Mumbai’s Jio World Convention Centre played host to fashion designer Sabyasachi Mukherjee's 25th anniversary show on January 25. The couturier’s muse, actor Deepika Padukone, was joined by the '90s supermodel Christy Turlington on the ramp. It was also Padukone’s first runway appearance since giving birth to her daughter Dua.

In quintessential Sabyasachi style, the show was a blend of nostalgia and maximalism, giving a glimpse into the past while looking at the future of the now global, luxury brand. The convention centre was transformed into a scene from old Calcutta, a set so detailed that it even featured telephone wires hanging from the ceiling.

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From actors Alia Bhatt, Rani Mukherji, Sonam Kapoor Ahuja, Ananya Panday and Bipasha Basu to recent Sabyasachi brides, Aditi Rao Hydari and Sobhita Dhulipala — all of the designer's celebrity clientele sat in the audience, dressed head-to-toe in black. Iconic supermodels like Sheetal Malhar and Indrani Dasgupta brought back the charm of glamour from the '90s.

The collection itself was inspired by his grandmothers, with the menswear featuring quirky pieces like a “Dog Dad” jumper, while the highlight of the womenswear range included embroidered jackets and statement accessories.

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With a focus on ready-to-wear separates, leather goods and high jewellery, the collection was aimed to position “made-in-India” couture as a global luxury staple, cementing Sabyasachi’s legacy as India’s foremost couturier.

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 in conversation with Anushka Shah, founder of Civic Studios, for an evening that traced the emotional and cultural threads running through Chadha’s body of work. Speaking to a packed room, the 

. She reflected on how diasporic memory, identity, and the feeling of “carrying your parents with you” continue to shape her filmmaking. Chadha also revealed that her film’s contemporary Scrooge is inspired by a close friend from Uganda who arrived in the UK as a refugee — a reminder, she noted, of the lived histories that underlie her stories.

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 spent years on international runways, shaping a fashion vocabulary built on a deep respect for the craft. Today, she brings that same sensibility to everything she wears, whether it is an oversized blazer on a casual day or a statement earring on a red carpet. In conversation with 

, she talks about why vintage never left her wardrobe, the freedom in staying understated and the joy of dressing a character who feels uncannily like herself.

What is that one recent jewellery trend you have loved?

 I have always leaned towards a more classic aesthetic. It shows up in my wardrobe, in the sort of jewellery I pick and even in the way I think about style. I have a soft spot for vintage pieces and for Art Deco. There is something about the clean lines and the minimal structure that has always felt like home to me. And vintage is vintage. It never loses value, and it never feels like it belongs to only one moment in time. Art Deco has been popular again these last couple of years and I love that older styles are finding their way back.

What is one fashion moment from your modelling days that you would relive if you could?

My first big international show. I was about 20, living in Paris and figuring out the city. When I walked for [French fashion designer] Emanuel Ungaro, it felt like a milestone. I was one of the only Indian girls there at the time and it meant a lot to be on that stage. It gave me a sense of what it means to represent where you come from in a completely different world. 

Your style is often described as ‘minimal’ and ‘understated’. Do you ever feel restricted by that?

 Not at all. My personal style is simple, but it does not stop me from experimenting. I do not follow trends blindly, but I do enjoy trying new things when the space allows it. There is enough room to have fun without changing who you are on a daily basis.

 How do you stay authentic in an industry where personal style can get lost?

 I dress according to my personality and my mood. Fashion is an expression of how you feel on a particular day. If you follow that honestly, it stays individual. You only start looking repetitive when you are copying something without knowing why. Even if you follow a trend, you can still make it your own when you bring your own personality to it.

Of all the characters you have played, whose wardrobe would you keep?

. She is very close to how I dress in real life — jeans, tees, oversized blazers, sneakers. Comfortable but still chic. And when she dresses up, it is always understated and elegant. Playing her felt natural because her style felt like my own.

To read more exclusive stories from The Hollywood Reporter India's December 2025 print issue, pick up a copy of the magazine from your nearest book store or newspaper stand.

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Anya Singh is the kind of actor who slips under the radar — until everyone starts paying attention. Raised in New Delhi, she broke into Bollywood with a 

(2017), then drifted through smaller roles in movies such as 

 (2023) before a breakout performance in 

Sharp and understated, Singh brings a disciplined poise (hello, boarding-school roots) to her style, both on and off the screen. With a fast-growing fan base, Singh tells 

 why she isn’t just stepping into the limelight — she’s redefining what it means to own it.

 Did you first start to develop your sense of style in school?

