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Category: Lifestyle

  • Barkha Singh Fronts GIVA’s Latest Jewellery Campaign Built Around Everyday Wear 

    The campaign backs a 925 sterling silver collection positioned for everyday styling and in-store merchandising across GIVA locations.

    A new jewellery campaign featuring Barkha Singh has been rolled out by GIVA, supporting a 925 sterling silver collection positioned for everyday wear and in-store visibility across the brand’s retail network.
    The campaign is anchored by a television commercial that introduces the collection through a narrative-driven format rather than a traditional product showcase. The film uses a fast-paced sequence to highlight the visual movement of the jewellery, with the camera following how pieces respond to motion and changing light conditions. The approach aligns with the collection’s design intent, which focuses on fluidity and regular use rather than occasion-based styling.

    The jewellery range has been developed using Computer Numerical Control cutting technology, allowing silver surfaces to be shaped with high precision. This manufacturing process creates fine textural detailing and consistent symmetry, enabling each piece to reflect light differently as the wearer moves. According to the brand, the use of CNC cutting is intended to support durability and visual consistency across repeated daily wear.
    The campaign is being deployed as a multi-platform initiative, with television serving as the primary launch medium. This is supported by outdoor placements, digital distribution, and in-store merchandising. GIVA stores are introducing dedicated display sections for the collection, with visual merchandising designed to highlight movement, surface detailing, and styling versatility.

    Resha Jain, Chief Brand Officer at GIVA, said the collection was designed to align with how customers use jewellery in everyday settings rather than as occasional accessories. She noted that the campaign aims to reflect routine movement and personal style instead of aspirational or ceremonial framing.
    Beyond advertising, the rollout also reflects GIVA’s broader retail strategy as it continues to expand its physical presence across India. The brand currently operates more than 300 stores nationwide, and in-store visibility plays a central role in how new collections are introduced to customers.

    GIVA began as a silver jewellery brand before expanding into gold and lab-grown diamonds in recent years. While manufacturing is carried out through partner facilities across multiple countries, the company operates an in-house plating unit in Jaipur to maintain quality consistency. As the brand scales, campaign-led launches such as this one are increasingly being integrated with retail execution and merchandising rather than treated as standalone marketing efforts.
    At Prittle Prattle News, we honor your dedication and inventiveness led by showcasing you in a positive light. Under the direction of Editor-in-Chief Smruti Bhalerao, our platform is committed to disseminating powerful narratives that raise awareness and motivate change. For more important stories, follow us on LinkedIn, Instagram, and YouTube.

  • Types of Furniture Across Cultures: How Tradition Shapes Design

    By Mr. Hemant Agarwal, Founder of Silver Lake Premium Furniture

    Types of furniture have always been a reflection of the culture and history of the people who crafted and used them. From the minimalist designs of Japan to the opulent, intricately carved furniture of China, each culture tells its own story through its interior design. Furniture is not just functional but a symbol of the artistry, beliefs, and lifestyle of different communities. This exploration of the varied types of furniture found across the world, from traditional to contemporary styles, offers a glimpse into the creative ingenuity that defines human living spaces.

    The lifestyle of human species has evolved a lot in the last few centuries, from the clothes we wear to the food we eat, it’s all evolved a lot in past times. Diversity of human beliefs is immense, different cultures have different styles of living, their home design, whether they use concrete or wood or the type of furniture they prefer. Interior design of homes differs according to their culture, depending on the types of traditional craftsmanship they use, or the cultural practices of that particular place.

    Types of Furniture used vary in different cultures, like in Japanese culture, traditionally Tatami Mats and Futon were used. Tatami Mats were woven by straws and were made to be laid on floors, generally for floor seating and low tables. Futons are the mattress that can be folded and stored during day time. We can see that Japanese furniture are typically minimal, and are made solely for comfort. Shoji screens can also be an example of minimalistic furniture in Japanese culture, which are sliding paper doors to allow light to pass through.

    Traditional Chinese furniture was often made of hardwoods, and had distinct curves, or intricate carvings to make them look more appealing. Ming chairs and Chinese cabinets are some of the examples, where Ming chairs are known for their elegance and simplicity and Chinese cabinets were lacquered with carvings and paintings. Opium beds and Kang tables were also some of the furniture often used in Chinese culture.

