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Home > Photos> Photos: Highlights from Lotus Make-up India Fashion Week Spring-Summer 2021

Photos: Highlights from Lotus Make-up India Fashion Week Spring-Summer 2021

From Tarun Tahiliani’s opulent bridal wear to Abhishek Gupta’s ode to Varanasi, the highlight of the digital fashion week was Indian craft legacies to create garments for the future

Tarun Tahiliani gave a contemporary spin to timeless crafts such as minakaari jewellery, jamevaar weaves and kashida embroidery. His wedding couture collection, titled 'Age Of Innocence', reflected this with light-weight, jewel-encrusted lehngas that had pockets, and sherwanis were upgraded with jamevaar weaves. The jewels were stitched into the garments or adorned hemlines as tassels. The colour palette was aquas, shell pinks, pale jades and tea roses.
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Tarun Tahiliani gave a contemporary spin to timeless crafts such as minakaari jewellery, jamevaar weaves and kashida embroidery. His wedding couture collection, titled 'Age Of Innocence', reflected this with light-weight, jewel-encrusted lehngas that had pockets, and sherwanis were upgraded with jamevaar weaves. The jewels were stitched into the garments or adorned hemlines as tassels. The colour palette was aquas, shell pinks, pale jades and tea roses.
Rohit Gandhi and Rahul Khanna: Their gowns were sleek and the suits sharp. In shades of deep black and siren red, the designer duo presented a Western bridal wear collection. Titled Parallax, the tailored coats for men were streaked with metallic surface work, while floor-sweeping gowns had thigh- high slits, deep necklines and long fringes to embody movement and glamour.
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Rohit Gandhi and Rahul Khanna: Their gowns were sleek and the suits sharp. In shades of deep black and siren red, the designer duo presented a Western bridal wear collection. Titled Parallax, the tailored coats for men were streaked with metallic surface work, while floor-sweeping gowns had thigh- high slits, deep necklines and long fringes to embody movement and glamour.
Ashish Soni: In the digital video presentation, Soni revealed growing up in Africa and his collection expressed solidarity with the #BlackLivesMatter movement. Nearly all his models were of African-origin and the collection was dominated by the colour black. But, his clothes, from stark white tunics that can double up as kurtas paired with tuxedos and wrap jackets, had a universal flavour and transcend seasons.
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Ashish Soni: In the digital video presentation, Soni revealed growing up in Africa and his collection expressed solidarity with the #BlackLivesMatter movement. Nearly all his models were of African-origin and the collection was dominated by the colour black. But, his clothes, from stark white tunics that can double up as kurtas paired with tuxedos and wrap jackets, had a universal flavour and transcend seasons.
Abhishek Gupta: Intricate embroidery depicting flora and fauna was the highlight of Gupta’s collection, titled Benares. Lehengas and ankle-length kurtas with ombre shades of light blue to navy and soft pink to red perhaps referenced the many shades of the sky and sunset by the ghats of Varanasi. Sherwani for men, in pure blue and pearl whites, had geometric surface texture perfect for a modern wedding.
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Abhishek Gupta: Intricate embroidery depicting flora and fauna was the highlight of Gupta’s collection, titled Benares. Lehengas and ankle-length kurtas with ombre shades of light blue to navy and soft pink to red perhaps referenced the many shades of the sky and sunset by the ghats of Varanasi. Sherwani for men, in pure blue and pearl whites, had geometric surface texture perfect for a modern wedding.
Shantanu and Nikhil: Their sharply tailored, gender-fluid jackets, trousers and shirts were adorned with badges intended to embody power dressing. Devoid of sequins, weaves and embroidery, it was occasion wear with a difference. Military green, navy blue and whites were the only three colours and they signified a strong yet sombre mood.
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Shantanu and Nikhil: Their sharply tailored, gender-fluid jackets, trousers and shirts were adorned with badges intended to embody power dressing. Devoid of sequins, weaves and embroidery, it was occasion wear with a difference. Military green, navy blue and whites were the only three colours and they signified a strong yet sombre mood.
Gauri and Nainika: The only designers to inject spring as we know it; as a season of new beginnings. The uplifting mood was reflected in lightweight fabrics, soft colours and floral prints. The complete video was shot in a garden evocatively capturing a languid romantic feel. Most garments, from shoulder-baring dresses, maxis, skirts to blouses, were crafted in light fabrics such as chiffon and tulle in spring hues, like nude pink, and had oversized digital prints of flowers and leaves to bring the outdoors into your home.
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Gauri and Nainika: The only designers to inject spring as we know it; as a season of new beginnings. The uplifting mood was reflected in lightweight fabrics, soft colours and floral prints. The complete video was shot in a garden evocatively capturing a languid romantic feel. Most garments, from shoulder-baring dresses, maxis, skirts to blouses, were crafted in light fabrics such as chiffon and tulle in spring hues, like nude pink, and had oversized digital prints of flowers and leaves to bring the outdoors into your home.
Shivan and Narresh: The designer due, who redefined resort-wear, showcased garments inspired by Gustav Klimt’s paintings, and human and animal anatomy. Inevitably, the prints were wild. In fact, the name of the collection was The Wilding ’20s and it marked 10 years of their brand. Fitted bustiers, fluid kaftans, tailored saris bordered with studs, easy-fit mens shirts captured this essence. It was a showcase high on hope and celebratory spirit.
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Shivan and Narresh: The designer due, who redefined resort-wear, showcased garments inspired by Gustav Klimt’s paintings, and human and animal anatomy. Inevitably, the prints were wild. In fact, the name of the collection was The Wilding ’20s and it marked 10 years of their brand. Fitted bustiers, fluid kaftans, tailored saris bordered with studs, easy-fit mens shirts captured this essence. It was a showcase high on hope and celebratory spirit.
Sahib Bhatia: Menswear got a millennial take in Sahib Bhatia’s collection. His label, Amaare Couture, had long ribbed jackets, some with metallic accents, and were paired with scarves and slim trousers. Kurtas, sherwanis and bandhgalas in shades of black, navy blue and wine were befitting as occasion wear.
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Sahib Bhatia: Menswear got a millennial take in Sahib Bhatia’s collection. His label, Amaare Couture, had long ribbed jackets, some with metallic accents, and were paired with scarves and slim trousers. Kurtas, sherwanis and bandhgalas in shades of black, navy blue and wine were befitting as occasion wear.
Bloni: The collection stood out for its attention to the role of fashion in gender identity as well as eco-consciousness. Bloni’s founder Akshat Bansal decided to divide the showcasing in two parts—with models and a digital recreation of garments to check waste. It was a phygital show and he joined hands with a tech company, ScotomaLab, to create floating 3d garments. The clothes—coordinated sets, dresses, trousers and shirts—worn by models were gender-fluid with textiles developed from regenerated marine plastic waste, brown tweeds, metallic faux leather, and laser-cut foil jerseys.
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Bloni: The collection stood out for its attention to the role of fashion in gender identity as well as eco-consciousness. Bloni’s founder Akshat Bansal decided to divide the showcasing in two parts—with models and a digital recreation of garments to check waste. It was a phygital show and he joined hands with a tech company, ScotomaLab, to create floating 3d garments. The clothes—coordinated sets, dresses, trousers and shirts—worn by models were gender-fluid with textiles developed from regenerated marine plastic waste, brown tweeds, metallic faux leather, and laser-cut foil jerseys.
Anuradha Pegu: She is a weaver who runs a successful business from her home in Guwahati weaving Assamese mekhela sadors and saris that incorporate traditional Assamese motifs of flora and fauna. She has taken this craft forward by weaving saris with wide borders that represent a fern-like pattern. Her brand, Naturally Anuradha, showcased a collection of saris dyed in turmeric and indigo. The video shot in her weaving workshop and the tea gardens of Assam, beautifully captures the timeless essence of woven saris.
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Anuradha Pegu: She is a weaver who runs a successful business from her home in Guwahati weaving Assamese mekhela sadors and saris that incorporate traditional Assamese motifs of flora and fauna. She has taken this craft forward by weaving saris with wide borders that represent a fern-like pattern. Her brand, Naturally Anuradha, showcased a collection of saris dyed in turmeric and indigo. The video shot in her weaving workshop and the tea gardens of Assam, beautifully captures the timeless essence of woven saris.

