.jpg) Ben Affleck continues to support Jennifer Lopez's professional endeavors, People reports. Lopez, 56, stars in the upcoming musical, Kiss of the Spider Woman, and appeared at the Monday, Oct. 6, New York City premiere. Along with Lopez, the film's executive producer, Affleck, made a surprise appearance at the N.Y.C. event. Affleck and Matt Damon’s Artist Equity production company co-produced the movie. At the premiere, the former couple posed together in celebration of the production. A few photos captured the two A-listers chatting with each other on the carpet. Affleck, 53, also spoke to the press about the film. For the occasion, Lopez wore a sculptural gown from Harris Reed's spring 2026 collection. Ahead of the screening, Lopez introduced the film and thanked her ex-husband, saying, “Thank you so much, thank you everybody for being here tonight. Thank you, Ben, this movie wouldn’t have been made without Ben and without Artist Equity.” “I read the script, if you know, I was in bed and I was just floored," she continued. "I was just like could this be happening right now. I get to sing, I get to dance, I get to act. I get to be an old-time Hollywood movie star." Affleck's supportive appearance follows their 2025 divorce. The former couple initially met in 2002 and began dating. After ending their engagement in 2004, they both pursued other relationships and started families of their own. Then in 2021, they rekindled their romance and they married in an intimate Las Vegas ceremony in July 2022. The next month, they celebrated their nuptials with a second ceremony in Georgia in front of friends and family.In 2024 they split, citing irreconcilable differences. They settled their divorce in February. Source: https://www.panorama.am/
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Hyundai Motor, Kia showcase latest electric SUVs at LA Auto Show (2025-12-17T11:31:00+05:30)
 IANS Photo Los Angeles, November 22 (IANS): Hyundai Motor said on Friday it has showcased the Ioniq 9, the company's first large electric SUV at the Los Angeles Auto Show, along with over 40 other models. The Ioniq 9 is set to launch in early 2025, starting in South Korea, followed by rollouts in the United States, Europe and other regions. For the US market, the vehicle will be manufactured at the Hyundai Motor Group Metaplant America, the automaker's dedicated EV plant in Georgia, reports Yonhap news agency. It boasts a spacious and lounge-like interior, which can accommodate up to seven occupants, and a "sleek aerosthetic" exterior design that reflects the company's commitment to blending aerodynamic innovation and sophisticated, futuristic styling, according to the company. The car also features its innovative E-GMP architecture to enhance the power electric system, which works as an engine and power inverter for hill climbing and efficient driving. Hyundai also unveiled the Initium, a hydrogen fuel cell electric vehicle (FCEV) concept car, for the first time in North America. The concept model provides a glimpse into the design and product direction of Hyundai's passenger FCEV, set to debut in the first half of 2025. Hyundai's booth features 42 vehicles, including the Ioniq 9, Initium, Ioniq 5, Ioniq 6 and the Santa Fe SUV. The Santa Fe has been named a finalist for the 2025 North American Utility Vehicle of the Year at the L.A. Auto Show. Jose Munoz, Hyundai's global chief operating officer, highlighted Hyundai's strong U.S. performance and said the company anticipates achieving its highest annual retail sales in the U.S. market this year. Meanwhile, Kia said it has unveiled the high-performance version of its flagship EV9 electric SUV at the Los Angeles Auto Show. The EV9 GT, which made its debut at the LA Convention Center, features a 160 kilowatt front motor and a 270 kilowatt rear motor, delivering a targeted maximum output of 508 horsepower. The three-row model is the first Kia SUV to be equipped with an advanced suspension system, ensuring stable handling and ride comfort. Its electronic stability control functionality optimally adjusts the shock absorbers' damping force by utilising road surface data from its front camera and navigation inputs. The EV9 GT is scheduled for release in South Korea in the first half of 2025. Kia also showcased revamped versions of the EV6 and Sportage SUVs, both making their North American debut.The EV6, which was a finalist for the 2023 North American Utility Vehicle of the Year, and the Sportage, Kia's best-selling model in the United States, are expected to perform well in the market following their updates, according to the company. Hyundai Motor, Kia showcase latest electric SUVs at LA Auto Show | MorungExpress | morungexpress.com |
Swiss Event Is the Artist’s Vision of the World Economic Forum: Designing the Future with Creativity (2025-11-18T12:44:00+05:30)
 The first day attendance, in the old town of Basel – credit : Natalia Lorenzo, Maribel Lorenzo, Birgitte Kronsbjerg, Jonas Singer. Average folk might have all kinds of questions about the World Economic Forum and what goes on there, but for two visionary women, the question was clear: where are all the artists? For such a high-profile gathering of world leaders, thought leaders, and business leaders, how could there be no room for authentic creativity? That burning inquiry inevitably led them to ask: if Klaus Schwab can organize a conference in a beautiful Swiss town and try to plan the future of human society, shouldn’t artists help expand that vision, bringing bold perspectives, fresh imagination, and the soul, story, and spirit of our time to the decision-making tables? The Future of Humanity Experience, recently concluded across five locations in Basel during Art Basel Week, could be styled as a complementary expansion of what was inaugurated in Davos earlier this year. Hosted, energized, and enlivened through art and collaboration, four full-day events unfolded, each gathering a new constellation of 40 co-creators from diverse disciplines and from all corners of the globe to co-create a shared vision of the future. Artists and organizers Iwona Fluda and Murièle ‘Solange’ Bolay put together the whole event in roughly 4 months, guided by a shared understanding of the scope and character of the project that almost never needed to be explained or spoken aloud. Speaking to American media for the first time since the successful event launch during ArtBasel, the two women document their remarkable journey and success in creating what may become one of the most hotly anticipated conferences in Europe.  