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'Mannat'', the literal meaning of the word being ''Desire or Vow to a deity''. Mannat is always positive and is never negative. Know ways of asking Mannat.
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The near term outlook for the Indian economy is worrying. To know more about India - economic forecasts, stay tune with Ganesha blogs and for any astrological query give a call today.
The peepal tree is considered as a most sacred tree. Lord Vishnu, with his half Lakshmi, resides on this tree on Saturday. You are rewarded with ...
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IIFA 2019 is turning out to be a dazzling night with the stars of Bollywood turning up in their fashionable best. Sara Ali Khan, Alia Bhatt, Aditi Rao Hydari, Radhika Apte, Jim Sarbh, Mouni Roy, Swara Bhaskar, Shikha Talsania and others
IIFA 2019 is happening in Mumbai tonight in full swing. The green carpet is witnessing one fabulous celebrity appearance after another. While many Bollywood stars had already arrived Deepika Padukone, Ranveer Singh, Salman Khan, Rekha, Madhuri Dixit Nene, Shahid Kapoor &
Aditi Rao Hydari also graced the IIFA Awards 2019. She wore a Falguni Shane Peacock gown for the special occasion, which we so loved. However, there was something about her glamourous avatar as well that we didn't like. So, let's
Radhika Apte's wardrobe for IIFA Awards 2019 in Mumbai has been eclectic and dramatic. She has wowed us with her fashion statements and hasn't played it safe. With her IIFA 2019 ensembles, the Andhadhun actress has shown us that she
When Farah Khan announced a remake of the 1982 hit film, Satte Pe Satta, fans started a guessing game of who will be cast in the movie. Media outlets too went back and forth between rumours of the film being signed
Swara Bhasker totally upped her fashion game for the 20th IIFA Awards 2019. She looked unbelievable and had all our attention with her attire and makeup game. The Veere Di Wedding actress was styled by Shreeja Rajgopal and Swara looked
Decision to serve the season without a big splash showed in the finish and finer detailing. If fashion is currently getting a bad rap for being trend-led and disposable, Miuccia Prada – the ridiculously influential fashion designer responsible for the most-imitated trends – is only too aware of the conversational zeitgeist. So much so that on Wednesday at her spring/summer 2020 show in Milan, “fashion” as a concept was relegated in favour of clothes, or as Mrs Prada put it: “It was more about personal style.” It certainly showed in the 51-look show. For several seasons now, across both her womenswear and menswear collections, there have been products that seem tailored to appeal to the hypebeast market. That flame shirt ( hello Jeff Goldblum), the sandals, those big padded headbands. Now it is all about stripping it back. This collection featured outfits comprised of: knitted pencil skirts and ribbed knitted polo shirts; woven cotton shift dresses; fitted blazers; and an excellent line in practically seasonless LBDs. “Simplicity is the first and most important thing, [more] than the clothes … [these are] timeless clothes you don’t throw away,” said Prada. The designer’s relaxed approach to serving the season without a big splash showed in the finish and finer detailing. Romantic dresses looked fresh from the washing line (no iron in sight), sequin-appliqued skirts had a DIY feel as though customised, and shell necklaces looked as if they might have been made on the beach this summer. While there were still the chunky high-heel loafers that Prada devotees worship, many of the outfits were grounded by woven raffia flats – the kind that you pull out for your holidays or for running around town. This element of the collection evoked a spontaneous feel which – Prada said, post show – was her intent. From the wide-lapelled leather jackets and to the retro-printed suiting, a strong 1970s feel reverberated, while upturned sou’wester-cum-cloche hats reasserted the idea of clothes that stand the test of time. “The past is still very important, especially for me,” Prada said. It is an apt statement given that the brand has clearly been reflecting on its position on the world stage of late. Like many of her fellow luxury fashion designers, Mrs Prada has recognised the need to address several pressing issues within her ranks to adapt accordingly and this year has seen her throw serious weight behind her words. In February, the brand announced it would launch its Diversity and Inclusivity Council “to elevate voices of colour within the company and the fashion industry at large”, following criticism for figurines which appeared to contain blackface imagery in a New York store. In May, it announced it would go fur-free, starting with this collection in a move Prada said was meeting “[the] demand for ethical products”. And in August, it joined 31 other fashion brands – including Burberry, Chanel and Zara owner Inditex – in signing up to the Fashion Pact, a mandate to work collaboratively with competitors to reduce negative impacts by the fashion industry on the environment and humanity. This agile approach extends to the financial side too. In August, CEO Patrizio Bertelli credited the brand’s positive performance in the first half of the year (net profit rose 56.5% to €155m, or £137m) to the company’s decision to stop end-of-season markdowns. Further evidence of its strides to address what people actually want now. As the first big hitter out of the door at Milan fashion week, all eyes were on this show to take the temperature of where Italian designers stand on taking a more sustainable approach. While Italy’s fashion capital may not have the likes of Extinction Rebellion – the protest group which disrupted the London shows in an attempt to hold the industry to account – out in force, Prada kicked things off by showing that a new way of thinking is on her agenda.