 I went to a boarding school. From Monday to Thursday, we wore suits. On Friday and Saturday, we would wear grey skirts. Sunday was the day off, so we either wore our uniforms or a home suit — Cottons was the biggest brand.

 In winter, we wore a cardigan and a dark blue blazer, and for formal events, a tie. We didn’t have individual styles because there was no space for that.

 When I moved to Mumbai and did my first photo shoot for a film in 2017. I was not used to this world of fashion, and I was timid in terms of voicing my opinion. Over the years, I’ve understood my body, my shape, and I am a lot more confident about my style now. I’m also more open in terms of styling. Like the look [with brown jeans] today [at the shoot], the hair especially, even though it was so wild and big, it looked beautiful. The hairstylist mentioned that a lot of people don’t like experimenting like this. But I trust the process and the people involved.

 How would you describe your sense of style?

 Minimalistic, chic, clean. I wish I was slightly taller, though I now understand that high-waisted bottoms give me length. I need a deeper neck because that gives my body some proportion. I will experiment during photoshoots but on a personal level, not so much.

Zendaya is very experimental, and she’s able to carry anything with a sense of confidence. I love Jennifer Aniston’s style, too. Of course there’s Sonam Kapoor, and Deepika Padukone.

 How big a role did costume play in terms of you getting into character in 

 Massively. Costume allows you to feel the skin of the character — it changes your gait and lets you know the mannerisms of the character you’re playing. I absolutely loved my styling [in the show]. It was very chic, enhanced my body, and yet did not seem unrelatable to how a manager would dress. I don’t usually dress like that, so it also did inculcate a certain sense of authority in me, and that changes body language.

Do you have one cherished piece of clothing? What was the first thing you ever bought for yourself?

 My old pajamas. They’re the most comfortable thing ever. My first purchase was a pair of shoes from Tod’s. It was during my first year of college when I was working. I also bought my first handbag from Burberry. I like understated things.

Anya Singh: 'My Sense of Style is Minimalistic, Chic... Clean'

On a bustling road in Mumbai’s Juhu, between an ethnic wear store and a designer boutique, a metal signboard reads ‘Maganlal Dresswalla’. An unassuming alleyway leads to a dimly lit staircase, where blue walls are lined with posters of movies such as 

 (1931), alongside a framed Limca Book of Records certificate. It firmly establishes that this is India’s oldest costume supplier.

At the end of the staircase, amid a swan-shaped palanquin, bear costumes, swords, royal livery and heavy armour, Sarika Dresswalla, the third-generation custodian of these rarities, steps out of her cabin, leading 

into what could only be described as her chamber of curiosities.

This is not the brand’s first store in Mumbai. Sarika’s grandfather, Harilal Dresswalla, and his older brother Maganlal, used to make turbans in Dhaari, Gujarat, before they came to Mumbai before Partition, and received an offer to make film costumes. “One day, my granddad went to a production house and he was made to sit outside for hours,” Sarika tells 

, sitting on a wooden bench in the middle of her store. “They said, ‘

 (call the tailor inside)’. But he got up and said, ‘

Mai tailor nahi hoon, mere neeche itne saare tailors hain

 (I’m not a tailor, I’ve got many of them working under me). I’m a 

And with that, Maganlal Dresswalla was born — formally established in 1926.

Since then, the company has outfitted everything from black-and-white classics such as 

(1988). They’ve even designed costumes for Hollywood films such as 

This legacy was forged by her grandfather Harilal, and cemented by her father, Suresh Dresswalla. And along with a piece of 30-kilogram iron armour (most likely worn by Prithviraj Kapoor in 

) it was passed down to Sarika to preserve and carry forward.

When Sarika had graduated from Mithibai College in Mumbai with a degree in commerce, almost 25 years ago, she had no intention of joining the family business. But at her father’s insistence, she agreed to spend some time at the store, just to see if it might be for her.

 (2001), a wildly popular weekly game show, required 52 costumes every week. “That became my first assignment,” she says.

So, at 21, with no formal background in fashion, Sarika took on the challenge. “But I had grown up watching my father and grandfather work. I spent my childhood running around the store,” she says. “That project went really well — and it was life-changing. I knew this was the place for me.”

She had already witnessed first-hand the intensity of her father’s work: designing costumes for 

(1988) often working late into the night, and for 

 (1988), a series that changed eras — and costumes — every 10 days.