Event artist Replicah (Sabrina Bühlmann) invites the conference to immerse themselves in her street-side installation – credit: Natalia Lorenzo, Maribel Lorenzo, Birgitte Kronsbjerg, Jonas Singer.Meeting in the ‘Under Davos “I have been to Davos during the World Economic Forum 4 times at least, and I felt that creatives and artists are not represented there,” said Fluda, originally from Poland. “There is a type of void and missing space.” “How come in this huge arena of world leaders, politicians, entrepreneurs, business people and investors there’s very little creativity or creative output visible?” Solange, who has been attending the WEF on and off since 2007, recalls a different energy back then. “In my opinion, it was very different then than what it is now. It was a lot more exclusive to attend the inner programs,” she told GNN. “Now, the village area has opened up to a much broader audience, and that’s where more conscious, less transactional conversations start to flow.” According to her, Davos village is now the largest circle and what attracts the most independent thought leaders and entrepreneurs during WEF Week today. It’s also where the two women, who met through entrepreneur chats, curated an art exhibition that offered a glimpse of what stages like Davos could become if artists and creatives were given a place in the spotlight. Originally proposed in Davos, their Future of Humanity Art Walk was a resounding success, reaching over 300,000 people worldwide, welcoming 4,000 on-site visitors, and featured artists from all continents, ranging in age from 6 to 85. With just seven weeks of preparation, what began as a small passion project quickly evolved into a full-blown immersive experience and event week during Art Basel. “With my company MSB & Partners, we’ve been doing business transformations for over 18 years, and for the past 2.5 years, we’ve started incorporating art into these transformation processes.” Solange says. The paintings not only help inspire new ways of thinking and problem solving, she says, but act as an “anchor”, reinforcing that transformative mindset among company employees. By Solange’s estimation, most enterprising activities focus on predicting certain trends, gravitating towards mega trends, and then somewhere in between products and services arrive on the market, a process she describes as “very brainy and calculated.” “It’s a transactional focus versus an explorational one where we design the world we want to see.” In the case of the Future of Humanity Experience, co-designing a world was a notion both women had arrived at independently: with society changing so fast, what kind of world do we want to live in? “We both have worked in different setups… internally in organizations; externally, as consultants, as business owners, and for me personally it was always the question about how can we really co-create things together without fighting against each other?” Fluda said. “There really wasn’t time to think about it too much,” Solange remembers. “We were just in action mode and we were kind of ‘guided’ by a vision, that we never really spoke about, but we seemed to have and it was a very special time.”  Co-creators viewing an exhibited work by Maritsa Kissamitaki – credit: Natalia Lorenzo, Maribel Lorenzo, Birgitte Kronsbjerg, Jonas Singer. The Future of Humanity Experience The bootstrapped and crowdsourced events were a whirlwind 9 months of envisioning, organizing, partaking in, and debriefing after the most recent Future of Humanity Experience in Basel. “How I operate is more like, ‘oh, there is an idea’—just this little spark. ‘I align with that, I feel like there is so much more we can do, how about we run the 1st sprint and see if it sticks?,'” Fluda told GNN. “That’s kind of my approach for anything. And then, if it does, as in this case, surprisingly, it did, then what else can we do with that?” Some 100 artists from all around the world—from Trinidad and Tobago to China—submitted works for the exhibitions. A week of enjoying curated art shows, presentations, open forums, and exquisite catered lunches left this reporter exhausted, but with a distinct feeling that Fluda and Solange had struck a chord with the very fabric of Western society. The advent of the internet has seen the metaphorical ‘public square’ distributed online, while the traditional forums of our time: the corner cafe, the library, the bookstore, the townhall—have lost their relevance. Academia’s trend towards hyper-specialization dampens cross-disciplinary dialogue; the behavior of our public intellectuals gradually came to be governed by social media engagement, and the rise of the digital influencer means that from travel, to fitness, to history and politics, topics are examined almost exclusively at the surface level. The curated exhibitions at the Future of Humanity Experience were powerful. The themes they explored were broad and impactful, but even if an attendee has never visited an art gallery in their lives, what the event offers is the ‘forum’ as it may have been in our ancestors’ day. Here was a chance to discourse with mastery and enterprise from all over the professional world, and for the noblest of aims—co-creating a vision of the future we’d all like to see. “I was there as a business person,” Solange says remembering her first art exhibit in Under Davos, “no one knew who created those pieces.” “So I was able to listen to the conversations that happened in front of these canvases, and it was so interesting because it’s exactly the conversations that we want to hear happening, you know, in the boardrooms.”After a successful launch, their outlook is broad and bright. Fluda and Solange perceive the future of the Future of Humanity Experience to be more than just an art exhibit, but a force, a forum, a service, and a community. Next year’s edition can only be bolder. Swiss Event Is the Artist’s Vision of the World Economic Forum: Designing the Future with Creativity |
