hanuman themed kalamkari wall panel
| Photo Credit:
Special Arrangement

Saris, garments, fabric and home furnishings may have become the mainstay of kalamkari for saleability but that has not dented storytelling, at least for a niche segment. “Storytelling continues to thrive, only the format has changed,” says Mamata. Her artisans try to narrate stories on saris, kurtas, fabrics, and wall panels.

The colour palette has expanded, as her artisans experiment with natural dyes to arrive at hues of pinks, reds, browns, blues, greens, and mustards. “When we began 30 years ago, most kalamkari designs were dyed in five colours — red, black, blue, green, and indigo. There was monotony. We did single and double colours to offer something new,” Mamata recalls.

The muted green that forms the base of the Shiva-Hanuman wall panel is a product of experimentation. Mamata also points out how work is segregated. The drawings have all been done by a single artist, who worked on the fabric for three hours a day, over several months. “He cannot do more than that since it involves enormous focus and can strain the eye.”

Different artisans take charge of different dyes. “Some are good with shades of mustard, others with pinks, greens or blues. An artist specialises in a particular colour family to maintain uniformity,” says Mamata.

Innovate to stay relevant

Mamata shows a Kanchi silk sari with a muted pink base, with gloriously hand-painted floral forms, bordered by a Ramayana story panel, all in kalamkari. “Around 80% of our work is with figures — either inspired by devotional texts or forms of birds, while 20% is florals. For clients who do not want to wear any figures on their garments, we do floral patterns,” she explains.

Some saris have hand-written kalamkari text with pictorial stories. There are experiments that combine techniques — think of ikat and kalamkari, or kantha embroidery border and kalamkari body and pallu. Mamata terms it “a jugalbandi”.

Mamata Reddy with Dr Nagalakshmi Nyayapathi.
| Photo Credit:
Special Arrangement

“Earlier, artists would narrate stories on half, one, or two metres of cloth. The sizes were standard. Today the stories can be on cushion covers, table runners or wall panels of specific dimensions,” says Mamata. She mentions how a client, Mohini Nallapaneni, wanted an Annapurna devi story wall panel for her dining area, to symbolise the value of sharing and nourishment. When such a request comes in, Mamata reads the relevant story and discusses with the client and her artisans to finalise the imagery.

“The market is small but very much there. We cannot mass produce since the artisans need adequate time to work on such pieces; the labour-intensive process is why our products do not come cheap,” adds Mamata. Kalam Creations products are priced between ₹3000 and 3 lakhs.

Innovate to stay relevant

Kalamkari wall panels dating back to the 17th, 18th and 19th centuries, which reflect how the artisans then interpreted narratives from the epics as well as social themes, are now part of national and international museum archives.

In the contemporary realm, Mamata explains how innovation is essential to ensure that the craft finds takers.

In 2010, when Hyderabad-based designer Sashikant Naidu worked on a collection of kalamkari saris and ensembles, he challenged the norm and asked if Mamata and her team could develop a range of muted colours using natural dyes. The intricate figures and floral forms were filled with fine lines of colours. “We thought it would be impossible, but it opened a new chapter for our artisans,” recalls Mamata.

Innovation continued when she later collaborated with textile designer Gaurang Shah. In 2017, the designer’s collection titled Chitravali included 40 saris and ensembles with hand-drawn imagery inspired by paintings in the Ajanta and Ellora caves, in kalamkari style.

Further experiments are in progress. While some are for special showcases, others are for Mamata’s clientele. “My only condition is that kalamkari cannot be rushed. A sari might take 30 to 45 days or a wall panel might take a few months depending on the size and intricacies. When we deliver something, we want it to be wow-inducing. For that, the artists need time,” says Mamata.

Published – September 11, 2025 03:12 pm IST

Hyderabad-based Swetha Eepuri cannot walk without support, but her celebrity pencil sketches travel far and wide in the hearts of admirers. Diagnosed with muscular dystrophy — a genetic disorder that causes progressive muscle weakness —Swetha is a self-taught artist whose story is one of quiet resilience, making her mark one sketch at a time.

On the first floor of her home in Sahara Estate, Auto Nagar, Swetha sits by her favourite corner with an adjustable table, sheets of drawing paper, and her wheelchair. Neatly filed beside her is a growing collection of pencil portraits — actors and actresses from the Telugu film industry, cricketers, and politicians — each rendered with remarkable precision.

