Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
• Prada confirms Indian roots behind 2026 ‘leather sandals’ after controversy • Indian artisans and officials accused the brand of cultural appropriation • The footwear resembles traditional Kolhapuri chappals with GI status • Prada says designs are still in development and open to dialogue with India
Italian fashion label Prada has officially acknowledged that its Spring/Summer 2026 menswear collection includes footwear inspired by India’s traditional Kolhapuri chappals. The statement came after mounting criticism from Indian artisans and industry leaders, who claimed the brand showcased the design at Milan Fashion Week without recognising its origins.
Prada confirms Kolhapuri chappals inspired its 2026 Milan collectionInstagram/prada
Prada responds to Kolhapuri chappal row
In a letter addressed to Lalit Gandhi, President of the Maharashtra Chamber of Commerce, Industry and Agriculture (MACCIA), Prada’s CSR head Lorenzo Bertelli confirmed the sandals were influenced by Indian craftsmanship. The fashion house admitted that the open-toe leather sandals presented on the Milan runway drew from the centuries-old Kolhapuri style, traditionally made by artisans in Maharashtra and Karnataka.
Kolhapuri chappals have been crafted for centuries and received GI tag in 2019 iStock
The controversy erupted after Prada described the footwear simply as “leather sandals” in its show notes, omitting any reference to India. This led to accusations of cultural appropriation and disregard for artisans' rights. BJP MP Dhananjay Mahadik also led a group of Kolhapuri chappal makers to meet Maharashtra Chief Minister Devendra Fadnavis, urging government action to protect their Geographical Indication (GI) status.
No production yet, says Prada, as India seeks fair credit
Prada clarified that the sandals shown were part of an early-stage design process and have not been confirmed for mass production. “None of the pieces are finalised or approved for commercial use,” Bertelli wrote.
MACCIA, in its communication, called for proper acknowledgement and possible collaboration or compensation for Indian artisans. The organisation stressed that Kolhapuri chappals are not just heritage products but also vital to the livelihoods of thousands of families.
In response, Bertelli assured Prada’s commitment to ethical design, cultural respect, and further engagement with Indian artisan communities. He also welcomed the opportunity for open dialogue on potential partnerships.
The Kolhapuri chappal, awarded GI status in 2019, is a symbol of regional identity and craftsmanship. As global fashion continues to borrow from traditional cultures, this case may set the tone for how brands address ownership, recognition, and respect.
Selena Gomez married Benny Blanco in Santa Barbara on September 27.
The pop star wowed in a Ralph Lauren halter gown and a second sheer lace dress.
Her Old Hollywood Marcel wave bob was the highlight of the bridal look.
Guests included Taylor Swift, Paul Rudd, Martin Short, Steve Martin, and Paris Hilton.
Celebrity weddings increasingly use multiple outfits as branding and PR moments.
Selena Gomez wedding photos are finally here, and yes, she looked absolutely stunning. The pop star tied the knot with Benny Blanco in Santa Barbara, California, rocking not one but two Ralph Lauren dresses, each perfectly timed for different parts of the day. Her old Hollywood bob hairstyle completed the look, giving classic glamour vibes while also showing how stars stage multiple wardrobe moments for maximum impact.
Selena Gomez wedding shocks fans with dual Ralph Lauren gowns and Old Hollywood bob reveal Instagram/selenagomez/itsbennyblanco
Old Hollywood bob steals the spotlight
Gomez’s hairstylist, Renato Compora, went all out, crafting a Marcel wave bob that looked straight out of a 1950s Hollywood set. He layered treatments, deep conditioning, and thermal protection before curling every inch, creating those soft, polished waves. Fans have seen Gomez experiment with her bob before, but this wedding-ready style was absolute perfection.
First, there was the custom satin halter gown with a flowing full skirt: classic, romantic, and timeless. Then, Blanco shared photos showing Gomez in a sheer lace skirt with intricate floral detailing, strappy heels, and a dramatic veil. But it is not just a fashion flex. Celebrities are increasingly using multiple looks to craft a narrative, create media buzz, and showcase personal branding across different wedding moments.
The wedding was not just about the couple; it was a Hollywood mini-festival. Taylor Swift arrived solo. Ed Sheeran, Paris Hilton, and Gomez’s co-stars from Only Murders in the Building, Paul Rudd, Steve Martin, and Martin Short, were all there. The ceremony at Sea Crest Nursery had 170 family and friends, complete with private security, exquisite floral touches, and Ralph Lauren suits for the groom and his groomsmen.