    Traditionally, Charpai was one of the most basic pieces of furniture used in Indian culture. It’s a traditional woven bed, made from a wooden frame and jute strings. Jhoola is one of the things that can be found in the Indian courtyards or living rooms, it’s a hanging swing chair or bench. Indian furniture often had intricate carvings, designs, and paintings made, especially in royal homes.

    African furniture was traditionally made on a hierarchy basis, stools and thrones, which symbolize power and prestige and wooden carved benches were used for the communal sittings. Stools were often carved from a single piece of wood and benches used to be adorned with tribal carvings. Rattan furniture were made from palm stems and were known for their durability and lightweight. In countries like Morocco, Leather Ottomans are used as seats or foot rests, and are made from goat or camel hide.

    In the Middle eastern countries, Majlis seating and Mosaic tables are used traditionally. Majlis seating is a form of communal gathering where cushions are laid around the room in a circular manner and Mosaic tables are intricate with geometric designs usually found in countries like Morocco and Iran. Divans are long backless Sofas, covered with sheets and cushions.
    Victorian furniture in Western Europe is often made of hardwood and rich padded textile covering it. Chesterfield Sofa is a two layered leather sofa, which came from England. Louis XIV furniture is again a luxurious and expensive piece often found in France.
    American furniture design has changed a lot from native Americans to modern interior designs. Adirondack chairs and Shaker furniture are often seen in America. Adirondack chairs are outdoor chairs, which have wide armrests and can be used in rusty settings. Metal, glass and plywood were used in mid-century modern, which had clean, sleek lines.
    As opposed to their northern companion the furniture style in Latin America has always been quite simple. Influenced by the Spanish craftsmanship, their furniture style has always been lightweight and eco-friendly. Hammocks, a traditional hanging bed or seat, are usually made of cotton or sisal fiber, they can be used both inside and outside hanging with the help of a tree. Equipal chairs are made from pigskin leather and woven wood are mostly found in countries like Mexico.
    Every culture has their own style and design in their furniture, they all bring their unique flavor in the design and craftsmanship. It tells you the story of their culture and history of their people and traditions.
    This article was shared with Prittle Prattle News as an authored article.
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  • Every nine seconds, a billboard blinks near Koramangala and Bengaluru notices Heer by GIVA 

    The ‘9KT in 9 Seconds’ installation uses a live countdown format to frame 9KT gold as everyday jewellery for modern wear

    Every nine seconds, a billboard near Koramangala lights up, pauses, and resets. In a city accustomed to constant visual noise, the repetition has begun to stand out. The installation marks the latest brand campaign by Heer by GIVA, which has chosen timing and restraint over scale and spectacle to introduce its take on modern gold.
    The campaign, titled 9KT in 9 Seconds, is anchored by a large format outdoor installation positioned near Nexus Koramangala Mall in Bengaluru. Designed as a live clock timer, the billboard illuminates every nine seconds, drawing attention through predictability rather than surprise. The pause mirrors the emotional beat before a meaningful moment, an idea the brand uses to position its 9KT gold jewellery as something meant for everyday life rather than occasional display.

    Heer by GIVA is the recently launched gold and lab grown diamond brand from GIVA. With this campaign, the brand departs from traditional jewellery advertising that relies on opulence, ceremonial cues, or celebrity presence. Instead, the outdoor installation uses repetition and time to invite passers by to notice gold in a quieter, more familiar context.
    Commenting on the campaign, Resha Jain, Chief Brand Officer at GIVA, said the idea was to reintroduce gold to a younger audience through moments that feel lived in rather than staged. She noted that bringing the concept to the street allowed the brand to create a physical experience that asks people to pause briefly and connect with jewellery that fits into real routines while still holding emotional meaning.

    The campaign is rooted in the insight that younger consumers are increasingly seeking jewellery that integrates into daily life without losing personal relevance. Through 9KT in 9 Seconds, gold is framed as lightweight, expressive, and suited for regular wear, aligning with shifts in how urban consumers relate to accessories and self expression.
    Beyond the outdoor installation, the campaign extends across digital platforms through short form educational and storytelling content focused on the 9KT collection. The narrative is being carried forward through a mix of micro and macro influencers, using fast paced formats that echo the rhythm of the nine second countdown. The approach reflects a deliberate move toward community led and creator driven brand communication.