Stress with health issues

Sketches by Swetha Eepuri… Prabhas, NTR and Sai Pallavi
| Photo Credit:
Special Arrangement

A native of Vellanki village in Nalgonda district, Telangana, Swetha once dreamed of becoming a doctor, but her family was preoccupied with her health concerns. “I was weak as a child and suffered frequent falls. We went from hospital to hospital, but no one could identify the condition,” she recalls.

Diagnosed with muscular dystrophy in 2005, Swetha moved with her family to Hyderabad for her intermediate education, but her health continued to decline. “Earlier it was frequent falls, but over time the muscle weakness worsened, affecting my strength. Even climbing stairs became difficult,” she says.

Tryst with art

Swetha Eepuri 
| Photo Credit:
Special Assignment

With a deteriorating condition, doing even basic tasks became tough and she stopped education after B Pharmacy. Confined to home, her life was relegated to a chair and needed a wheel chair for any mobility. During this difficult phase, Swetha sketched a lonely girl looking out of a window to express her emotions. “I had no knowledge of art, but I sketched to show how I felt,” she recalls. Sharing the drawing with friends lifted her spirits and gave her a new sense of purpose. “Even I was surprised I could manage a decent sketch on my first attempt,” she adds with a smile.

YouTube soon became her classroom, helping her learn shading, layering, outlining, and working with skin tones and lighting. In 2015, she posted her first celebrity sketch on X (formerly Twitter) — of actor Prabhas during the release of Baahubali: The Beginning — and the appreciation, even from strangers, was a huge morale boost. “I made mistakes with the eyes and nose, but the encouragement pushed me to continue,” she says.

Actors like Manchu Manoj and Sai Dharam Tej later liked her sketches on X, drawing the attention of fan clubs and widening her reach. Working only with her thumb and forefinger, Swetha uses charcoal and graphite for her portraits. She prefers sketching celebrities and often times her posts with movie releases or milestones — her recent sketch for Mahavatar Narasimha drew 700,000 views on X and 207,000 on Instagram.

Sketches by Swetha Eepuri… MS Dhoni and Virat Kohli
| Photo Credit:
Special Assignment

Through this eight-year journey, her biggest support has been her father, Krishnaiah, a weaver, her mother, Bharathi, a homemaker, and her brother, Ramesh. “I don’t want people to pity me or like my art because of my limitations. That’s why I never post about my condition. I want my work to speak for me and inspire anyone who doubts their own abilities,” says Swetha dreams of opening an art school someday.

Her works can be seen on @swethaeepuri on X and Instagram

Published – September 11, 2025 11:41 am IST

When we catch up with Mujeeb Padikka, he is high up in the Idukki hills scouting for his next reel. “That is pretty much my weekend routine. I pick a spot, stop at a local tea shop and get the tea seller to dish out little nuggets of local wisdom. You might get a tip on a hidden viewpoint or even the next bus schedule,” he says. Mujeeb, a techie from Kochi, is a top content creator who shares reels on his Instagram handle, @tripwithmp.

A drone shot of Kumbalangi
| Photo Credit:
Mujeeb Padikka

We have long revelled in Kerala’s stunning landscapes from the ground and Mujeeb belongs to the growing community of drone enthusiasts who are lifting our gaze skyward, offering an awe-inspiring perspective of the state’s picturesque terrain. From the lush nostalgia of Kollengode to the rhythmic dance of the snake boats on the backwaters of Alappuzha, the mist embracing Munnar’s tea plantations, and everywhere in between, these content creators are re-imagining the familiar sights in ways we have never seen before. Their photos and reels draw millions of views on social media, such as the viral reel of a cricket ground amid the dense greenery in Varandarapally, Thrissur, by Sreejith S (@notonthemap). Each of these frames is a love letter to Kerala, reaffirming the state’s reputation as a tourism haven.

Mujeeb Padikka
| Photo Credit:
SPECIAL ARRANGEMENT

“Kerala is a drone pilot’s dream because of the diversity of the landscape. We have beaches, backwaters, lagoons, islands, mountains… And the best part? It is beautiful in every season,”says Mujeeb. 