Kedarnath actress, Sara Ali Khan just made her IIFA debut and in style. The actress gave us a princess moment at the 20th IIFA Awards, which took place in Mumbai. She looked radiant in her fairy tale gown and was
Meeting the world with a ‘resting bitch face’ may not be what society demands, but it protects you against unsolicited male attention in public. With girls as young as 13 years old now opting for Botox, it is clear that ageing is no longer the only thing women are trying to ward off. An article in the New York Post has noted a rise in women seeking plastic surgery to “fix” their so-called “resting bitch face”. This is a women-only affliction, where, even when wearing a neutral expression, you appear perpetually standoffish. In reality, it refers to any time that a woman’s facial expression is set in anything less than a smile. According to one doctor quoted in the piece, the number of requests for the procedure have more than doubled in the past year. This isn’t exactly shocking – women are made to feel bad about just about everything in terms of their appearance – but to me it seems many of these women are getting rid of something that is actually a great asset. In a world where simply being a woman is considered an invitation for unsolicited comments and unwarranted conversation from complete strangers, looking unfriendly is useful armour. It can, at times, be the only barrier between a woman and unwanted small talk on the tube, or a bar. Or on a run. Or on the high street. Or a public bench. Or even while in the middle of conversation with someone else. Heckling and catcalling are rife – should we not at least be allowed to look less than pleased about it? But that would grossly overestimate the amount of emotional intelligence and shame some men have. Because, like anything else, looking grim-faced can be, in and of itself, an invitation. If I had a quid for each of the times I have heard: “Smile, love, it might never happen” shouted at me across the street, I might have the money to rid myself of my own “resting bitch face”. When men say this, it never seems to occur to them that whatever the “it” in question is, it has probably already happened – one look at the world around you should be enough to realise there is often little to smile about. Yet Victoria Beckham’s signature scowl and Kristen Stewart’s tendency to mean-mug have merely culminated in more column inches requesting they turn that frown upside down or, at least, into something that is slightly less offputting. What all this tells us is that women must be amiable and approachable by default. Even when we’re not interacting, we must be poised and primed to do so. Tellingly, there is no “resting grumpy bastard face” equivalent for men – people are far less concerned about faces they don’t deem public property.
Of published book reviews in Australia in 2018 49% were for books written by women Photograph: Jacobs Stock Photography Ltd/Getty ImagesResearchers have praised most Australian publications for reaching gender parity in their book review sections last year.Of published book reviews in Australia in 2018 49% were for books written by women, according to research published on Thursday by the Stella Count.The Stella Count is Australia’s answer to the Vida Count for literature, which surveys women’s representation in major literary publications and book reviews. The count was established in 2012 alongside the Stella prize for books by women to highlight gender disparity in Australian literary culture.Conducted with academics from Australian National University and Monash University, the Stella Count involves researchers combing book review sections of 12 major Australian newspapers and book reviewing publications, tallying the number of books reviewed and the gender of the books’ authors.The Stella Count also notes the gender identity of the reviewer, and the space given to reviews of books by women compared with those by men.Books by women authors comprised 50% or more of the reviews in nine of the 12 publications surveyed in 2018, up from four in 2017 and 2016. In 2015, only one publication had achieved parity in this respect.Julianne Lamond, from the Australian National University, who leads the analysis of the data, told Guardian Australia the count was an important way to measure what kinds of stories were making their way into the public consciousness.