Post Padmaavat, DEEPIKA PADUKONE has teamed with designer SABYASACHI MUKHERJEE for an exclusive range of wallpapers

Post Padmaavat, DEEPIKA PADUKONE has teamed with designer SABYASACHI MUKHERJEE for an exclusive range of wallpapers

Post Padmaavat, DEEPIKA PADUKONE has teamed with designer SABYASACHI MUKHERJEE for an exclusive range of wallpapers

by February 6, 2018 0 comments

Fresh from the success of Padmaavat, Deepika Padukone has turned muse for designer, Sabyasachi Mukherjee. She teamed up with the ace designer for #SabyasachiForNilaya – a range of designer wallpapers from the designer, at Nilaya by a paint major. These were inspired from makhmal/velvet representing wealth. Sabyasachi released the wallpaper collection, that featured Deepika online. And while the wallpapers were beautiful and it was Deepika that stole the show away in three different looks from Sabyasachi’s official account on Instagram.

Look 1: 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 saris 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.

Look 2: 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 inspired by the tree of life. The horses back then did look like rabbits and one dexterously hand-painted by The Sabyasachi Art Foundation.

 

Look 3: 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. As a parakeet and a cockatoo chirp in unison from the courtyard, my fingers swipe the dust from the walls to unveil yet another.

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