Swiss Event Is the Artist's Vision of the World Economic Forum: Designing the Future with Creativity (2025-09-16T13:18:00+05:30)
| The first day attendance, in the old town of Basel – credit : Natalia Lorenzo, Maribel Lorenzo, Birgitte Kronsbjerg, Jonas Singer. Average folk might have all kinds of questions about the World Economic Forum and what goes on there, but for two visionary women, the question was clear: where are all the artists? For such a high-profile gathering of world leaders, thought leaders, and business leaders, how could there be no room for authentic creativity? That burning inquiry inevitably led them to ask: if Klaus Schwab can organize a conference in a beautiful Swiss town and try to plan the future of human society, shouldn’t artists help expand that vision, bringing bold perspectives, fresh imagination, and the soul, story, and spirit of our time to the decision-making tables? The Future of Humanity Experience, recently concluded across five locations in Basel during Art Basel Week, could be styled as a complementary expansion of what was inaugurated in Davos earlier this year. Hosted, energized, and enlivened through art and collaboration, four full-day events unfolded, each gathering a new constellation of 40 co-creators from diverse disciplines and from all corners of the globe to co-create a shared vision of the future. Artists and organizers Iwona Fluda and Murièle ‘Solange’ Bolay put together the whole event in roughly 4 months, guided by a shared understanding of the scope and character of the project that almost never needed to be explained or spoken aloud. Speaking to American media for the first time since the successful event launch during ArtBasel, the two women document their remarkable journey and success in creating what may become one of the most hotly anticipated conferences in Europe. Event artist Replicah (Sabrina Bühlmann) invites the conference to immerse themselves in her street-side installation – credit: Natalia Lorenzo, Maribel Lorenzo, Birgitte Kronsbjerg, Jonas Singer.Meeting in the ‘Under Davos “I have been to Davos during the World Economic Forum 4 times at least, and I felt that creatives and artists are not represented there,” said Fluda, originally from Poland. “There is a type of void and missing space.” “How come in this huge arena of world leaders, politicians, entrepreneurs, business people and investors there’s very little creativity or creative output visible?” Solange, who has been attending the WEF on and off since 2007, recalls a different energy back then. “In my opinion, it was very different then than what it is now. It was a lot more exclusive to attend the inner programs,” she told GNN. “Now, the village area has opened up to a much broader audience, and that’s where more conscious, less transactional conversations start to flow.” According to her, Davos village is now the largest circle and what attracts the most independent thought leaders and entrepreneurs during WEF Week today. It’s also where the two women, who met through entrepreneur chats, curated an art exhibition that offered a glimpse of what stages like Davos could become if artists and creatives were given a place in the spotlight. Originally proposed in Davos, their Future of Humanity Art Walk was a resounding success, reaching over 300,000 people worldwide, welcoming 4,000 on-site visitors, and featured artists from all continents, ranging in age from 6 to 85. With just seven weeks of preparation, what began as a small passion project quickly evolved into a full-blown immersive experience and event week during Art Basel. “With my company MSB & Partners, we’ve been doing business transformations for over 18 years, and for the past 2.5 years, we’ve started incorporating art into these transformation processes.” Solange says. The paintings not only help inspire new ways of thinking and problem solving, she says, but act as an “anchor”, reinforcing that transformative mindset among company employees. By Solange’s estimation, most enterprising activities focus on predicting certain trends, gravitating towards mega trends, and then somewhere in between products and services arrive on the market, a process she describes as “very brainy and calculated.” “It’s a transactional focus versus an explorational one where we design the world we want to see.” In the case of the Future of Humanity Experience, co-designing a world was a notion both women had arrived at independently: with society changing so fast, what kind of world do we want to live in? “We both have worked in different setups… internally in organizations; externally, as consultants, as business owners, and for me personally it was always the question about how can we really co-create things together without fighting against each other?” Fluda said. “There really wasn’t time to think about it too much,” Solange remembers. “We were just in action mode and we were kind of ‘guided’ by a vision, that we never really spoke about, but we seemed to have and it was a very special time.” Co-creators viewing an exhibited work by Maritsa Kissamitaki – credit: Natalia Lorenzo, Maribel Lorenzo, Birgitte Kronsbjerg, Jonas Singer. The Future of Humanity Experience The bootstrapped and crowdsourced events were a whirlwind 9 months of envisioning, organizing, partaking in, and debriefing after the most recent Future of Humanity Experience in Basel. “How I operate is more like, ‘oh, there is an idea’—just this little spark. ‘I align with that, I feel like there is so much more we can do, how about we run the 1st sprint and see if it sticks?,'” Fluda