— (@)
Celebrity wedding trends and branding
Gomez’s multiple looks hint at a bigger trend: weddings as brand statements. Celebrities are increasingly viewing their weddings as an extension of their public persona, right down to the meticulously chosen dresses and hairstyles. Every ensemble, photo carousel, and accessory presents an opportunity to establish the narrative, attract media attention, and convey a tale without using words.
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Visitors view gowns and displays at the Marie Antoinette Style exhibition at the V&A
For Eastern Eye visitors to the sumptuous new Marie Antoinette Style exhibition at the V&A, the whole show has to be seen in the context of India’s relations with France and especially that between Tipu Sultan, ruler of Mysore, and the young fashion queen.
Marie Antoinette, the Princess Diana of her day, loved to wear the muslin and printed cotton gowns sent from India.
In return, she sent Tipu delicate Sèvres porcelain, plus busts of herself and her husband, King Louis XVI.
Tipu’s plan was to form an alliance with the French in his fight against the British. The alliance never materialised, although Tipu did send ambassadors to France.
A portrait of Tipu Sultan
Tipu and Marie Antoinette’s exchange of gifts was immortalised in paintings and sketches.
The exhibition’s curator, Sarah Grant, told Eastern Eye of Marie Antoinette’s connection with Tipu: “Tipu Sultan sent his ambassadors to the court of France on an official visit. They presented gifts to Marie Antoinette – Indian muslins and beautiful gowns. And she presented gifts which they took back. But one of the busts (of herself) was looted by British soldiers in the 19th century and brought to England. So it had this extraordinary history. There was this interesting exchange of style and fashion between India and France.
A painting of Marie Antoinette and Louis XVI receiving Tipu Sultan’s ambassadors in 1788
“All this is well documented. There are paintings of the ambassadors arriving at court in Versailles. There was an exhibition, Visitors to Versailles, which looked at diplomatic visits from India and China. But it seems Tipu Sultan and Marie Antoinette had a particular connection.
“India had developed the technology for printed and dyed cotton, something in which they were leaders in the world. France tried to steal that knowledge and technology, and sent spies to observe the processes. There was a ban on importing Indian printed cottons into France. So many people were wearing them that officials feared importing would damage France’s native industries. But cotton cloth was still being imported from India. They were printing it in France and selling it.”
She agreed “100 per cent” with the V&A’s director, Tristram Hunt, who described Marie Antoinette as “the most fashionable queen in history across 230 years of design, dress and film”.
Hunt added: “The exhibition combines her infamy with her influence. Balancing the sumptuous 18th century gowns on show are contemporary fashion pieces in the final room, including couture works by designers such as Moschino, Dior, Chanel and Vivienne Westwood, and, of course, the wonderful costumes designed for Sofia Coppola’s brilliant Oscar winning Marie Antoinette.”
Grant said: “Part of it is she was very fashionable. She loved fashion. Obviously, most monarchs, most queens, most emperors, most empresses, dress in finery. But she was particularly interested in new fashions, new styles. The pace of fashion accelerated under her.
The Sutherland Diamonds
“She’s not just stylish. She’s not just wearing what everyone else is wearing. She is creating new fashions and inspiring other people. Certainly, people in the Anglo-Saxon world, in North America and in Britain, were following very closely what Marie Antoinette was wearing in France. She dies young, and we never see her age.”
Tipu, who was born on December 1, 1751, was the Sultan of Mysore from 1782 until he was killed in battle defending his stronghold of Srirangapatnam on May 4, 1799. He was defeated in the Fourth Anglo-Mysore War by a combined force of the British East India Company troops supported by the Marathas and the Nizam of Hyderabad.
Marie Antoinette born Maria Antonia Josepha Johanna von Habsburg-Lothringen, archduchess of Austria, in Vienna on November 2, 1755, the daughter of Empress Maria Theresa and Emperor Francis I. She married Louis Auguste, Dauphin of France, in May 1770 at the age of 14, becoming the Dauphine of France.
On May 10, 1774, her husband ascended the throne as King Louis XVI, and she became queen. She was the last queen of France before the French Revolution and the establishment of the First Republic. Her husband was sent to the guillotine on January 21, 1793, in Paris, during the French Revolution. She was similarly executed on October 16, 1793.