Capturing the perfect shot often takes more than one visit. “It is rare to get the shot in one go. Lots of things have to line up — the wind, the weather, the sunlight, the drone, the bus…” explains Mujeeb, adding, “I do not recall the reel that first hit one million views but I do remember my first reel that hit 25 million views — of a lone bus winding through Kadamakudy. It took me three visits and multiple tries!” 

Arun P Jose
| Photo Credit:
SPECIAL ARRANGEMENT

Just across the Kerala-Tamil Nadu border, Arun P Jose, better known as dronolphy to his nearly 900K followers, is on the road, driving through the windmills of Nagercoil, in search of his next reel. “It is not just the beauty but also the unhurried rhythm of life, the softness, the stillness, that add extra magic to reels. That kind of quiet charm is rare to come by,” says Arun, who is a bit of a legend within the drone pilot community.

A cardamom planter from Kattappana, Idukki, Arun was among the first to embrace the trend back in 2018. His reels introduced us to the now-iconic misty ridges of Kolukkumalai and the rani pink water lilies of Malarikkal, Kottayam.

Arun is also widely credited as the first drone pilot in Kerala to layer nostalgic music onto footage, adding a cinematic touch that has since become a genre-definer. “Discovering drone photography saved me from crashing and burning as an alcoholic,” says Arun, candidly. “It has become my new high! I have not touched a drop since I first started experimenting with a toy drone that I bought online.”Arun has since graduated to collaborations with leading global brands like DJI and continues to inspire thousands. 

Catching up with the trend

While drone photography has technically been around since the early 2010s, when affordable, user-friendly models first hit the market, it is only in the last few years that the trend has taken flight in Kerala. Most serious hobbyists rely on high-end, imported drones, which require official registration and are not readily available in India. The lack of clear guidelines for drone operations adds to the uncertainty. Despite this the interest has surged. 

Abu Joy Jacob
| Photo Credit:
SPECIAL ARRANGEMENT

“Last year, when I was at the Champakulam Moolam Boat Race, there were three hobbyist drone pilots. This year, there were 14, including me,” says young Abu Joy Jacob, a communications specialist, and a rising name in the drone community. 

A drone shot of Himalayan Para in Pathanamthitta
| Photo Credit:
Abu Joy Jacob

Abu uses his Instagram handle, @_letsflyy_, to showcase the often-overlooked beauty of Pathanamthitta, his home district.

“I live in upper Kuttanad, in the western end of the district, and my mother’s family is from Seethathode, in the east. As a child, I often travelled to and fro, passing Aranmula, Ranni, Chittar and Maniyar; destinations that always sparked my imagination. Now, with my drone, Iget to see the same places from the sky, from angles I could never reach on foot.”

A drone shot of Laha enroute Sabarimala
| Photo Credit:
Abu Joy Jacob

The rise of short-form videos like Instagram Reels and YouTube Shorts created this huge demand for visually stunning, bite-sized content. Simultaneously, advancements in drone technology have made it easier for creators to capture cinematic-style footage with relatively little technical training. Paired with accessible editing tools, these skybound storytellers can now produce professional-looking content from their phones or laptops. 

Most of these serious hobbyists use ‘normal’ drones, with built-in stabilisation and maneuverability, which require little-to-no training to operate (content creation is another skill altogether!). 

Nithin Prabhakar
| Photo Credit:
SPECIAL ARRANGEMENT

Then there’s Nithin Prabhakar (@kidufpv), a professional photographer-turned-“drone cinematographer” from Chengannur, who is among the few FPV (First-Person View) drone pilots. It is a high-speed approach that places viewers right in the middle of the action. Think zooming along the Vembanad on a snake boat from the perspective of one of the rowers.

Or, spiralling inside the maranakkinar (Well of death), along with the motorcyclist, in Hanumankind’s international hit, Big Dawgs, which, incidentally, Nithin himself filmed! “That’s the kind of visceral storytelling that FPV makes possible,” says Nithin, who has worked in numerous films from Vijay Devarakonda’s Liger to the latest Sumathi Valavu.

“FPVs are custom-built for speed and batteries last just three minutes. You have to be fast, focused and fully present. There is no autopilot. It is just you and the drone,” explains Nithin.

Whether it is FPV or normal drones, one thing remains constant, according to all these pilots. “Flying a drone is like building a relationship. You learn its quirks, limits and how far you can push it. And in return it gives you access to perspectives you could never reach on your own,” says Mujeeb.