told GNN. “That’s kind of my approach for anything. And then, if it does, as in this case, surprisingly, it did, then what else can we do with that?” Some 100 artists from all around the world—from Trinidad and Tobago to China—submitted works for the exhibitions. A week of enjoying curated art shows, presentations, open forums, and exquisite catered lunches left this reporter exhausted, but with a distinct feeling that Fluda and Solange had struck a chord with the very fabric of Western society. The advent of the internet has seen the metaphorical ‘public square’ distributed online, while the traditional forums of our time: the corner cafe, the library, the bookstore, the townhall—have lost their relevance. Academia’s trend towards hyper-specialization dampens cross-disciplinary dialogue; the behavior of our public intellectuals gradually came to be governed by social media engagement, and the rise of the digital influencer means that from travel, to fitness, to history and politics, topics are examined almost exclusively at the surface level. The curated exhibitions at the Future of Humanity Experience were powerful. The themes they explored were broad and impactful, but even if an attendee has never visited an art gallery in their lives, what the event offers is the ‘forum’ as it may have been in our ancestors’ day. Here was a chance to discourse with mastery and enterprise from all over the professional world, and for the noblest of aims—co-creating a vision of the future we’d all like to see. “I was there as a business person,” Solange says remembering her first art exhibit in Under Davos, “no one knew who created those pieces.” “So I was able to listen to the conversations that happened in front of these canvases, and it was so interesting because it’s exactly the conversations that we want to hear happening, you know, in the boardrooms.” After a successful launch, their outlook is broad and bright. Fluda and Solange perceive the future of the Future of Humanity Experience to be more than just an art exhibit, but a force, a forum, a service, and a community. Next year’s edition can only be bolder. Swiss Event Is the Artist's Vision of the World Economic Forum: Designing the Future with Creativity
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St. Joseph University Hosts 6th Socio-Logos Fiesta (2025-09-09T12:27:00+05:30)
 CHUMOUKEDIMA, 05-09-2025 (MExN): The Department of Sociology at St. Joseph University, Chumoukedima, successfully organized the 6th edition of the Socio-Logos Fiesta on Monday, celebrating talent, creativity, and academic dialogue under the theme “Branding a Better Tomorrow: Creativity, Identity and Impact.” The daylong event, held at the university auditorium, was coordinated under the leadership of Dr. Besü Kholi, Head of the Department of Sociology, along with department executives, group leaders, and volunteers. Moderated by Chokhoni Chakre and Obed K. Yeptho, both postgraduate students, the program opened with an invocation by Rashmi Daimari and an exhortation by Dr. Kinitoli H. Yeptho, Dean of Social Sciences. Yemkong Somba of the Department of English also made a special appearance during the opening ceremony. The fiesta featured a range of competitive and recreational activities, including a one-act play competition, painting competition, debate competition, arm wrestling, cosplay and photography contests, and an e-sports tournament. Students were grouped into four teams — Alpha, The Wolf Pack, Cool Crew, and Adventure Awaits — that competed across events. Following a day of spirited participation, Team Cool Crew emerged as the overall champion, while Team Adventure Awaits finished as runners-up. Dr. Besü Kholi announced the competition results. The program concluded with a vote of thanks delivered by Songpung Khaonyu and a benediction by Arulananthu Raja, both MA IV Semester students.The Socio-Logos Fiesta once again provided a platform for students to integrate sociological thought, artistic creativity, critical debate, and camaraderie, underscoring the department’s commitment to fostering community and personal growth. St. Joseph University Hosts 6th Socio-Logos Fiesta | MorungExpress | morungexpress.com |
GSHPP tribal jewellery training prog in Mon inaugurated (2025-08-06T14:25:00+05:30)
 Mon Deputy Commissioner Wennyei Konyak with others during the inauguration of the two-month Guru Shishya Hastakala Prashikshan Programme (GSHPP) in Mon town on June 17. MON, (MExN): A two-month Guru Shishya Hastakala Prashikshan Programme (GSHPP) under the Skill Development in Handicrafts Sector–Training component of the National Handicrafts Development Programme (NHDP) was inaugurated at Techahan Ward, Mon Town on June 17. The programme, focusing on tribal jewellery crafts, was inaugurated by Mon Deputy Commissioner Wennyei Konyak. Addressing the gathering, the DC emphasised the significance of the GSHPP training programme in enhancing productivity, promoting income generation, and preserving traditional cultural heritage. Gaon Bura Menton also attended the programme and encouraged the 30 participating artisans to make full use of the opportunity. Organised by the Ministry of Textiles, Office of the Development Commissioner (Handicrafts), HSC-Kohima, the programme aims to provide hands-on training in tribal jewellery through the traditional guru-shishya (master-apprentice) model. On the occasion, Rajib Chandra Roy, Handicrafts Promotion Officer, DC (Handicrafts), HSC-Kohima, highlighted various schemes and benefits available for artisans and their children under the Development Commissioner (Handicrafts).State awardee in beads work and textiles, master craftsperson T. Patoi Konyak, also spoke on the occasion. She noted that the training would serve as an effective medium to preserve and promote the traditional crafts of Mon district. GSHPP tribal jewellery training prog in Mon inaugurated | MorungExpress | morungexpress.com |
Priyanka Chopra Jonas showcases retro glam for MET Gala 2025 (2025-06-14T12:22:00+05:30)