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Paris Haute Couture Week: Vaishali S. creates an underwater journey

The designer stays true to her signature style while offering new silhouettes and blends of shimmering materials 

The show took place in a room stripped of wallpaper, with rows of electrical wires visible.
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The show took place in a room stripped of wallpaper, with rows of electrical wires visible.
All the females models wore Kolhapuri chappals (from Vaishali’s hometown state), while walking in clothes were structured, yet flowy.
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All the females models wore Kolhapuri chappals (from Vaishali’s hometown state), while walking in clothes were structured, yet flowy.
Vaishali S. presented her collection, Abyss, on 24 January under the landmark, La Pyramide Inversée skylight, at Carrousel du Louvre. The collection included 35 garments, made using different silks and uplifted with traditional embroideries. 
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Vaishali S. presented her collection, Abyss, on 24 January under the landmark, La Pyramide Inversée skylight, at Carrousel du Louvre. The collection included 35 garments, made using different silks and uplifted with traditional embroideries. 
Vaishali S. greets the crowd after presenting her collection
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Vaishali S. greets the crowd after presenting her collection

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At Paris couture week, Rahul Mishra brings the universe alive in embroidery

The designer's collection, Cosmos, was a celebration of Indian hand-embroidery and craft techniques   

Rahul Mishra presented his couture collection at Paris' The Westin hotel on 23 January. 
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Rahul Mishra presented his couture collection at Paris' The Westin hotel on 23 January.  (Valerio Mezzanotti @nowfashion)
Each piece in the collection, made at his workshop in the Indian city of Noida, was realised in two and three-dimensional hand embroidery. 
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Each piece in the collection, made at his workshop in the Indian city of Noida, was realised in two and three-dimensional hand embroidery.  (AFP)
The embroidery was encrusted with Swarovski crystals, to give life to the elements of the world using threads.
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The embroidery was encrusted with Swarovski crystals, to give life to the elements of the world using threads. (AFP)
The collection included gowns, bodysuits and jackets.
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The collection included gowns, bodysuits and jackets. (Valerio Mezzanotti @nowfashion)
The custom-made shoes also grabbed attention with glitter-full heels. 
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The custom-made shoes also grabbed attention with glitter-full heels.  (Valerio Mezzanotti @nowfashion)

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Zângkhua, a Beacon of Hope, a Mizo folktale translated and illustrated by Alyssa Pachuau

An ancient Mizo folktale tells the story of how a young warrior’s spirit continues to watch over his people

According to Mizo folklore, Zângkhua, or the constellation Ursa Major, is the spirit of a young warrior named Kawlawia. The constellation consists of seven bright arsi (stars) and is one of the most prominent clusters that appear in the north. Our ancestors possessed remarkable wisdom about the world, including stars and constellations. The Mizo elders keenly observed the appearance of these celestial bodies to track time, months and seasons, and read them as signs of good or bad fortune to come. They established their own theories of origin, resulting in interesting myths, lore and legends. This folktale tells the origin of the constellation Zângkhua, and how it became one of the most significant “stars” among the Mizo people.
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According to Mizo folklore, Zângkhua, or the constellation Ursa Major, is the spirit of a young warrior named Kawlawia. The constellation consists of seven bright arsi (stars) and is one of the most prominent clusters that appear in the north. Our ancestors possessed remarkable wisdom about the world, including stars and constellations. The Mizo elders keenly observed the appearance of these celestial bodies to track time, months and seasons, and read them as signs of good or bad fortune to come. They established their own theories of origin, resulting in interesting myths, lore and legends. This folktale tells the origin of the constellation Zângkhua, and how it became one of the most significant “stars” among the Mizo people. (Illustrations by Alyssa Pachuau)
Once upon a time, there lived a man named Kawlawia (pronounced Koloya) in Mizoram. He married a young woman from the village of Sairum, which lies east of the Tlawng river. One night, Kawlawia dreamt a terrible dream that he believed foreshadowed his death. “Go to your in-laws’ village and offer a sacrifice. Tragedy will not befall you,” the village elders said. He decided to go to Sairum to perform a thla hual, a ceremony where a sacrifice is offered to pacify one’s mind.