“I remember how, for two years, there were karigars (artisans) constantly working on set,” says Sarika. Every evening, the designer would arrive post-shoot and brief the team about the next day’s requirements. Nothing was planned; it was all last-minute, so they had to adapt. Costumes were altered, reused, reimagined. So, years later, when she was asked to create 500 costumes in just 10 days for the 2020 Amazon Prime Video series, 

— complete with detailed ageing, badges, and historical accuracy — she knew she could do it.  For the most part, in the Indian film industry, the art production works ahead of time, while costumes are left till the last minute. But if there’s one thing her father and grandfather taught her, it’s this: “There’s always a solution. That is the mindset you need to have while making costumes in this industry,” she says. “We are as they say, jugaadu (resourceful).” 

Sarika, however, doesn’t just rely entirely on inherited resourcefulness — she takes it a step further through continuous innovation and experimentation.

Walking over to a row of costume helmets and armour, she picks one up to demonstrate just how light it is. “This is made from fibre and papier-mâché, with a rubber base,” she says. “Back in my father’s time, these were made in iron — 30 to 35 kilos! It was quite crazy,” she says, referencing the iconic armour worn in 

. The same philosophy applies to jewellery. What was once heavy, ornate metal has now been reimagined in fabric and embroidery and was recently worn by the apsara (angel) in Atul Satya Kaushik’s stage production, 

Earlier, everything used to be made in-house. Sarika vividly remembers the Bhuleshwar store of her childhood where it all came to life. “Near my dad’s cabin was this tiny entrance that opened into what looked like a cave. Inside, there were hundreds of craftsmen: cobblers, jewellers, welders. One guy was soldering. It was amazing,” she says.

But as the scale of projects has grown, so has the need for collaboration. Today, Sarika works with artisans across the city — fibre moulders, leather workers, silicon fabricators — and sources materials from across India to meet the diverse demands of modern productions.

She walks around the basement, pointing out a section reserved for Bollywood-themed rentals. Here, costumes from iconic films are preserved and replicated in painstaking detail — Madhuri Dixit’s violet saree from “Didi Tera Deewana,” Hrithik Roshan’s trench coat from 

, and Ranveer Singh’s intricately embroidered attire from 

(2015). Every piece is handcrafted to match the original down to the last thread.

She makes sure to draw a clear distinction between couture and costume. “This isn’t couture. Costumes are more dramatic, more specific, larger than life itself.”

Sustainability is a growing concern. While she’s begun selling some pieces, rentals remain the core of the business, which calls for a vast storage space and a concern for the environment.

“In my dad’s time, he would repeat and reuse costumes with small changes. It was much more sustainable. But now it’s not like that. [Production houses] are so specific about their colour palettes. I mean, even if the costumes are aged, they want it made new and then aged,” she says.

Period films have long been the brand’s specialty, but Sarika is now steering it into the future. She’s slowly digitising their archive and preparing to sell them online. “The brand name carries a legacy and 90 per cent is through word of mouth,” she says. “But in our 100th year, I want to reach out to those whom we haven’t yet.” 

Across the room, two mannequins dressed in costumes for a Persian king and queen stand beside a giant macaw — a striking costume created for a carnival-themed roadshow by the Shri Swaminarayan Mandir in Ahmedabad this December.

Since expanding into mascot creation, Sarika now designs mascots for Manish Malpani’s entertainment parks across India, as well as for brands such as Discovery, Laughing Cow, and Hamleys — the latter with a dedicated in-house team.

From film costumes — for English, Hindi, German, Australian, and Chinese productions — to temple attire for deities, carnival wear, mandap decorations abroad, stage jewellery, and even outfits for the prince of Uganda’s royal wedding, there’s little she hasn’t done. But a small yet vital part of her plan for this landmark year is to change the signboard outside the Juhu store to match the logo they’ve used for a long time now. “The lion has always been a part of our logo,” she says.

 “My grandfather chose it because it’s our national animal. Things that were made in India made him proud and he passed that down to me.”

To read more exclusive stories from The Hollywood Reporter India's November 2025 print issue, pick up a copy of the magazine from your nearest book store or newspaper stand.

100 Years of Maganlal Dresswalla: From 'Mughal-E-Azam' To 'Mission: Impossible' and More

Actor Kirti Kulhari, known for her roles in 

, is all about ease and being understated when she’s off duty.

“I’m a very easy dresser,” she says. “I’ve come to really enjoy oversized clothes and my go-to is trousers and T-shirts, denims, shirts or sweatshirts with sneakers. I just keep it casual and hardly accessorise. I have to take everything off [to be styled for work] anyway.”