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Mumbai, (IANS) Global head-turner Priyanka Chopra looked drop-dead-gorgeous as she flaunted vintage Hollywood fashion at the 2025 MET Gala. Priyanka took to Instagram, where she shared her look for the event dressed by Olivier Rousteing of luxury fashion house Balmain for the 2025 theme "Superfine: Tailoring Black Style”. She wore a white halter-neck dress with black polka dots with a black belt at the waist and black buttons down the center. She completed her look with a big black wide-brim hat and emerald green neckpiece. For the caption she wrote: “MET 2025.” Ahead of walking on the carpet, the actress shared a video of herself getting dolled up for the event. She wrote: “Sneak peek of a new @maxfactor product for the perfect glow #MetGala.” Priyanka was joined by her husband Nick Jonas, who looked dapper in black slacks and an off-white shirt featuring a tied scarf around his neck, reports people.com. Prior to this year’s event, which is co-chaired by Colman Domingo, Lewis Hamilton, A$AP Rocky, Pharrell Williams and Vogue’s Anna Wintour, with athletes like Simone Biles and Angel Reese and singers like Doechii and Usher serving on the host committee, the couple have been a regular attendees at the annual fundraising event. Priyanka and Nick made their red carpet debut at the 2017 Met Gala, though the joint appearance was prior to their relationship. The Met Gala is the annual haute couture fundraising festival held for the benefit of the Metropolitan Museum of Art's Costume Institute in Manhattan. The Met Gala is popularly regarded as the world's most prestigious and glamorous fashion event.Attendees are given the opportunity to express themselves through fashion, often producing elaborate and highly publicized outfits inspired by the evening's theme and broader cultural context. The event is known as "fashion's biggest night" where "haute couture intersects with history to create the ultimate cultural moment – all in the name of art". Priyanka Chopra Jonas showcases retro glam for MET Gala 2025 | MorungExpress | morungexpress.com |
Red Cross Day observed in Mokokchung (2025-06-14T12:22:00+05:30)
 Additional Deputy Commissioner Chumlamo Humtsoe addressing participants during the International Red Cross Day observation at CMO Conference Hall, Mokokchung. Mokokchung, (MExN): The Indian Red Cross Society (IRCS) Mokokchung Branch observed International Red Cross Day on May 8 at the CMO Conference Hall, Mokokchung, under the theme “On the side of Humanity.” Addressing the gathering, Additional Deputy Commissioner (ADC) of Mokokchung, Chumlamo Humtsoe, praised Red Cross volunteers for their selfless service and underscored the importance of “volunteering without asking anything in return.” He emphasized that the spirit of free service demonstrated by Red Cross members should be a guiding example for the wider community, especially in supporting government initiatives and developmental efforts. He also urged participants to uphold the seven fundamental principles of the Red Cross — Humanity, Impartiality, Neutrality, Independence, Voluntary Service, Unity, and Universality. Earlier, Dr. S.S. Akaba Longchar, Honorary Secretary of IRCS Mokokchung, welcomed participants and highlighted the IRCS's mission of service to humanity. He appreciated the sustained participation of Junior Red Cross (JRC) volunteers and faculty members from local schools in promoting this mission.A total of 77 JRC volunteers from six schools in Mokokchung district took part in the event, along with IRCS members and teachers. The program also saw participation from Dr. Sentizungla Marina Yaden, Chief Medical Officer Mokokchung and Vice Chairman of the IRCS Mokokchung Branch. Red Cross Day observed in Mokokchung | MorungExpress | morungexpress.com |
Aditi Govitrikar to represent India at 40th anniversary of Mrs World, 'life comes full circle' (2025-06-14T12:22:00+05:30)
 Mumbai, (IANS) Back in 2001, Aditi Govitrikar created history by becoming the first-ever Indian to win the prestigious Mrs. World title. Now, the actress and former model will be representing India at the 40th anniversary of the prestigious Mrs World pageant. Turning back the clock, she will once again be gracing the global stage on 30th January 2025, at the Westgate Las Vegas Resort. Aditi Govitrikar revealed that this latest opportunity feels like life coming full circle for her. She revealed, “It feels like life has come full circle. Mrs. World holds a very special place in my heart, and every time someone remembers that victory, it’s overwhelming. The love and respect I’ve received over the years are beyond words, and I’m so grateful. I can’t wait to relive those memories and celebrate this incredible journey.” Aditi Govitrikar termed her 2001 victory a collective effort. Her exact words were, “Thank you to everyone who has supported me through this incredible journey. You’ve made it possible for me to stand here today, with my head high and my heart full. This isn’t just my story—it’s ours.” Meanwhile, on the professional front, Aditi Govitrikar last appeared on the third season of the popular Netflix series "Mismatched". She essays the role of Rishi Singh Shekhawat's (Rohit Saraf) mother, Kalpana Singh in the series. Before "Mismatched" Aditi Govitrikar had been away from television for some time. However, during a media interaction, she revealed that she did not intentionally step away from the space. She added that she is someone who always follows her instincts and believes in going with the flow. The actress stated that she thinks OTT platforms have redefined storytelling. She is of the opinion that while TV remains timeless, OTT content offers unique opportunities.In addition to this, Aditi Govitrikar has also launched Marvelous Mrs India, a platform to empower women. Aditi Govitrikar to represent India at 40th anniversary of Mrs World, 'life comes full circle' | MorungExpress | morungexpress.com |
Vogue World brings together fashion and sport in Paris (2025-06-14T12:22:00+05:30)