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Once upon a time, there lived a man named Kawlawia (pronounced Koloya) in Mizoram. He married a young woman from the village of Sairum, which lies east of the Tlawng river. One night, Kawlawia dreamt a terrible dream that he believed foreshadowed his death. “Go to your in-laws’ village and offer a sacrifice. Tragedy will not befall you,” the village elders said. He decided to go to Sairum to perform a thla hual, a ceremony where a sacrifice is offered to pacify one’s mind.
At Sairum, Kawlawia’s in-laws sacrificed a young fowl and a pig for the thla hual ceremony. He felt a sense of peace almost immediately, and set off for his home. On the way back, as he reached Berhvakawn, Kawlawia was waylaid by warriors from another village. And just like he had dreamt, he was killed, and the enemies carried off his head and leg as trophies. 
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At Sairum, Kawlawia’s in-laws sacrificed a young fowl and a pig for the thla hual ceremony. He felt a sense of peace almost immediately, and set off for his home. On the way back, as he reached Berhvakawn, Kawlawia was waylaid by warriors from another village. And just like he had dreamt, he was killed, and the enemies carried off his head and leg as trophies. 
After a few days, a tlaiberh (Red-vented bulbul) appeared at Kawlawia’s house and perched on a bamboo clothesline by the doorway. “Kawlawia lies dead at Berhvakawn,” the tlaiberh called. When they heard its song, Kawlawia’s family became anxious. “What a strange song the tlaiberh sings,” they said. 
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After a few days, a tlaiberh (Red-vented bulbul) appeared at Kawlawia’s house and perched on a bamboo clothesline by the doorway. “Kawlawia lies dead at Berhvakawn,” the tlaiberh called. When they heard its song, Kawlawia’s family became anxious. “What a strange song the tlaiberh sings,” they said. 
Finally, they sent some young warriors to Berhvakawn who found Kawlawia’s body. A small swarm of khawidang (wasps) was hovering over his knee where his leg had been severed. 
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Finally, they sent some young warriors to Berhvakawn who found Kawlawia’s body. A small swarm of khawidang (wasps) was hovering over his knee where his leg had been severed. 
As they stood over his body, there occurred a great gathering of darkness: the Thîm-Zîng. It appeared like a great black fog that covered the world in darkness. In that moment, Kawlawia’s body rose to the sky and turned into a cluster of stars that came to be known as Zângkhua. In this constellation, the first two stars, or “point stars”, are believed to be his shoulders, and the rest his torso and remaining leg. Till today, it is said wasps are flitting around his knee and can be seen blinking in the distance.
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As they stood over his body, there occurred a great gathering of darkness: the Thîm-Zîng. It appeared like a great black fog that covered the world in darkness. In that moment, Kawlawia’s body rose to the sky and turned into a cluster of stars that came to be known as Zângkhua. In this constellation, the first two stars, or “point stars”, are believed to be his shoulders, and the rest his torso and remaining leg. Till today, it is said wasps are flitting around his knee and can be seen blinking in the distance.
When Zângkhua turns upside down, it is common knowledge that it won’t be long before dawn. In hard times, it’s common to say “Zângkhua a la bungbu ang”, which means Zângkhua will turn upside down to bolster people’s spirits and indicate that things will change for the better.
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When Zângkhua turns upside down, it is common knowledge that it won’t be long before dawn. In hard times, it’s common to say “Zângkhua a la bungbu ang”, which means Zângkhua will turn upside down to bolster people’s spirits and indicate that things will change for the better.
When Zângkhua turns upside down, it is common knowledge that it won’t be long before dawn. In hard times, it’s common to say “Zângkhua a la bungbu ang”, which means Zângkhua will turn upside down to bolster people’s spirits and indicate that things will change for the better.
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When Zângkhua turns upside down, it is common knowledge that it won’t be long before dawn. In hard times, it’s common to say “Zângkhua a la bungbu ang”, which means Zângkhua will turn upside down to bolster people’s spirits and indicate that things will change for the better.
Zângkhua not only tells the time and seasons, the stars themselves give hope to those who look upon them. They are a constant reminder that darkness will eventually give way to light and wrongs will be made right.  Alyssa Pachuau is a New York-based children’s illustrator. Her first picture book, Ukepenuopfü, with author Theyiesinuo Keditsu was published in 2022. 
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Zângkhua not only tells the time and seasons, the stars themselves give hope to those who look upon them. They are a constant reminder that darkness will eventually give way to light and wrongs will be made right.  Alyssa Pachuau is a New York-based children’s illustrator. Her first picture book, Ukepenuopfü, with author Theyiesinuo Keditsu was published in 2022. 