Kulhari is a strong supporter of homegrown design. “India has so much to offer in terms of fabrics, textiles and ideas,” she says. “In the last four to five years, so many smaller and midsize brands have come in and are doing so well. I love deviating from the conventional and doing something out of the box.” For the Busan Film Festival premiere of her film

, she and her stylist Manpreet chose to spotlight Indian designers. She wore a striking yellow saree from Bodice, and a printed coord set from Yavi.

Kulhari’s footwear of choice is comfort driven. “Sneakers, anytime. I find them very comfortable to walk in, my feet are protected.” But depending on where she is, boots, kolhapuris, leather chappals and even heels enter the rotation.

Her most loved item? “I’m not particularly attached to my wardrobe,” she says, “but I do love oversized denim jackets. It’s a no-brainer and looks cool. It adds an element of street-style fashion to my look.”

While she’s not always big on accessories, there are a few pieces she enjoys wearing. “I love watches — though as I say that, most of mine aren’t working,” she says. “When you’re going on set, everything has to be removed and kept safe. It’s an extra headache, so I usually go bare. I love earrings, nose pins, and septum rings; I keep changing. Sometimes, chains. That’s if I’m dressing up.”

Her style philosophy is anchored in comfort and minimalism. “If I don’t feel at ease in an outfit, it’s very difficult for me to choose that style,” she says. “I like to underplay. I don’t follow trends, I don’t even know what’s happening. I wear what I like — I’m very individualistic.”

There’s also a fun, almost spiritual element to how she picks outfits: “One thing I like to have fun with is wearing a certain colour on every day of the week depending on the planet. That helps me choose.” When it comes to events, she embraces experimentation. “I go crazy because I like exploring. I’m so comfortable with myself that I’m not scared. I like to push myself out of my comfort zone.”

Singer-songwriter Mary Ann Alexander’s style reflects her musical rhythm — laid-back, expressive and a little nostalgic.

“I’m a homebody and I make music from home,” she says. “Since I know I’ll hit the gym at some point in the day, I mostly spend my time in activewear. A cute pair of gym shorts and a tank or a small top is my go-to.”

When it comes to footwear, Alexander leans on comfort and character. “My go-to pair of shoes is the Nike Air Humara and the ASICS Gel Kayano. These Nikes are so underrated. They’re extremely comfortable and great for everyday wear since they’re hiking shoes. I get so many compliments. The ASICS are probably my most comfortable pair of training shoes — and I love a good dad shoe.”

She’s been building a collection of headgear: “I’ve started collecting head accessories like headbands, scarves, bandanas, and hats and I’m really excited to keep adding to it!”

Her go-to jewellery? “I love a good statement neckpiece — I mostly only wear chokers. I love me some classic hoops too.” Her style, she says, straddles contrast: “It lives between girly and tomboyish — a ‘90s/2000s R&B girl-next-door vibe with playful accessories, colour and silhouettes that feel fun and effortless.”

For global qawwali and sufi artiste Sagar Bhatia, style is shaped by function, travel, and a strong sense of personal history.

“I like to keep a rotation of athleisure for my travel days,” he says. “Aside from that, I maintain a simple wardrobe with pieces that can be easily alternated, such as neutrals.”

His footwear habits reflect both sides of his life. “My go-to pair of shoes would have to be the Hermès Chypre sandals — they are comfortable, easy to coordinate with outfits, and add an element of sophistication. A less glamorous answer would be my Skechers sneakers, which, surprisingly, are my most reliable and most-worn footwear!”

His most treasured piece, though, is a sentimental one. “It will always be the first attire I wore for Sagar Wali Qawwali, which I put together by borrowing pieces from my mom’s and sisters’ closets — leggings and a long kurta. It eventually turned out to be one of the most imitated outfits in the music industry. Who would have thought!”

When it comes to accessories, Bhatia keeps it practical. “I prefer to keep a rotation of high-quality jewellery that works across most of my wardrobe, rather than accessorising separately for each outfit.”

His overall approach to style is clean and thoughtful. “I would say my personal style is minimalistic and functional. I like to include various silhouettes to elevate my looks and add a touch of streetwear-inspired embellishment.”

For creator and actor Giorgia Andriani, fashion is mood-first and memory-laced.

“Before I’m styled for a shoot, I usually arrive in ultra-comfortable clothes,” she says. “They are often pieces I’ve held on to since my teenage years. There’s a sense of ease and nostalgia in them. They help me feel grounded, and after a long day of being in hair, make-up, and costume, it’s refreshing to slip back into something that feels like home.”