    This marks the second major campaign for Heer by GIVA, following the #AmiHeer campaign introduced during the festive season. Together, the campaigns signal a longer term strategy that moves away from conventional jewellery advertising frameworks and toward experience led storytelling anchored in everyday moments.
    As the countdown continues to blink on a Bengaluru street, the campaign relies less on persuasion and more on repetition. In a city that rarely slows down, nine seconds at a time appears to be enough to start a conversation about how gold fits into modern life.
    At Prittle Prattle News, we honor your dedication and inventiveness led by showcasing you in a positive light. Under the direction of Editor-in-Chief Smruti Bhalerao, our platform is committed to disseminating powerful narratives that raise awareness and motivate change. For more important stories, follow us on LinkedIn, Instagram, and YouTub

  • A Riverfront Runway Marks the Finale of Blenders Pride Fashion Tour in Kolkata 

    The Hooghly River became the setting for Anamika Khanna’s AK | OK showcase, with Ishaan Khatter appearing as showstopper.

    The Blenders Pride Fashion Tour brought its current season to a close in Kolkata with a riverfront showcase staged on the Hooghly River, turning the city’s historic waterfront into a live fashion setting. Set against the backdrop of the Howrah Bridge, the finale marked a departure from conventional runway formats, placing craft, scale, and setting at the centre of the narrative.
    The closing show featured an experimental collection by designer Anamika Khanna under her label AK | OK, with actor Ishaan Khatter appearing as the showstopper. Presented in collaboration with the Fashion Design Council of India, the Kolkata edition sought to question familiar ideas of Indian craftsmanship by treating it as a process in motion rather than a fixed tradition.

    The showcase unfolded on a barge anchored mid-river, transforming it into a floating stage. The opening sequence saw divers emerge onto the structure, followed by a carefully timed interplay of light, sound, and movement. Scaffolding elements were activated through lighting effects, while models appeared from within the structure to a high-energy score, creating a sense of build-up and momentum that carried through the show.
    Anamika Khanna’s AK | OK collection reworked traditional craft elements such as zardozi, chikankari, and mirror work by breaking them down and reconstructing them through sharp tailoring, metallic surfaces, and graphic interventions. The garments moved between structured silhouettes and fluid forms, with chainmail-inspired looks forming a strong visual statement before transitioning into sculptural pieces designed for movement.

    As the show progressed, responsive lighting and lasers tracked each step along the runway, heightening the sense of tension and rhythm. The narrative reached its closing moment with Ishaan Khatter’s arrival by speedboat, followed by a collective finale staged against the illuminated Howrah Bridge, bringing together performers and models in a unified visual conclusion.
    Ahead of the main presentation, guests were hosted aboard The Bengal Paddle, a vessel known for its historic interiors and river-facing views. Its Riverine Museum, housed within a former boiler room, features marine artefacts and installations tracing the history of the Hooghly, providing a cultural setting that complemented the evening’s focus on place and heritage.

    Speaking on the significance of the Kolkata finale, Debasree Dasgupta, Chief Marketing Officer at Pernod Ricard India, said that the tour has consistently aimed to shape fashion and cultural conversations. She noted that the closing chapter reflected the idea of craft as something that evolves through dialogue between heritage and present-day expression.
    Designer Anamika Khanna said that the collaboration allowed her to explore how Indian craftsmanship could be taken apart and reassembled for contemporary audiences. She described the response to the collection as energising, particularly in a setting where the city itself became part of the presentation.

    Ishaan Khatter, reflecting on his role in the show, said that the experience aligned with his interest in experimentation and pushing beyond the expected. He noted that seeing craft presented in a sharper, more expressive form, set against such a recognisable landmark, made the moment feel significant.
    Sunil Sethi, Chairman of the Fashion Design Council of India, said the collaboration brought together fashion institutions and creative forces to present a future-facing vision. He described the Kolkata edition as a celebration of creativity and culture that set the tone for what lies ahead in Indian fashion.

    With its final chapter staged on the Hooghly River, the Blenders Pride Fashion Tour concluded its season by shifting attention away from enclosed venues and toward open, public spaces. The Kolkata finale positioned fashion within the city’s living landscape, allowing craft, performance, and place to intersect in a way that left a lasting visual imprint.
    At Prittle PrattleNews, featuring you virtuously, we celebrate the commitment and innovation. Led by Editor-in-Chief Smruti Bhalerao, our platform is dedicated to sharing impactful stories that inspire change and create awareness. Follow us on LinkedIn, Instagram, and YouTube for more stories that matter.