A portrait of Marie Antoinette by François Hubert Drouais (1773)
Marie Antoinette was accused of saying, “Let them eat cake”, when informed the poor couldn’t afford bread. She said no such thing. But the quote has stuck and her alleged heartlessness used to justify her execution.
The exhibition has a sketch of the executioner waving her head. There is also the chemise she wore in her death cell. It very much resembles an Indian kurta. There is also a plaster cast of her severed head.
The exhibition displays a muslin dress from 1785-90, similar to the one Marie Antoinette had worn.
Antoinette had worn. “This is one of only two muslin chemise dresses from Marie Antoinette’s time that survives, a style that the queen helped to popularise,” says a note. “In her memoirs, Madame Campan described the queen and her friends in the summer of 1778 dressed in ‘muslin gowns, with large straw hats and muslin veils, a costume universally adopted by women at that time’. The queen also wore a muslin gown given to her by Tipu Sultan in 1788.”
There is another “Robe à la francaise”, from 1775-80: “In the late 1770s, Marie Antoinette and her circle embraced gowns made of cotton and linen as lighter and fresher alternatives to silk. This gown’s pink silk lining, visible through the fine white muslin, creates a blush effect, which was a specific contemporary trend. France’s East India Company imported many cotton fabrics from India, such as this figured and embroidered muslin.”
The exhibition has a reference to diamonds, probably sourced from India.
The “Diamond Necklace Affair” is explained: “In 1784 and 1785, a necklace became the centre of a theft that captivated the French public. With diamonds totalling 2,842 carats, it was the most expensive necklace ever made in France. Louis XV commissioned it for his mistress, Madame du Barry, but died before it was completed. The necklace was offered to Marie Antoinette who refused it, but a con artist, Jeanne de la Motte, tricked a courtier, the Cardinal de Rohan, into paying for part of it, supposedly on behalf of the queen. La Motte then absconded with the diamonds. Although Marie Antoinette was entirely innocent, the fallout dealt a fatal blow to her already ailing reputation.”
A muslin gown worn by the French queen
There is a display of the “Sutherland Diamonds”, with the setting from 1780-90: “The stolen necklace from the ‘Diamond Necklace Affair’ was broken up and brought to England. These diamonds almost certainly come from that sale. Probably mined in Golconda, India, the stones are of the finest clarity and brilliance. The central diamond alone weighs about 15 carats. They were worn by successive Duchesses of Sutherland to the coronations of Queen Victoria and George VI.”
The steel tycoon Lakshmi Mittal could consider dropping in to see the exhibition, since some of the 250 objects on display come from Chateau de Versailles, the main royal residence (although Marie Antoinette also had a private residence, Petit Trianon, in the palace grounds). When Mittal’s daughter, Vanisha Mittal, married Amit Bhatia in 2004 in a £30m wedding, there was a glittering feast for 1,000 guests at the Palace in Versailles hired for the occasion.
Marie Antoinette Style is at the V&A until March 22, 2026.
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Diaspora demand drives South Asian beauty into UK high street stores
Kay Beauty and Kulfi now appear in Space NK, bringing South Asian beauty to the UK high street.
Products cater to deeper skin tones, better undertones, and brown-skin needs.
The UK’s South Asian community drives demand through social media and engagement.
Launches represent identity, culture, and inclusion on prestigious retail shelves.
Their presence encourages other brands to expand shade ranges and inclusivity.
You walk past Space NK on Oxford Street and stop. Not because it is Space NK (everyone knows it), but because the window finally looks like you. Bright packaging, names that feel like home, kajal front and centre. That small, ridiculous moment matters. It is not just product placement, it is proof that a group of brands, many started by women who grew up doing their mother’s makeup in bathrooms with too-small mirrors, have landed a place on Britain’s prestige beauty shelf. Kulfi and Kay Beauty are there now, on the store pages and in the displays. In September 2025, Space NK confirmed it was stocking Kay Beauty with a curated edit of nearly 200 products, marking its first expansion outside India.
Diaspora demand drives South Asian beauty into UK high street stores AI Generated
The party you were not invited to
Why does that matter? Because for decades the beauty aisle told one story: a narrow palette, one standard of “match,” one voice deciding what counts as desirable. For a long time, walking into a UK beauty store felt like walking into a party you were not really invited to. The shades were often a sea of sameness, the models on the posters telling a story that did not include you. If you had deeper skin with warm, golden undertones, finding a concealer that did not make you look ashy was a mission. The kajal pencils? They were never quite black enough, never quite right.