Her shoe collection, she admits, is born from years of making her own fashion choices. “I’ll be honest, I have a bit of a shoe obsession! As a child, I never really connected with the shoes my mum picked out for me. So, the moment I started choosing for myself, I began building my collection.”

And she doesn’t play favourites when it comes to shoes. “I don’t have a single ‘go-to’ pair because what I wear really depends on my mood, and my mood changes often! I can go from sneakers to stilettos to slides in a single day. I even keep a few extra pairs in my car… just in case.”

Her most treasured wardrobe item is a black T-shirt that says, “Young and Powerful.” “It may seem simple, but it became my little source of motivation on those tough days,” she says.

When it comes to accessories, Andriani is intuitive. “Some days I lean into clean, minimal pieces like a delicate chain or sleek watch. And other days I love layering rings, cuffs, or earrings. I’m not someone who wears jewellery just for the sake of it. It has to elevate the look or reflect how I feel that day.” Watches, she adds, are more than functional: “They’re pieces of personality.”

Andriani’s personal style? “Eclectic,” she says. “It’s a blend of moods and eras. There are days I gravitate toward baroque-inspired glam or romantic silhouettes. Other times I’ll channel a sensual retro pin-up vibe. I also love modern minimalism, sporty elements, and even edgy street style. I don’t believe in boxing myself into one aesthetic. Fashion, for me, is all about expression and evolution.” 

On-Set Wardobes: What Kirti Kulhari, Mary Ann Alexander, Sagar Bhatia and Giorgia Andriani Wear to Work

 may have once sung about paper rings, but when it came time to say yes, she accepted fiancé Travis Kelce’s proposal with an elongated cushion-cut diamond — bezel-set and far from modest; the ring is said to be anywhere between seven and 13 carats.

She wasn’t the only one — actor Liam Hemsworth’s fiancé, Gabriella Brooks, joined the club with a timeless rock of her own. And just weeks before them, Georgina Rodríguez flashed her jaw-dropping engagement ring from footballer Cristiano Ronaldo: an oval-cut diamond reportedly worth up to $5 million.

But Indian stars aren’t trailing far behind. 

’s Van Cleef & Arpels ring is reportedly worth ₹3 crores, while Asin’s Cartier ring — imported from Belgium — is said to be 20 carats. Vidya Balan chose a traditional gold band with a ruby in the centre, while Aditi Rao Hydari made headlines with her two-stone toi et moi ring.

In fact, when it comes to celebrity engagements, nothing escapes the court of public opinion — 

’s ring is a toi et moi ring (meaning ‘you and me’ in French) that features matching round-cut and pear-shaped Golconda diamonds, a slightly unconventional choice that made a big impact. 

“In India, elongated diamond cuts — oval, emerald, and pear — are very popular right now,” says Preeta Agarwal, jewellery specialist, consultant and influencer. “Aditi Rao Hydari’s ring is substantially adding to sales of [differently] shaped diamonds, not just for rings but pendants and studs too.”

Esshitha Guna, the founder of the jewellery brand Andal, designed the ring. “With Aditi akka’s (sister) ring, she knew exactly what she wanted,” she says. “It was meant to be. Both rings [hers and her husband Siddharth’s], blew up on the internet and we receive messages about them even today.”

While not as common as single-stone rings, the toi et moi is by no means a new design. It originated in 1796 with French emperor Napoleon’s proposal to Joséphine and was revived when American president John F. Kennedy gifted an emerald-and-diamond version to Jacqueline Bouvier in 1953. More recently, model Emily Ratajkowski brought it back into fashion — and then gave it a twist. After her divorce, she split her toi et moi ring into two separate pieces, calling them her “divorce rings.” “I don’t think a woman should be stripped of her diamonds just because she’s losing a man,” she famously told 

When it comes to trends, Hailey Bieber is always one step ahead. Her oval engagement ring made waves in 2018, and Julia Hackman Chafé, an international jewellery designer and wholesaler, says it’s what really brought it back into the public consciousness. “We’re also seeing stackable engagement rings paired with wedding bands, a trend borrowed from the West but increasingly loved here,” she says. Guna confirms the surge in interest. “Brides today are going all out for their desired diamond cut. This is the fastest decision in our process, one always knows at first glance which cut they like!” She adds that couples now also prefer to have either a custom message or symbols of love engraved on to the rings. Siddharth’s ring for one, had a great deal of customisation — set in 18K yellow gold, it features princess-cut diamonds and custom-cut emeralds, rubies and blue gemstones. In fact, colour is having a moment.