  • A Paris-Inspired Christmas Carnival Takes Shape at Korum Mall 

    Running from 6 December to 4 January, the festive installation combines Paris-inspired décor, weekend activities, and a shop-and-win campaign for visitors.

    Located in Thane, the mall has adopted the theme “Christmas in Paris” for its year-end celebrations. Visitors entering the premises are welcomed by a snowing Christmas tree installation at the entrance, setting the tone for the experience inside. The festive setup has been planned as a visual walk-through, with themed décor and lighting spread across common areas.
    At the centre of the installation is a large Eiffel Tower structure placed in the atrium, designed as the primary visual focal point. The structure has been positioned as a photo-friendly attraction, drawing visitors into the central space of the mall. Surrounding décor elements continue the Paris-inspired theme, combining Christmas motifs with references to the French capital’s architecture and street aesthetics.

    The festive programme extends beyond décor, with activities scheduled across weekends throughout December. These include children’s workshops, performances, games, and interactive sessions aimed at keeping the experience fresh for repeat visitors. The mall has positioned these activities as family-focused, allowing children and parents to participate together during the holiday period.
    On December 25, the carnival will include a dedicated Meet and Greet with Santa, offering children the opportunity to interact, share wishes, and capture photographs. The Christmas Day activity is expected to be one of the more popular moments within the larger programme, particularly for families visiting the mall during the holiday.

    Running alongside the installations and activities is the mall’s seasonal retail campaign, “Shop and Win a Trip to Paris.” The campaign links festive shopping with the chance to win a travel experience, encouraging visitors to engage with stores across categories during the celebration period. Mall officials have positioned the campaign as a way to connect the Paris theme with shopping-led participation.
    By combining large-scale décor, scheduled activities, and a retail incentive, Korum Mall aims to draw steady footfall through the festive season rather than concentrating activity on a single day or weekend. The extended duration of the carnival allows visitors to experience different elements across multiple visits.

    Korum Mall, which opened in 2009, is part of Kalpataru Retail Ventures Pvt. Ltd., a company of the Kalpataru Group. Located along the Eastern Express Highway, the mall is accessible from Thane city and the central suburbs of Mumbai and has established itself as a major retail and leisure destination in the region.
    Over the years, Korum Mall has received multiple national and international awards and is recognised for its design-led layout and scale. With a constructed area of nearly ten lakh square feet and a large retail footprint, the mall regularly hosts seasonal installations and public-facing events.

    The Paris-inspired Christmas carnival continues this approach, positioning the mall as a festive gathering space during the year-end period. By combining visual installations with activities and shopping incentives, the initiative seeks to offer visitors an experience that goes beyond routine retail, while remaining accessible to families across Thane.
    At Prittle PrattleNews, featuring you virtuously, we celebrate the commitment and innovation. Led by Editor-in-Chief Smruti Bhalerao, our platform is dedicated to sharing impactful stories that inspire change and create awareness. Follow us on LinkedIn, Instagram, and YouTube for more stories that matter.

  • When art borrows from nature, a festival installation explores coexistence and colour through Absolut Mixers 

    Pulkith Modi, Marketing Head, Pernod Ricard India discussed Absolut Mixers’ creative presence at Echoes of Earth 2025

    When art borrows from nature, it often reveals ideas that go beyond aesthetics. At Echoes of Earth 2025, an installation by Absolut Mixers explored this intersection through a public art experience that placed coexistence, diversity, and creative connection at its core. Presented as The Absolut Blue Trail, the installation unfolded as a sensory journey rooted in the festival’s larger theme, “Nature’s Intelligence,” and Absolut’s long-held philosophy of a colourless world.
    Echoes of Earth, held in Bengaluru on December 13 and 14, has established itself as a platform where sustainability, inclusivity, and artistic expression intersect. Absolut Mixers’ presence at the festival aligned with this ethos, positioning art as a medium to reflect how ecosystems, cultures, and identities thrive through collaboration rather than separation.