“If we think about our ideas about what men and women are, what kinds of stories can and can’t be told, and what kinds of stories are considered important, whether books by men and women are getting equal access to those pages is really important,” she said. “It’s a really important way that cultural prestige is created.”Tasmania’s the Mercury newspaper saw the largest increase in reviews of books by women, from 44% in 2017 to 56% in 2018. Industry magazine Books+Publishing had the highest proportion of women authors reviewed, at 71%, while representation of books by women authors was the lowest at the Weekend Australian (40%) and Australian Book Review (41%).Australian Book Review was the only publication that recorded a downward trend in women authors reviewed, and in women reviewers, over the seven years the count has been conducted.Analysis also showed that more women than men were employed as reviewers of books in 2018. This corresponded with an increase in the number of books reviewed overall, suggesting both books and reviews written by women had been added to review sections, rather than taking the place of those by men.Women also received more access to what Lamond called “the big name-making reviews” – that is, reviews of 1,000 words or more – in 2018 than in any of the preceding years, with 47% of these dedicated to women authors compared to 36% in 2017.Guardian Australia is not one of the publications included in the Stella Count.The survey is “a way of holding publications to account”, Lamond said, because it highlighted “not just the fact that bias exists but how it’s working in these publications”.Of continuing concern was the trend of “partitioned criticism”, in which men tended to review books by men and women tended to review books by women. “There’s a gender essentialism at work – the idea that books written by women are just for women and books written by men are just for men.”The impact of “partitioned criticism” was particularly significant for women writers.“Books by men can often be considered more serious even if they’re about the same subject matter that women are writing about. So Jonathan Franzen writes about family and it’s a serious book, and for every woman writer that does the same it’s considered a woman’s book. I think there’s still some work to be done there.”Lamond said the future of the count would involve expanding the project to include “more difficult to quantify aspects” such as non-binary gender identities, race and other forms of diversity within the literary landscape.“I don’t think there’s any cause for resting on laurels yet, but I do think we should celebrate what’s been achieved,” Lamond said. “We can really see the whole field shifting.”
The Bstroy label’s sweatshirts reference schools such as Sandy Hook and Columbine – to the disgust of survivors and their families. An avant-garde fashion brand has received significant criticism for designs they presented at a show in New York over the weekend. In a series of images posted to their Instagram on Monday, the label Bstroy highlighted a series of hooded sweatshirts featuring the names of schools that are well known as the sites of some of the deadliest mass shootings in American history. To further bring the point home – and there is a point, they say – the sweatshirts, emblazoned with the names Columbine, Sandy Hook and Stoneman Douglas, were tattered with bullet-like holes. If the two men behind the brand, Brick Owens and Dieter Grams, were looking to draw attention to their work through controversy, it certainly worked. Angelina Lazo, a survivor of Parkland, Florida, school shooting, was among the many whose lives have been touched by the American gun epidemic, who levied a sharp rebuke to the designs. “I lived through this … to make money off of something pathetic like this is disgusting,” she wrote in part. “You don’t even know how it is to live everyday with reminders everywhere you go.” The Vicki Soto Memorial Fund also commented: Soto was a teacher among the 20 killed in Newtown, Connecticut, in 2012. “Under what scenario could somebody think this was a good idea?” tweeted Fred Guttenberg, whose daughter Jaime was killed in Parkland. Owens responded to the backlash shortly thereafter with a post to Instagram. “Sometimes life can be painfully ironic. Like the irony of dying violently in a place you considered to be a safe, controlled environment, like school,” the printed statement read. “We are reminded all the time of life’s fragility, shortness, and unpredictability yet we are also reminded of its infinite potential.” “We are making violent statements,” Grams, known as Du, told the New York Times in a profile of the brand from last week. “That’s for you to know who we are, so we can have a voice in the market. But eventually that voice will say things that everyone can wear.” The Times wrote: “Each Bstroy collection is a blend of high-concept pieces and sly tweaks to more conventional forms, like graphic T-shirts that nod to preppy interests like tennis and fencing, but with the sports gear replaced by guns,.” Owens told NBC’s Today Show via email: “We wanted to make a comment on gun violence and the type of gun violence that needs preventative attention and what its origins are, while also empowering the survivors of tragedy through storytelling in the clothes.” In 2014 Urban Outfitters stirred a similar controversy when they sold, then pulled, a Kent State sweatshirt made to look as if it were spattered with blood. According to the group Everytown For Gun Safety, 100 Americans are killed by guns every day and hundreds more are injured.
After trotting the globe, IIFA Awards has decided to hold its 20th installment in Bollywood's hometown, Mumbai. IIFA 2019 promises to be a star-studded night, with the who's who of B-Town are beginning to making their red carpet apperances. Filmmakers Karan