Agarwal notes, “Sapphires, emeralds, and even rubies are making a comeback as centre stones.” Besides Princess Diana’s iconic sapphire ring, Bollywood’s own Katrina Kaif also sports a cushion-cut sapphire from Tiffany & Co.

But besides the stone and the shape, the cut is an important factor because it defines how brilliantly the stone sparkles. “A well-cut stone can make a smaller carat weight look larger and more radiant,” says Agarwal, adding that brilliance is what makes a good ring exceptional. And then comes the quality of the craftsmanship. Among the standout designs, she cites Meghan Markle’s ring, which Prince Harry designed with diamonds from Princess Diana’s collection and a centre stone from Botswana — a place meaningful to the couple.

There’s no denying the influence of celebrity culture in 2025. One red carpet appearance and it can bring back a design long forgotten; the way pearl-and-diamond rings made their way back into contemporary bridal markets right after singer Ariana Grande debuted her own.

Chafé has noticed a similar pattern. “My family business [in fine jewellery] received a bunch of calls for elongated cushion-cut [diamonds] because Taylor Swift got it. We can see the rise of old mine-cut diamonds and people looking for antique-looking stones [like hers].”

Which is quite a shift from the oversized solitaires with halo settings that once had every celebrity hooked. As Agarwal puts it, “In the early 2000s, bigger was always better, but today, the focus has shifted to individuality and symbolism.”

Guna reveals, “The process starts with a conversation with the couple on their ideas and inspirations for the ring. We put it all down on paper where it is visualised.” For celebrity couples, they ensure complete privacy is maintained till they announce it themselves.

Next, arguably the most important part, is to pick the four Cs — cut, colour, clarity and carat weight. But as a coloured-stone wholesaler, Chafé adds that these things aren’t standardised for stones other than diamonds, so there’s no objective way to measure their quality. She explains, “When looking for a stone, I would make sure it’s not a crooked cut, because over time, that will not rise in value. Aside from that, it’s based on preference.”

Chafé adds that in today’s diamond world, perfectly cut stones in lower-grade colours are gaining popularity — because people still want what their favourite celebrities have, even if it’s not quite in budget.

And that affordability gap? It’s being filled — quite quickly — by lab-grown diamonds. Agarwal explains, “Natural and lab-grown diamonds are chemically and physically identical, so in terms of durability and beauty, they are the same. However, the latter is almost 80 to 90 per cent less expensive.”

Chafé however, believes lab diamonds are being mass-produced in India and China not for luxury jewellery, but for industrial use — think AI chips and material-cutting tools. “They won’t be known as luxury pretty soon and I would never sell someone a lab-grown diamond.”

She notes that the primary natural diamond buyers today fall into three categories. “People who want to see their diamond hold value over time, those with a budget that allows for over two carats — based off statistics from my friends in the diamond industry — and people who want something truly unique, like desert diamonds,” says Chafé. “It’s not about how high they’re going to go — but rather how unique they’re willing to go.”

And while Agarwal has seen some celebrities making conscious choices to better their image — vintage rings, ethically sourced stones, or custom heirlooms — Chafé disagrees. “I don’t think celebrities prioritise sustainability in this field, or really, in any field,” she says. 

Even so, that doesn’t mean the conversation stops here. At the end of the day, an engagement ring isn’t just another piece of jewellery — and often the one most likely to become a family heirloom. Which makes choosing the perfect ring about so much more than just the cut, the carats or one’s favourite celebrity.   

From Alia Bhatt to Sonam Kapoor and Sobhita Dhulipala: Everything To Know About Celebrity Engagement Rings

A sultry October afternoon in Mumbai finds the Nita Mukesh Ambani Cultural Centre (NMACC) hum with the anticipation of a major (and undoubtedly celebrity-studded) event. Designers set up backdrops stamped with 

’s unmistakeable branding, brand representatives dart around with walkie-talkies in hand, journalists queue up for back-to-back interviews. 

But step into a quiet side room, and the energy shifts. There sits Lucia Silvestri, executive creative director of Bvlgari jewellery. She’s dressed in a plain beige suit, but her jewels — layered necklaces, a cabochon cocktail ring, a stack of bracelets and gem-studded earrings catching the light — do all the talking.

“I have a special connection with gems,” she tells 

, pulling out sketches from the brand’s Serpenti Infinito Exhibit, which was on display at NMACC last month.

One sketch illustrates the Serpenti Maharani Secret necklace — boasting a 109.27‑carat cabochon rubellite stone, surrounded by diamonds and turquoise. It’s the very necklace that actor 

, Bvlgari’s global brand ambassador, wore to their gala later that evening. Also present at the event were actors 

 and business-woman Isha Ambani Piramal, adorned in Bvlgari jewellery.