    The Absolut Blue Trail brought together three artists who each interpreted the colour blue through forms found in nature. Rather than treating blue as a static shade, the trail examined it as an outcome of harmony, an illusion that exists only when light, material, and perspective align. The installations were constructed using reclaimed materials, reinforcing the festival’s commitment to sustainability and responsible creativity.
    Artist Trishala Srinivas drew inspiration from the Indian Roller, a bird known for its vivid blue plumage and striking aerial movement. Her work translated the bird’s presence into a sculptural form that celebrated motion, balance, and the fleeting nature of colour. The installation invited viewers to reflect on how vibrancy in nature often emerges from adaptability and interdependence.

    The artist collective Alt-Native focused on the Peacock Mantis Shrimp, a marine species recognised for its complex visual spectrum and iridescent blue tones. Their installation examined perception itself, highlighting how colour is experienced differently depending on context and sensory capability. Through material reuse and layered construction, the piece encouraged audiences to reconsider how diversity in vision shapes understanding.
    Completing the trail, artist Mechanimal presented a kinetic interpretation of the Gooty Tarantula, an endangered species native to India. The installation combined movement, reclaimed components, and mechanical elements to transform fragility into strength. By spotlighting an at-risk species through innovation and reuse, the work linked conservation with creative resilience.

    The exploration of transformation extended beyond static installations. The Absolut Stage took inspiration from the Mimic Octopus, a species known for its ability to adapt and shift form. Designed as an evolving visual environment, the stage changed in response to performances, reflecting Absolut’s belief that creativity is fluid and shaped through interaction.
    Music formed an integral part of the experience, reinforcing the themes of connection and openness. The Absolut Stage hosted performances that crossed genres and geographies. Stavroz closed the first day with a set that blended electronic textures with jazz influences, while The F16s delivered an energetic performance rooted in indie rock and rhythmic experimentation. Graysokker concluded the programming with a high-intensity set that merged electronic and rock elements, creating a collective, movement-driven atmosphere.

    Speaking about the collaboration, Pulkith Modi, Marketing Head at Pernod Ricard India, said Absolut’s presence at Echoes of Earth reflects the brand’s belief in authenticity, inclusivity, and freedom of expression. He noted that the Born Colourless philosophy is rooted in the idea that creativity flourishes without labels, and that nature, culture, and art offer some of the purest expressions of that principle.
    Echoes of Earth 2025 brought together more than thirty artists and bands from India and abroad, alongside workshops, installations, and community-led experiences. Within this landscape, The Absolut Blue Trail functioned not as a standalone brand statement but as a shared space for reflection, where art, environment, and audience engagement converged.
    By anchoring its presence in reclaimed materials, endangered species narratives, and adaptive design, Absolut Mixers used the festival setting to explore how ideas of colour, identity, and coexistence can be reimagined. The installation invited audiences to step into a world where difference is not divided but mixed, and where creativity, much like nature, finds its strength through connection.
    At Prittle PrattleNews, featuring you virtuously, we celebrate the commitment and innovation. Led by Editor-in-Chief Smruti Bhalerao, our platform is dedicated to sharing impactful stories that inspire change and create awareness. Follow us on LinkedIn, Instagram, and YouTube for more stories that matter.

  • India’s busiest airports emerge as new battlegrounds for global food brands, with Popeyes opening at Mumbai T2 

    Sameer Khetarpal of Jubilant FoodWorks and AMRL representatives discussed the strategic importance of the Mumbai T2 debut

    India’s busiest airports are increasingly becoming competitive arenas for global food brands, and the opening of Popeyes’ first airport outlet at Mumbai’s Chhatrapati Shivaji Maharaj International Airport, Terminal 2, reflects this shift. Announced on December 22, the new store marks a strategic expansion milestone for the Louisiana-born fried chicken brand as it deepens its presence in India’s premium travel-led locations.
    The Mumbai T2 outlet is Popeyes’ first airport store in the country and follows the brand’s entry into the Mumbai market earlier this year in August. Operated in partnership with AMRL, the opening signals a deliberate move to position the brand at high-footfall transit hubs where discovery, repeat engagement, and brand recall converge.