But the demand was always there, simmering. The 2021 census recorded 5.5 million people from Asian ethnic groups in England and Wales, hardly a niche demographic. Brands saw the numbers; the UK was buzzing online, engaging like crazy. It was a no-brainer. And Space NK, to its credit, understood the commercial and cultural sense in it.
South Asian beauty brands are reshaping the UK high streetiStock
More than novelty: function and feeling
Concealers that actually match deeper complexions, kajals that do not smudge in humidity, creams and lip products named and pitched for brown skin; Kulfi’s 21-shade concealer and kajal, Kay Beauty’s hydrating foundations and large SKU ranges, these are not cosmetic novelties. In fact, they respond to very basic product failings of legacy brands. When the product works, the cultural story stops being enough, because the consumers want function plus feeling.
Speaking about her brand’s vision, Katrina earlier said: “I felt that the beauty industry and the beauty advertising around us could be more inclusive… creating Kay Beauty wasn’t so much seeing a gap in the market, but rather a passion for building this community. We saw such an encouraging response when we launched in the GCC … And in the UK, with its vibrant South Asian community and evolved beauty market, I think Kay Beauty has the chance to connect in an exciting way,”.
These launches are driven by actual search traffic, sales potential and a diaspora that has been loudly voting with swatches on social media. The brands did not appear out of whimsy. They scaled because the demand existed: shade gaps, undertone complaints, people tired of being an afterthought.
I read a piece by British Pakistani writer Sidra Imtiaz, and she nailed it. She talked about Kay Beauty feeling like a “glittery, sparkly amalgamation” of her identity, like the person she is at home, finally meeting the person she is on the British high street. That is the thing. This is about more than lipstick. It is about seeing a piece of your culture reflected back at you, not in a specialist shop tucked away, but right there in the flagship window on the busiest street in the country.
And yeah, you cannot help but compare it to the K-beauty wave that hit a few years back. That opened the door, sure. It taught UK shoppers that beauty philosophies from outside the West have value. But this is different. This is not about a trendy ten-step routine from Korea. This is about a diaspora saying, “We are here. Our beauty standards, our rituals, our colours, they matter.”
UK beauty finally caters to deeper tones with South Asian brandsiStock
A small revolution on the high street
Spotting a brand that reflects your identity in a store can make someone feel truly seen. That someone might be a teenager who never matched a shade right before; it might be a mother who finally finds kajal that does not ghost her skin tone. Visibility is small, then practical, then political. It is a subtle correction in how a culture sees itself on the high street.
So, what happens next? For now, retail analysts say the move is strategic: Space NK is positioning itself as a leader in inclusivity while responding to clear search and sales data from the South Asian diaspora. Will it last? It depends on product, price, and patience. But for now, the windows look different. And that, alone, is a small revolution.
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He has built an international career that spans cinema, fashion weeks, and brand development
Venuka Wickramaarachchi reflects on his journey from Sri Lanka to the UK and the evolution of his design career.
His Sri Lankan heritage continues to shape his work in fashion and costume design.
He has contributed to award-winning films and showcased collections in London, Milan, and Kazakhstan.
His brand Diamaté focuses on sustainability and cultural storytelling.
Designer’s journey from Sri Lanka to the UK
Venuka Wickramaarachchi, a fashion and costume designer originally from Sri Lanka, has built an international career that spans cinema, fashion weeks, and brand development. Now based in the UK, he credits his early experiences in Sri Lanka for inspiring his interest in costume design. Although he once considered a career in medicine, his passion for design led him to pursue formal education in fashion, culminating in a master’s degree in the UK.
Cultural influences and cinematic work
Venuka’s designs are deeply rooted in Sri Lankan culture. He draws inspiration from traditional dance costumes, temple architecture, and wood carvings. His approach is not to replicate heritage but to reinterpret it for modern audiences. This philosophy has guided his work in cinema, where he has designed costumes for six films, including the award-winning Kusa Baba and Pattini. His designs have earned him recognition at the Lux Film Awards and the Presidential Awards.