 PARIS - Paris played host Sunday to an ultra-glitzy collision between fashion and sport as Vogue put on its latest branding event in the heart of the city ahead of the Olympic Games. With magazine sales falling precipitously, the fashion bible has turned to star-studded events in a bid to keep its name relevant. "Vogue World: Paris" follows similar events in New York and London, and was neatly timed in the midst of fashion week and on International Olympic Day. Taking over Place Vendome in the heart of the city, the idea was to match each decade of fashion from the past century -- since Paris last hosted the Games in 1924 -- with a different sport, from gymnastics to breakdancing to fencing. The show began with Jean Paul Gaultier putting the finishing touches to the dress of singer Aya Nakamura, while an orchestra delivered a classical take on Daft Punk's "Around the World" for the 800 guests that included Pharrell Williams, Venus Williams, Katy Perry and Bad Bunny. The first part of the show paired cycling with 1920s fashion, including vintage Chanel dresses from the period, while Nakamura sang. At one point, supermodels Gigi Hadid and Kendall Jenner rode horses around the square -- all four wearing Hermes. Other brands providing the clothes included Balenciaga, Balmain, Dior, Louis Vuitton and Saint Laurent. "We're here to celebrate the wonder of French fashion. So I'm just grateful for all the support from the French community and the world of fashion here in Paris," Vogue supremo Anna Wintour told AFP before the event kicked off. dar-er/ Vogue World brings together fashion and sport in Paris |
Bringing Nagaland’s traditional, eco-friendly weaves to global stage (2025-06-14T12:22:00+05:30)
 Naga fashion designer, Bambi Kevichusa showcased her latest collection Bambi Design, at The Couture Chronicles in New Delhi on October 27. The couture show was organized by Anant Samagam at Travancore Palace. (Photo Courtesy: Anant Samagam) Nagaland’s traditional weaves and eco-friendly textiles made their mark on the global stage once again, at the 19th edition of the ‘Celebrating North East India Festival’ in Istanbul, Turkey. Naga fashion designer, Bambi Kevichusa captured the audience’s interest with her collection of eco-friendly textiles, traditional weaves, and designs, bringing the state’s rich cultural heritage into the spotlight.  Naga designer, Bambi Kevichusa with the models at the 19th edition of the ‘Celebrating North East India Festival’ in Istanbul, Türkiye on September 6. Her collection of eco-friendly textiles, traditional weaves, and designs brought Nagaland’s rich cultural heritage into the spotlight. (Photo Courtesy: NEIFT)Kevichusa was one of 54 prominent participants from Northeast India at this landmark event organised by the North East Institute of Fashion Technology (NEIFT). Over the years, the festival has displayed the region’s heritage in global locations like Washington, DC, and Milan, Italy, and it continued this legacy in Istanbul this year.  Models showcase Bambi Kevichusa’s latest collection, Bambi Design, at The Couture Chronicles on October 27 in New Delhi. (Photo Courtesy: Anant Samagam)The event was held in collaboration with the Consulate General of India in Istanbul and received support from the Indian Ministry of Textiles and various state governments from Northeast India, promoting the region’s tourism, textiles, and handicrafts sector to an international audience. In a recent interview with The Morung Express, Kevichusa reflected on her experience, sharing her insights into eco-fashion and her passion for all things ‘Nagas.’ “It has been a wonderful experience and a privilege to represent ‘our people’ in a foreign country,” she says, now back with fond memories and inspired by the warmth of the Turkish people.  A model showcases Bambi Kevichusa’s collection of eco-friendly textiles and designs in Istanbul, Türkiye at the ‘Celebrating North East India Festival’ on September 6. (Photo Courtesy: NEIFT)Her collection showcased timeless pieces made from sustainable, organic, and locally produced textiles from Nagaland. “While we are used to our own culture and fabrics, for them, it was something entirely new.” “Being overjoyed is an understatement,” she adds, describing the enthusiastic response from both the public and the diplomatic fraternity. She incorporated Naga music into the fashion show, featuring the song Warrior’s Call by Colored Keys. With over a decade in fashion, Kevichusa’s work has reached audiences in Hanoi, Vietnam, Paris, and across India, most recently at The Couture Chronicles in New Delhi on October 27, organised by Anant Samagam at Travancore Palace. Despite her experience, the celebrated designer approaches each show not knowing how it would be received. “All I know is that I give my best effort. Sometimes I feel I could have done more, but I strive to the best of my ability and go ahead with it, really not knowing what to expect.”  Models showcase Bambi Kevichusa’s latest collection, Bambi Design, at The Couture Chronicles on October 27 in New Delhi. (Photo Courtesy: Anant Samagam) Step toward eco-friendly textiles: Kevichusa’s commitment to pursue eco-friendly textiles stems from a concern for the planet. “The inspiration comes from the burden of seeing climate change affect our land and the world around us,” she says. “And really, it is for my son,” she continues. “I have a 16-year-old, and I want to keep this planet safe for his generation and the next.” It also stems from her love for Naga traditional textiles which are naturally eco-friendly, as she observes that the Naga tradition is “much more advanced” in sustainability. In this light, she says that to address climate change, “we need to go back to our roots,” especially as the planet faces environmental devastation. “I can’t just sit still and do nothing, so this is my humble way of contributing.”  