    Airport terminals in India are no longer viewed solely as points of departure and arrival. They are evolving into lifestyle destinations where food and beverage offerings play a central role in shaping passenger experience. The decision to launch at Mumbai T2, one of the country’s busiest and most aspirational aviation gateways, aligns with this broader transformation of airport retail and dining.
    At the new outlet, travellers can access Popeyes’ core global menu, including the Chicken Sandwich, Signature Fried Chicken, Boneless Chicken offerings with international flavours, and the Hot & Messy range developed for Indian preferences. The brand has retained its Louisiana Cajun roots, with chicken prepared fresh, hand-battered, hand-breaded, and marinated for twelve hours to deliver its signature flavour profile.

    Speaking on the brand’s expansion into airport locations, Sameer Khetarpal, Chief Executive Officer and Managing Director of Jubilant FoodWorks Limited, said airports have become critical touchpoints for brand discovery and sustained engagement. He noted that the Mumbai T2 launch allows Popeyes to connect with a high-intent, high-frequency audience and extend its footprint beyond traditional high-street locations. According to Khetarpal, the opening builds on the strong consumer response the brand has seen in Mumbai since August and represents a calculated step toward scaling in premium environments.
    From the airport operator’s perspective, the partnership reflects a broader focus on curating food and beverage experiences that match evolving traveller expectations. A spokesperson from AMRL said the launch of Popeyes at Chhatrapati Shivaji Maharaj International Airport marks a significant development in the company’s food and beverage growth strategy. The spokesperson highlighted that airports are increasingly positioning themselves as lifestyle hubs, with dining playing a pivotal role in the overall passenger journey.

    The spokesperson added that partnering with a globally recognised brand such as Popeyes aligns with AMRL’s vision of offering world-class choices to travellers. Mumbai T2, given its scale and passenger mix, was described as an ideal location for the brand’s airport debut. The collaboration, according to AMRL, reflects a continued emphasis on quality, consistency, and global relevance within India’s airport food and beverage ecosystem.
    The Popeyes store at Mumbai T2 is now operational and offers both dine-in and takeaway options for domestic and international passengers. Its placement at the airport forecourt positions the brand to serve travellers across multiple journey stages, from pre-departure dining to quick-service meals for those in transit.

    For Jubilant FoodWorks, which holds franchise rights for several global quick service restaurant brands in India and other markets, the airport launch adds another dimension to its growth strategy. With a network spanning multiple countries and thousands of stores, the group continues to explore formats and locations that align with changing consumer behaviour and travel patterns.
    The Mumbai T2 opening also reflects a broader trend in which global food brands are increasingly viewing airports as strategic growth platforms rather than ancillary locations. High passenger volumes, diverse demographics, and extended dwell times have made airports attractive venues for brands seeking visibility and consistent demand.

    As India’s aviation sector continues to expand and airports evolve into integrated commercial destinations, food brands are recalibrating how and where they engage consumers. Popeyes’ entry into Mumbai’s Terminal 2 places it squarely within this competitive landscape, where dining, discovery, and travel intersect, and where global brands are vying for attention at the country’s most active gateways.
    At Prittle PrattleNews, featuring you virtuously, we celebrate the commitment and innovation. Led by Editor-in-Chief Smruti Bhalerao, our platform is dedicated to sharing impactful stories that inspire change and create awareness. Follow us on LinkedIn, Instagram, and YouTube for more stories that matter.

  • A Week-Long Children’s Holiday Programme Takes Shape in Mumbai With Pokiddo Junior

    Founder representatives from Pokiddo Junior said the Christmas Winter Ball will combine grooming workshops, performances and a children’s pageant

    Pokiddo Junior has announced a six-day children’s holiday programme in Mumbai, scheduled from December 20 to 25, centred around its Christmas Winter Ball activities. The programme is designed to offer structured workshops, festive engagement and performance opportunities for children during the holiday period.
    The activities will begin on December 20 with a Winter Ball event that includes sessions focused on grooming, fashion and dance. These workshops will run through the week, leading up to the Christmas Ball finale on December 25, which will feature the Ms and Mr Pokiddo 2025 pageant.

    According to the organisers, the programme has been planned as a platform for children to participate across a range of interests, including stage presence, etiquette and creative expression. Alongside workshops, the venue will host themed décor, photo zones, and scheduled interactions with Santa and Pokiddo characters.

    As part of the celebrations, children are invited to submit Letters to Santa to participate in the Pokiddo Junior Prince and Princess 2025 segment. The final day will include a formal ceremony where selected participants will be recognised with crowns, sashes and Pokiddo Passports.
    The organisers have also introduced a Royal Pass, which provides access for one child and one accompanying adult to all listed activities during the event, along with a buffet offering. An additional Guardian Pass is available for extra accompanying adults. Pricing and tax details have been outlined by the organisers as part of the registration process.