“Last year, I saw this rubellite in the rough and spoke to the owner,” Silvestri says. “I said I’d like a pear shape, more than 100 carats with a soft, beautiful, cabochon stone.” From the rough stone to the red carpet, it took a month to design, six months to realise and a year to bring to life. She adds: “It was my dream.”

When Silvestri talks about gems, it’s clear this is more than a passion. She reflects on the actors who’ve worn them, the thoughtful decisions behind choosing ambassadors who showcase them, her early days with the Bulgari brothers (Gianni, Paolo and Nicola Bulgari), and the one place that continues to shape her design language — India.

Long before she was designing jewellery for the world’s biggest stars, Silvestri was studying biology, planning a life as a nutritionist. “The first time I walked into Mr. Bulgari’s office, I was 20,” she says. “I discovered my love for gems thanks to the three brothers.” But as a young woman working in a male-dominated industry, Silvestri learned quickly that passion wasn’t always enough.

“It was quite difficult,” she says of her early years with the company. “I was very young, and a girl. When I started to select gems and play with colours it was okay, but people often told me they didn’t want to negotiate with me and are waiting for Mr. Bulgari. It was [especially] difficult in India.” But Silvestri was determined. She knew she wanted to be a buyer of gems, not just an admirer.

When asked how they pick their ambassadors, Silvestri has but two words to say: “Personality...Priyanka.” Chopra Jonas’s love for jewels, respect for tradition, and values are what made her the perfect choice. “She can talk about the brand in a very warm way, and it’s not a normal ambassador [-brand relationship]. She really loves Bvlgari.”

Of course, the brand has been seen on the wrists, necks and fingers of countless actors over the years. Actor Elizabeth Taylor was such a devoted fan that she reportedly visited the boutique every day while filming Cleopatra in Rome. Silvestri also highlights actor Zendaya’s unforgettable moment at the Venice Film Festival, where she wore one of their most remarkable stones. “The hypnotic emerald. That was one of the most iconic moments for our brand, and magic for me, because I followed the creation [of the necklace] and the [discovery] of the stone. A 93-carat emerald with a cabochon stone is amazing,” she explains.

But that’s not all. Actor Sharon Stone wore Bvlgari during the shoot of 

(1995) with Robert De Niro in 1995, while Gina Lollobrigida wore it while making a toast with the painter Salvador Dalí at a New York gala in 1965. Sophia Loren was bedecked in their jewels in 1960 at the premiere of 

, and more recently, actor and brand ambassador Anne Hathaway wore Bvlgari at the 2025 Serpenti Infinito Exhibition in Shanghai.

But Silvestri’s first muse will always be her mother, now 91, who loves wearing simple yet elegant jewellery. When asked about her favourite piece, Silvestri points to her own cocktail ring. “Though that’s a tough question,” she admits. “I have 15 rings of this kind with different gems. My goal is to have 20. When I wear the Mandarin garnet, I feel the fire inside. The cabochon cut is so sensual, so soft.”

In India, gemstones tend to come with a side of superstition, whether it’s Amitabh Bachchan’s sapphire or Ekta Kapoor’s ruby. But Silvestri doesn’t buy into that. Instead, she continues to talk about energy — and emotion. To her, they are gifts of nature. “Some gems calm me, while others make me excited,” she says. 

This connection, combined with her respect for tradition, led to Bvlgari’s take on the Indian mangalsutra. “We wanted to do something special for India,” Silvestri says. “Ours features black onyx and the Bvlgari signature. We wanted to honour this tradition, but in a way that feels very Bvlgari. It’s the [connection] between India and Italy.”

This relationship between Bvlgari and India, that is Italian design language and Indian gemstone craftsmanship, goes way back to her first trip to India, with Mr. Bulgari himself. It was the beginning of a love affair with a country that would forever inspire her palette.

“It was a gift to be with him because he was in love with India. I discovered Jaipur with him. We had the opportunity to visit hidden places too, like the Maharaja’s palace and it was amazing.”

In Jaipur especially, where she could work closely with cutters and suppliers, Silvestri found the space not only to source the stones — but to shape their destinies. “It’s more special because I can see the gems from the rough. Sometimes, and now quite often, I can suggest cuts. The cutters and suppliers, they trust me,” she says.