Models showcase Bambi Kevichusa’s latest collection, Bambi Design, at The Couture Chronicles on October 27 in New Delhi. (Photo Courtesy: Anant Samagam) Kevichusa pointed out that the fashion industry is one of the biggest contributors to environmental harm. “As designers, we have a responsibility, each one of us.” The fast-paced production cycles, synthetic dyes, petroleum-based fabrics, and plastic-based textiles—all are detrimental to the environment. She emphasised the need for designers to carefully examine the materials they use. “We need to go back to using recycled or natural fibres and eco-friendly dyes. This is our contribution to stopping the damaging effects of climate change.”  Whenever the bridal designer exhibits her work outside Nagaland, she takes the opportunity seriously. “The Nagas have something unique to give to the world, and I want people to know more about us.” So, Kevichusa makes sure that she showcases only Naga textiles and rich motifs rather than her bridal designs, representing the Naga people through clothing and fashion. Reflecting on her recent experience in Turkey, she recalls, “I was all by myself, even though the consul general is also Naga. I felt a big responsibility to represent our culture and people in a positive light.” Sustainable fashion has future, though with challenge : Kevichusa believes that sustainable fashion has a promising future in Nagaland. “Our roots, our textiles, our colours are eco-friendly. This is something unique we can offer the world.”  However, one major challenge she faces is sourcing organic textiles. “It’s difficult to find weavers who work with organic textiles, because everybody is caught up with their own work,” she explains. Finding these yarns remains a challenge, and there is limited handloom fabric, even as she admits that there have been many times when she felt like giving up. According to her, the local textiles made from loin and backstrap loom are not as durable for making clothes, so she uses fly shuttle loom fabrics. However, only a few weavers are producing these fabrics in eco-friendly fibres like silk and cotton, posing a hurdle for eco-friendly practices.  Models showcase Bambi Kevichusa’s latest collection, Bambi Design, at The Couture Chronicles on October 27 in New Delhi. (Photo Courtesy: Anant Samagam) Focus on originality, positive aspects: For aspiring designers aiming to make an impact, Kevichusa stresses the importance of originality. “Everyone has something unique to give to the world. You don’t need to copy others to make a mark, locally or globally. Be original, work consistently, and keep showing up. It is always a lot of hard work and sacrifices along the way, but if you’re good in your work, people will eventually find you.” She urges Nagas to value their heritage and focus on the positive aspects of their culture. “We have so much artistic heritage and treasure within us,” she says, “and that is our unique gift to the world—not just in fashion, but in every sense as a people.”“I think we often look at ourselves and say, ‘Oh we Nagas are like this and like that,’ speaking negatively about ourselves. We need to stop this. Instead, let’s start focusing on the positive things, pick those, and share them with the world.” Bringing Nagaland’s traditional, eco-friendly weaves to global stage | MorungExpress | morungexpress.com |
London Fashion Week goes 1960s... with a twist (2025-06-14T12:22:00+05:30)
 The first full day of London Fashion Week kicked off with a nod to the Swinging Sixties by Irish designer and LFW veteran Paul Costelloe and Turkish designer Bora Aksu. 1960s-style Mod dresses and workwear in pastel linens, floral silk jacquards and understated tweeds abounded in Costelloe's Spring/Summer collection, "Le ciel est bleu". The once-private stylist for Princess Diana presented his "ode to Paris" -- 40 years after showing at the first ever LFW in 1984 -- in a call back to his fashion beginnings working as a design assistant in the French capital. In a modern twist to the outfits with his debut hosier line, Costelloe paired trending long striped socks with stilettos. Speaking to the Irish Independent newspaper ahead of the show, Costelloe said the hybrid look was "akin to Emily in Paris", the hit Netflix series starring Lily Collins, whose character Emily Cooper's experimental fashion choices have split opinions among viewers.  AFP | BENJAMIN CREMEL A short walk away from Costelloe's Parisian-inspired runway, models at the Bora Aksu show strutted through a sun-drenched rose garden in a central London churchyard, draped in layers of sheer, delicate fabric. Pastel colourways and floral patterns alongside polka dots and bows recalled the traditional roots of the trendy "coquette" aesthetic. Outfits with intricate lacework, tailored jackets, and light knitwear were completed with cat-eye sunglasses and vintage hairdos piled high. The slim, layered silhouettes were a "nod to the 60s", Aksu said backstage after the show, along with sunglasses and pearl earrings -- favourites of his late Turkish mother to whom the show was dedicated. "You know, they have that femininity, and that coquette look, but they're still quite strong", Aksu explained, describing his mother as an independent working woman who explored her individual style through creating her own clothes. Greek designer Dimitra Petsa (Di Petsa), meanwhile, travelled further back in time to ancient Greek mythology with her "My Body is a Labyrinth" collection, inspired by the myth of Theseus and Princess Ariadne and celebrating feminine pleasure and summer nostalgia. Wet-look dresses and jumpsuits, seen notably on actress Zendaya, hugged the models adorned with barely-there chest jewels and fishing nets.  AFP | BENJAMIN CREMELMermaids and sea gods seemed to emerge from the waters with wet hair and sunburnt skin, in immaculate asymmetrical swimsuits and cut-out tops, mixed with more straightforward red or electric-blue pieces and colourful flip-flops. For the show's finale, the models linked together with a long red thread, recalling the spool Ariadne gave to Theseus to help him find his way through the labyrinth. London Fashion Week goes 1960s... with a twist |