    The programme will be held at the Pokiddo Junior venue in Mumbai. Registrations are currently open through the organiser’s official booking platform.
    Event Dates: December 20 to December 25, 2025
    Venue: Pokiddo Junior, Mumbai
    At Prittle PrattleNews, featuring you virtuously, we celebrate the commitment and innovation. Led by Editor-in-Chief Smruti Bhalerao, our platform is dedicated to sharing impactful stories that inspire change and create awareness. Follow us on LinkedIn, Instagram, and YouTube for more stories that matter.

  • Festive Diamond Buying Gains Momentum as NRI Travel Peaks Across India

    Bhima Gold Pvt. Ltd., led by Managing Director Vishnusharan Bhatt, rolls out the Brilliance Diamond Jewellery Festival with exclusive December-to-January collections and NRI-focused buying advantages across its South India stores.

    India’s festive retail season is seeing renewed momentum in diamond jewellery purchases as Non-Resident Indians return home during December and early January. With international travel peaking during this period, jewellers are witnessing higher purchase intent driven by weddings, family milestones, and long-term investment buying. This seasonal pattern has become increasingly significant for organised jewellery retailers with strong credibility in diamonds.
    Against this backdrop, Bhima Gold Pvt. Ltd. has introduced the Brilliance Diamond Jewellery Festival, a limited-period retail initiative aligned with the annual influx of NRI shoppers. The festival, running across all Bhima stores until mid-January, reflects the company’s effort to consolidate its position in the premium diamond segment during one of the most commercially active periods of the year.

    The initiative brings together new diamond collections, certified solitaires, and purchase benefits structured specifically for international buyers. Rather than focusing solely on festive aesthetics, the collections draw from contemporary global styling while retaining design elements familiar to Indian family jewellery traditions. This balance has become particularly relevant for NRIs who often seek pieces that work across cultural contexts.
    According to Vishnusharan Bhatt, Managing Director of Bhima Gold Pvt. Ltd., December continues to be a critical period for diamond jewellery engagement, not only because of travel patterns but also due to the emotional significance attached to year-end purchases. He notes that many NRI families plan jewellery buying alongside weddings, anniversaries, and generational gifting, making trust, valuation transparency, and long-term value central to decision-making.

    Bhima’s approach during the festival places emphasis on its established diamond assurance framework. Certified solitaires backed by International Gemological Institute and Gemological Institute of America form a core part of the offering. Enhanced documentation, transparent valuation practices, and additional in-store support are positioned to address the expectations of international buyers who are often comparing Indian purchases with global retail standards.
    The festival also introduces exchange and purchase value mechanisms aimed at long-standing Bhima customers, including families that have patronised the brand across generations. By encouraging upgrades and reinvestment within its own diamond portfolio, the retailer is seeking to deepen customer continuity rather than rely solely on first-time transactions.

    Beyond pricing and certification, design innovation remains a central pillar of the festival. New collections incorporate modern heirloom concepts, bridal influences, and fusion aesthetics, reflecting evolving preferences among younger buyers and second-generation NRIs. These designs are intended to hold relevance beyond a single occasion, aligning with changing attitudes toward jewellery as both emotional and functional assets.
    The Brilliance Diamond Jewellery Festival also signals Bhima’s broader strategy to expand its diamond category share while reinforcing its identity as a trust-led retailer. With a century-long legacy rooted in purity and craftsmanship, the company is positioning diamonds not merely as luxury objects but as markers of identity, continuity, and personal storytelling.
    As India’s festive quarter increasingly overlaps with global travel cycles, initiatives like this illustrate how organised jewellery retailers are adapting to a more international consumer base. For Bhima Gold, the December to January window represents not just a sales opportunity, but a moment to strengthen long-term relationships with the global Indian family.
    At Prittle PrattleNews, featuring you virtuously, we celebrate the commitment and innovation. Led by Editor-in-Chief Smruti Bhalerao, our platform is dedicated to sharing impactful stories that inspire change and create awareness. Follow us on LinkedIn, Instagram, and YouTube for more stories that matter.