That foundation of trust has led to some of Bvlgari’s most iconic creations — such as the Maharani necklace or the Serpenti Apsaras. But what makes these pieces truly stand out is their versatility. Set with tsavorite, turquoise, amethysts, emeralds and diamonds, the Apsaras, for instance, allows the stones to be interchanged and worn in different ways — as dangling earrings or as studs. “This is a challenge for me and the artisan, but it’s more interesting for the consumer — they can wear it in different ways,” Silvestri says.

Because real luxury isn’t just worn — it’s lived in, loved, and passed on. It’s an extension of who wears it, and nobody knows that better than the woman who brings it to life.

Bvlgari's Lucia Silvestri on Priyanka Chopra Jonas, Zendaya and How She Chooses Brand Ambassadors

 and Sheena Sippy, and grandson of Shashi Kapoor and Ramesh Sippy, is a born storyteller. His narrative sensibility flows into his clothes — from a 

 and kimono-style wrap on the red carpet to his 15-year-old Doc Martens shoes. “My mom and dad both have an eye,” he tells 

. His “old-money-meets-boho aesthetic” balances form and comfort, reflecting a man whose quiet, intentional style expresses exactly who he is.

You come from a long line of Kapoors with a unique sense of style. How do you carry that forward?

Through a combination of form and functionality. I love a classic 

. I love nice floral prints and interesting patterns. I like having synergy. I can go to a fancy dinner but also spend the day on the beach with nothing but a pair of sunglasses, an open shirt, and a pair of Havaianas.

 You focus a lot on storytelling through fashion. What is the overarching narrative you’re trying to convey?

In the past year, I have made friends with an incredible bunch of young designers like Ateev Anand of Re-Ceremonial, Ritwik Khanna of Rkive City, Rohitash Notani of Rosani and Ruchika Sachdeva of Bodice. My friend, [creative director and fashion stylist] Ruhani Singh, is how I met them. I'm learning about how they approach their craft.

What do you opt for when you go for red-carpet events?

Last night, I attended a big fashion event and wore a 

 wrap with a kimono-style top by Re-Ceremonial. I am also conscious of certain practicalities, and I don't believe fashion is a pain. Though people [showed up wearing] 

 with silk shawls, and even knee-high boots. I thought, “We're in Mumbai, guys. Relax!”

 What’s the most cherished piece in your closet?

My dad was an ad filmmaker and had a production house, so there were some costume boxes that were lying in the basement, and we had to get rid of them. I raided these and found a Hidesign leather jacket that must have been sourced for a shoot. My dad would wear Timberland or R.M. Williams boots, and I’ve inherited that preference with my Doc Martens. I also have two shirts and two pants from Bhaane, which was a really cool brand, but it no longer exists. I'm not a sneakerhead or a design freak, but I’m building my wardrobe.

Zahan Kapoor on Fashion, Family Legacy, and Finding His Personal Style

Actor Regena Cassandrra, known for her roles in Tamil films such as 

(2022) finds that personal style must keep up with the demands of her profession — but comfort remains king.

“What I wear depends entirely on how early or late I wake up,” she says. “If I’ve slept in, I get ready in five minutes. But if I wake up on time and squeeze in a workout, then I take time to decide what I want to wear.” Her everyday look? “Loose linen pants with crop tops, T-shirts, and shorts — it’s all about how I feel that day.”

A real-life Carrie Bradshaw, Cassandrra confesses to owning over 120 pairs of shoes. “Shoes take up most of my wardrobe — it spills into my room,” she laughs. From juttis by Fizzy Goblet to her go-to Birkenstocks during the Mumbai monsoon, footwear is both expression and necessity. She gravitates toward sustainable clothing brands like Ozis, and while she doesn’t chase labels, her growing watch collection — including a Cartier Panthère and an Omega — is now her most prized fashion treasure.

“I’m not very materialistic,” she says, “but watches have a special place.” Her style? “Cazh [casual] — but I dress for the occasion. Work requires dressing up, so on regular days I like to keep it chill, but still chic.”

 (2025) star Siddhartha Shankar keeps his wardrobe rooted in comfort, sneaker culture and hip-hop aesthetics.

“I love wearing shirts or T-shirts, baggy pants, and sneakers — always sneakers,” he says. For Shankar, sneakers are more than a fashion statement; they’re a cultural one. “They’re tied to hip-hop, basketball and streetwear. I’ve always admired the stories behind each pair.” His favourites? Jordans and Yeezys, especially the ones with sentimental value.

Shankar isn’t big on trends but values clothes that feel good and fit the vibe of the day. Accessories are kept minimal — usually just a well-chosen watch. “I always dress for the occasion,” he says.

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