Deepika Padukone may have already mesmerized all her fans and audiences with her looks in ‘Ram – Leela’, ‘Bajirao Mastani’ and more recently ‘Padmaavat’. It is absolutely not required to mention that the actress carries blessed features and expressions and above all, knows to portray them elegantly.
The enticing actress, was spotted adorning the gorgeous outfits of much acclaimed and applauded designer, Sabyasachi Mukherji in a recent photoshoot. Her pictures are an absolute delight to the eyes of all on-lookers with her magnificent beauty and alluring presence in front of the camera.
In the photoshoot, Deepika casts an enthralling spell of Bengali colours, in three varied looks. She looks serene, subtle and yet as powerful as a warrior. Her eyes hold an intense yet tranquil gaze, that tend to raise infinite questions but trace off the camera without giving any answers.
The designer took to Instagram to share the divine and captivating shots, of Padukone. Along with the pictures, he explained in detail about the looks and also how Kolkata was, the central idea behind all the designs.
Interestingly, with rays of Bengali culture oozing out from all the looks, there is a tincture of Rajasthani glow that accompanies them.
The collection titled ‘Nilaya’ is by far one of the designer’s most ravishing collections.
Before each look, the designer gave a snippet of the city that he belongs to and has crafted his ‘Nilaya’ collection on – Kolkata, and more widely the state of Bengal. To look at his Instagram feed, without opening a single picture is itself a beauty.
For the first picture, the designer wrote: “The homes of North Calcutta always fascinate me. Through winding lanes and decrepit alleys, one often stumbles upon ‘Paradise lost’. Humble tea stalls, crumbling book binding factories and dingy mustard oil presseries make way for forlorn palaces and music rooms of erstwhile ‘zamindars’. A lesson in sheer hedonistic maximalism. Osler and Baccarat chandeliers, completely engulfed in a shroud of cobwebs occasionally twinkling in the late afternoon sunlight, Devonshire china holding on for dear life on creaky cabinets, jostling for space amidst hand-painted tin and an occasional Lifebuoy soap perched precariously on a silver salver. Works of great European and Bengali masters co-existing in communal harmony with a calendar from a local pharmaceutical company, a withering taxidermy and Fuji-colour rendered black and white family portraits.”
For the second picture he wrote: “In 2002, I rented my first apartment. And moved in there with my tailors and pattern makers. It was all under a thousand square feet. It would become my home, my factory and my atelier! I hand-painted the walls in ‘Bengal Red’ with motifs of flora and fauna inspired by the tree of life! The horses back then did look like rabbits and one bird I am sure looked a bit like a nondescript reptile. Old habits die hard and so a better version of the tree of life makes a second appearance. In Coromandel Red – dextrously hand-painted by The Sabyasachi Art Foundation.”
For the third picture he wrote: “If you grew up in Bengal at the time I was growing up, sometime between late seventies and early eighties, you would know that the consumer was the designer. I spent hours watching my mother and her friends stretching organdy sarees over hand frames and hand painting exotic blooms on them. More often than not, they would match the blooms in their sarees to the real blooms on their hair. Talk about style! This is my homage to them. My mother and all her Bengal art school friends. What they lacked in terms of resources, they always over compensated with imagination. That is the true art of dressing well and good housekeeping!”
Go check out his Instagram feed for an exclusive sneak peak into the life of ‘Nilaya’.