Peeking under the clothes at the Melbourne Fashion Festival (2025-05-02T13:27:00+05:30)
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If you wear clothes – and most of us do – there will be an event, exhibition or activity at this week’s Virgin Australia Melbourne Fashion Festival (VAMFF) – which started on Monday – that will intrigue and inspire you. Even those who take an anti-fashion stance might find themselves enthused by the diverse offering under the broad heading of “fashion” in the extensive cultural program which fuses fashion with the arts, film, dance and food. So how did it get to where it is now, since its beginnings 18 years ago? In 1996 I was fortunate to be invited to join a group of individuals to discuss the status of the Australian fashion industry, which at the time was struggling within a recessed economy. In this environment a culture of culpability had arisen - designers blamed buyers for not buying their collections, buyers blamed manufacturers for their poor quality or high prices, retailers blamed consumers for not being interested. An idea sprang forth to develop a festival that acknowledged the greatness inherent in the local fashion industry – to celebrate the goodness and create positive role models. The ethos of the Festival from day one was to excite the person on the street and provide the inspiration to engage and this spirit has been a driving force in establishing the Melbourne Fashion Festival as a successful event model. The festival is funded both by the state government and a range of partners from the private sector. Each year the fashion spotlight shines on Melbourne and we continue to see upward trends related to economic impact, promotional exposure, cultural positioning and associated retail expenditure, as evidenced by the City of Melbourne’s 2012 retail strategy report card: more than 380,000 fashion devotees attended the Festival’s 126 officially programmed events and aligned activities … and the Festival’s Cultural Program delivered over 79 fashion themed events. Whereas other major fashion weeks concentrate activities on a distinctive tier of the industry’s most notably premium design brands, the Melbourne event seeks to celebrate and showcase the depth and breadth of all things “fashion”. At the “big four” events – Paris, Milan, London and New York fashion weeks – designer brands are showcased to a select audience of between 100 to 300 attendees, who predominatly are retail buyers and fashion media, with a sprinkling of celebrities carefully placed in the front row to generate media interest. By contrast, the Melbourne Fashion Festival is about the democratisation of fashion, providing a platform for all tiers of the industry, from micro operators such as those early career designers whose collections were highlighted on Tuesday at the Tiffany & Co. National Designer Award, through to the large chain stores such as David Jones who showcased their in-store collections as part of the Opening Event on Monday night. The Fashion Festival seeks to support emerging designers - the National Designer Award has helped launch the careers of designers such as Toni Maticevski, Dion Lee, Josh Goot and Romance Was Born. There’s also the National Graduate Showcase which champions fashion design graduates. As well as giving them the opportunity to share the runways with leading designers it also offers mentoring opportunities. The Festival’s greatest strength lies in the consumer to business relationships it has enhanced. The energy and visual experience is not confined to the media spectacle of fashion personalities and celebrities. Instead the public is provided with access to runway shows which lets them engage with fashion brands on a different level. Many Festival events such as those in the cultural program are free; while others such as the runway shows can be accessed through ticket sales. Like other fashion events, the Festival showcases designer collections – but its catwalks are enormous lengthened runways with audience capacities sometimes in the thousands, worlds apart from the discreet showcases in the top four fashion capitals. Through a digital interface developed in the past two years, the audience can also “see now, buy now”, an innovative concept that directly links Australian designers with the consumer. Behind the scenes and beyond the month of March, the Festival works collaboratively with the Victorian State Government on trade missions, export strategies and global connections in promoting the local fashion industry to the world, subsequently promoting continuing growth of this sector. Like many fashion sectors around the globe, the local industry has drastically repositioned itself over the past three decades - moving from geographically-connected clusters within centralised inner city manufacturing bases to disconnected, wide-spread companies housed in anonymous spaces across the country. Due to these shifts, which have seen the demise in local manufacturing, businesses now work in a framework of a global supply chain connected through digital interfaces. This is a phenomenon that has impacted the fashion industry worldwide. Recognising this major shift the Fashion Festival has developed forums and seminars such as such as the Business Seminar, Fashion Industry Forums and Marketing Breakfast designed to bring the dispersed industry together. These forums provide industry intelligence, enable networking and support business growth. This event is a great opportunity to celebrate Australian fashion creativity and acknowledge the broad impact it has. I have already started a wish list of must-have fashion items that I’ll be adding to my wardrobe! The Melbourne Fashion Festival is on now. Details here. Are you an academic or researcher working in fashion or textiles? Contact the Arts + Culture editor.  Karen Webster, Associate Professor - Deputy Head of Fashion and Textiles, RMIT University This article is republished from The Conversation under a Creative Commons license. Read the original article. |