  • What India Is Choosing to Build Is Quietly Changing the Country’s Architectural Language

    From Thal Sena Bhawan for the Indian Army and ONGC’s International Convention Centre to Technocity Kerala, American Embassy School, Rashtrapati Udyan Dehradun, Taj Lucknow, and Queen Elizabeth School Gurugram, projects by CP Kukreja Architects reflect how institutions, cities, and public life are being reshaped across India.

    India’s built environment is undergoing a shift that is less visible in skylines and more evident in institutions, campuses, landscapes, and civic spaces. As the country moves beyond rapid expansion toward consolidation and long-term capacity building, architecture is increasingly being asked to serve systems rather than symbols. The choices being made today, often away from the spotlight, are beginning to reshape how cities function, how institutions operate, and how public life is experienced.
    Across defence infrastructure, educational campuses, technology districts, hospitality developments, and public parks, a common thread is emerging. The emphasis is moving away from visual dominance toward clarity, durability, and contextual response. This transition reflects a broader understanding that architecture must now operate at scale while remaining sensitive to ecology, access, and everyday use.

    One of the clearest expressions of this shift can be seen in large national institutions such as Thal Sena Bhawan, the upcoming headquarters of the Indian Army in Delhi. Rather than presenting itself as a singular monument, the project translates organisational logic into spatial structure. Circulation efficiency, internal connectivity, security, and landscape integration drive the planning approach. The architectural language draws meaning from institutional values rather than decorative assertion, signalling a move toward purpose-led design in state infrastructure.
    A similar institutional clarity is visible in the International Convention and Expo Centre being developed for ONGC in Goa. Conceived as a composite environment for training, knowledge exchange, and large-format public engagement, the campus prioritises functional separation, operational flow, and adaptability. Its architectural expression responds to Goa’s coastal context without resorting to pastiche, indicating how large public-sector projects are beginning to balance identity with restraint.

    Education architecture is also undergoing recalibration. At Queen Elizabeth School in Gurugram, historical lineage is acknowledged through proportion, materiality, and spatial rhythm, while contemporary requirements are addressed through planning and infrastructure. The project reflects a growing recognition that schools are no longer just academic facilities but environments that shape social behaviour, movement, and learning culture over decades.
    This rethinking extends to international education environments as well. The phased redevelopment of the American Embassy School in New Delhi demonstrates how architecture can evolve without disrupting daily life. The project’s careful sequencing allows learning to continue uninterrupted while gradually transforming the campus into a more flexible and future-ready environment. Here, architecture acts as an enabler rather than a disruption, a principle increasingly central to large institutional projects.

    Technology-driven urban development offers another lens into this changing architectural language. Technocity and Technopark Phase IV in Thiruvananthapuram represent a shift from isolated IT buildings to integrated urban districts. The masterplan prioritises pedestrian movement, ecological corridors, and mixed-use interaction, reframing the idea of a technology park as a lived environment rather than a purely commercial enclave. Sustainability, mobility, and public access are embedded at the planning level, suggesting a more mature approach to economic infrastructure.
    Public landscapes, too, are being reimagined as essential urban systems. The redevelopment of Rashtrapati Udyan in Dehradun places ecology, recreation, and cultural memory on equal footing. Instead of functioning as ornamental green space, the park is designed as an active public environment with layered experiences, biodiversity strategies, and everyday accessibility. Such projects indicate a renewed understanding of public parks as civic infrastructure rather than aesthetic additions.

    Hospitality architecture is responding to similar pressures. The expansion of Taj Lucknow demonstrates how legacy brands are choosing continuity over spectacle. The design extends the existing architectural vocabulary through proportion, spatial organisation, and contextual orientation, reinforcing the idea that luxury today is increasingly defined by calm, coherence, and spatial quality rather than visual excess.
    Taken together, these environments reveal a broader pattern. Architecture in India is becoming less about individual statements and more about systems that must endure. Institutions are demanding buildings that can adapt, landscapes that regenerate, campuses that function seamlessly, and cities that support everyday life without constant reinvention.
    This quiet shift may not dominate headlines, but its impact will be lasting. As these projects move forward, they collectively suggest that India’s architectural language is evolving toward one that values longevity over immediacy, responsibility over display, and context over imitation. What the country is choosing to build today is setting the tone for how it will live, work, and gather for decades to come.
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