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By:

Bharati Dubey

17 May 2026 at 7:08:10 am

Family News to Fashion Moments

From Sabyasachi’s classic elegance to Masaba Gupta’s contemporary Indian aesthetic, Deepika and Ranveer’s family portraits reflect two distinct expressions of Indian fashion. For Deepika Padukone and Ranveer Singh, special family milestones have also turned into memorable fashion moments. From choosing Sabyasachi for their first daughter Dua’s introduction to opting for Masaba Gupta’s creations for their younger daughter Devi’s debut, the couple have brought together personal celebrations and...

Family News to Fashion Moments

From Sabyasachi’s classic elegance to Masaba Gupta’s contemporary Indian aesthetic, Deepika and Ranveer’s family portraits reflect two distinct expressions of Indian fashion. For Deepika Padukone and Ranveer Singh, special family milestones have also turned into memorable fashion moments. From choosing Sabyasachi for their first daughter Dua’s introduction to opting for Masaba Gupta’s creations for their younger daughter Devi’s debut, the couple have brought together personal celebrations and Indian designer wear in a distinctive way. The latest family photograph, introducing little Devi Padukone Singh to the world, attracted attention not just for the heartwarming occasion but also for the family’s coordinated outfits. Deepika, Ranveer and their daughters, Dua and Devi, were dressed in ensembles from House of Masaba, giving the intimate family moment a festive fashion touch. Known for her contemporary interpretation of traditional Indian silhouettes, Masaba Gupta has carved a distinct identity in the fashion industry through her bold prints, vibrant colours and unconventional design sensibility. Her designs often combine familiar Indian motifs with modern cuts and unexpected colour combinations, offering an alternative to more conventional occasion wear. The family’s decision to wear her label placed the designer at the centre of another widely noticed celebrity fashion moment. Interestingly, the choice marked a departure from the couple’s earlier family announcement. When Deepika and Ranveer introduced Dua to the public last year, they opted for creations by celebrated couturier Sabyasachi Mukherjee, whose designs are known for their traditional craftsmanship, intricate detailing and timeless appeal. The contrast between the two occasions highlights different expressions of Indian fashion. While Sabyasachi’s signature aesthetic brought classic elegance to Dua’s introduction, Masaba’s contemporary design language added a fresh dimension to the family’s latest appearance. The choice of designer also shaped the visual mood of each announcement, showing how clothing can complement an occasion without taking attention away from the family itself. Coordinated dressing has become a familiar feature of celebrity family photographs, particularly when a personal occasion is shared with the public. When done well, it creates a visual connection between the people in the frame without requiring identical outfits. Colour, prints, silhouettes and accessories can bring the look together while allowing each person’s ensemble to retain its own character. In this instance, the family’s choice of a single label gave the photograph a cohesive look. Deepika and Ranveer have long been associated with some of India’s leading fashion designers, frequently making headlines for their sartorial choices at weddings, film events and public appearances. Their preference for Indian labels during significant personal occasions also reflects the visibility that homegrown designers enjoy when celebrities wear their creations beyond the runway. What makes these two appearances particularly interesting is how fashion has become part of the visual narrative surrounding the couple’s family milestones. Rather than elaborate public events, it is the simplicity of the photographs, complemented by carefully chosen designer ensembles, that has made both announcements stand out. The clothing adds another layer to the images, giving fashion followers a point of interest alongside the personal news. From Sabyasachi’s classic grandeur to Masaba Gupta’s modern Indian aesthetic, the two family portraits offer a glimpse of how different designers have become part of Deepika and Ranveer’s most cherished personal moments. They also show how a celebrity’s choice of clothing can introduce different interpretations of Indian design to a wide audience, even in a photograph centred on an intimate family occasion

Selective Outrage

May 9, 2025
2 min read

India’s left-liberal media has long prided itself on being the torchbearer of secularism, dissent and moral rectitude. In the aftermath of ‘Operation Sindoor,’ the precision military strike launched by the Modi government against Pakistan-based terror camps, it has revealed its not a principled commitment to peace or truth, but a disturbing penchant for ideological prejudice, performative sanctimony and selective outrage.


The operation itself was a textbook display of calibrated force and geopolitical prudence. Prime Minister Narendra Modi, often caricatured as ‘authoritarian’ by the ‘liberal’ English-language commentariat, chose patience over provocation. He consulted opposition leaders, held detailed discussions with defence chiefs and took key international stakeholders, notably the United States and Russia, into confidence before authorising limited military action. The symbolism of ‘Operation Sindoor’ was also carefully crafted: a pointed reminder that the attack’s real victims were Hindu women widowed by Pakistan-sponsored militants in Kashmir. The government’s briefings were also strategic and symbolic as two ranking female officers, one of them Muslim, were made the public face of the mission, underlining a new Indian confidence that blends military muscle with democratic pluralism.


But this was unacceptable for India’s entrenched ‘left-liberal’ press, steeped in academic jargon, Western validation and a knee-jerk hostility to anything remotely ‘Hindutva.’ That a Muslim officer briefed the nation on ‘Operation Sindoor’ was branded ‘tokenism’ by such commentators. Others crudely alleged that the April 22 Pahalgam massacre was the logical culmination of reported atrocities against Muslims since Modi came to power in 2014.


The semantic nitpicking over ‘Operation Sindoor’ was maddening. An editor of a prominent magazine dubbed the operation’s name as ‘patriarchal’ and coded in Hindutva tropes. In a bizarre case of moral inversion, sindoor was likened to symbols of ‘honour killings’ and gender oppression, ignoring both its cultural resonance and the cruel reality that these women had lost their husbands in cold blood. For years, India’s ‘secular’ commentariat nurtured a preordained binary: the Congress may be flawed but was at least ‘secular’ while the BJP was an inveterate ‘fascist.’ Thus, the 2002 Gujarat riots are always focused upon but the Congress-backed pogrom of the Sikhs in 1984 is either downplayed or rationalised. Terrorism in Kashmir is tragic, but state retaliation is ‘jingoism.’ A strong Muslim voice in government is ‘tokenism’ but its absence is ‘exclusion.’ Even journalistic rigour is selectively applied. When Pakistan claimed to have downed Indian jets, some Indian outlets rushed to amplify the story before verification, inadvertently echoing enemy propaganda.


Dissent is vital in any democracy. But when its becomes indistinguishable from disdain, when editorial choices are dictated by ideological conformity, then the press becomes a caricature of itself. Ironically, many of these journalists enjoy robust free speech and loudly lament India’s supposed slide into ‘fascism’ from the safety of their X handles. Yet they turn a blind eye to Putin’s repression, Erdogan’s purges or Xi Jinping’s camps. In their eyes, Modi remains the greatest threat to democracy even as they broadcast their outrage freely, without fear of censorship or reprisal. ‘Operation Sindoor’ was a statement of cultural self-confidence. That confidence has rattled those who have spent their careers gatekeeping Indian discourse. Today, their monopoly is over. The people are watching and they no longer believe that the emperor has clothes.

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