He credits his early experiences in Sri Lanka for inspiring his interest in costume designVenuka
International showcases and brand launch
Venuka’s international debut came at Kazakhstan’s Aspara Fashion Week in 2013. He later presented collections at London Graduate Fashion Week and Milan’s Ferrari Aqua Fashion Show. These events helped establish his reputation as a designer who blends cultural depth with contemporary style.
Following his success in Milan, Venuka launched Diamaté, a women’s wear brand that offers workwear, evening wear, and casual collections. The brand name, meaning diamond in Spanish, reflects his vision of helping women shine through fashion.
Focus on sustainability
These events helped establish his reputation as a designer who blends cultural depth with contemporary styleVenuka
Diamaté is gradually shifting toward sustainable practices. Venuka’s upcoming Christmas collection will feature 80 per cent natural fabrics, with plans to increase that percentage over time. He acknowledges the challenges of affordability and accessibility in sustainable fashion, especially in Asian markets, and believes brands must take the lead in making eco-friendly options viable for consumers.
Balancing Sri Lankan roots with UK life
Living in the UK has exposed Venuka to European fashion trends, but he remains committed to his Sri Lankan identity. His designs often merge Eastern and Western aesthetics, creating a unique fusion that resonates with global audiences. He sees South Asian designers as key contributors to the future of fashion and encourages a shift from imitation to innovation.
Looking ahead
Venuka plans to expand Diamaté while continuing to tell stories through design. He views his brand as more than a clothing label, aiming to build a platform that celebrates heritage, sustainability, and individuality.
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Enninful also gave his view on a recent American Eagle campaign featuring actress Sydney Sweeney
Former British Vogue editor-in-chief Edward Enninful says “anti-woke” rhetoric is influencing fashion.
He warns the industry is reverting to European and super-thin beauty standards.
Enninful has launched a new inclusive media venture, EE72, with Julia Roberts on its debut cover.
He dismisses rumours of a fallout with Anna Wintour, saying she supported his departure from Vogue.
He also commented on recent advertising controversies, including Sydney Sweeney’s American Eagle campaign.
Fashion industry ‘in flux’
Edward Enninful, the former editor-in-chief of British Vogue, has warned that fashion risks going backwards on diversity, with super-thin and European looks once again dominating as the beauty norm.
Speaking on BBC Radio 4’s Radical with Amol Rajan during London Fashion Week, he said that “anti-woke” and anti-diversity sentiment was “having a moment.”
“I think we’re potentially going back to an industry that’s just sort of, ‘one type is the norm, being European is the norm, being super-thin is the norm’,” he said.
Launch of EE72
Enninful, who left British Vogue in 2023, has launched a new media platform called EE72, describing it as “inclusive.” Its first quarterly print edition highlights the beauty of women over 50 and features Julia Roberts, 57, on the cover.
The title takes its name from Enninful’s year of birth, 1972. He said he felt it was “the perfect time” to return to the industry, which he described as “in flux” and still facing “a lot of work to be done.”
Champion of diversity
Born in Ghana, Enninful came to London as an asylum seeker. He became fashion director of i-D magazine at 18 before being appointed as the first Black editor-in-chief of British Vogue. He used the role to champion broader representation, saying he wanted to reflect “the world we live in today.”
Asked if he believed an “anti-woke moment” was taking place, he agreed, saying: “Woke is a dirty word. We see what’s happening in the world politically. So anything that’s not deemed as normal or the norm is seen as wrong.”
Departure from Vogue
Enninful also addressed speculation about his relationship with Dame Anna Wintour, who is stepping down as editor-in-chief of American Vogue after 37 years.
He dismissed claims of a falling out, explaining: “When I took the job, I gave myself five years and I did six. Anna asked me to give them a year’s notice so they could find my replacement, who turned out to be Chioma Nnadi. So it was my decision to leave.”
He said Wintour had been “very supportive,” adding: “Anna and I, we text each other all the time. You’re going to see us together.”
Advertising controversy
Enninful also gave his view on a recent American Eagle campaign featuring actress Sydney Sweeney, where the strapline “Sydney Sweeney has great jeans” drew criticism.
Some suggested the wordplay implied a racially exclusive beauty standard, while others said the outrage was exaggerated. Enninful commented: “I thought people really read into it probably deeper than I would have… But then on the other hand, I guess if you have a blonde woman sitting there talking about her jeans, it will trigger some people.”
He concluded that the reaction reflected how “the population is quite divided.”