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Snapshots from a cake exhibition in Bengaluru

From a cake weighing 18 tonnes to one dedicated to Lata Mangeshkar, visitors can witness the limitless creativity of bakers at this annual event

The 48th edition of the annual Bengaluru cake show is underway at St Joseph's Indian High School ground in Ashok Nagar. The themes this year explore good over evil, history and remembrance, and nature and harmony. In this photo, a baker poses with a 340 kg cake model of the Great Barrier Reef. (PTI Photo/Shailendra Bhojak) 
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The 48th edition of the annual Bengaluru cake show is underway at St Joseph's Indian High School ground in Ashok Nagar. The themes this year explore good over evil, history and remembrance, and nature and harmony. In this photo, a baker poses with a 340 kg cake model of the Great Barrier Reef. (PTI Photo/Shailendra Bhojak)  (PTI)
The cakes have been created by 20 students of the Institute of Baking and Cake Art (IBCA). This photo of a cake, designed like the bust of Lata Mangeshkar, weighs 130 kgs. (ANI Photo)
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The cakes have been created by 20 students of the Institute of Baking and Cake Art (IBCA). This photo of a cake, designed like the bust of Lata Mangeshkar, weighs 130 kgs. (ANI Photo) (Savitha)
Sugar art is key to designing these elaborate cakes and most contain just icing sugar without the moist sponge, reports a story published by The Hindu. (ANI Photo)
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Sugar art is key to designing these elaborate cakes and most contain just icing sugar without the moist sponge, reports a story published by The Hindu. (ANI Photo)
A man dressed as Santa Claus poses for a photo with this gigantic replica of North America's the Cathedral Basilica, that weighs about 18 tonnes. (PTI Photo/Shailendra Bhojak) 
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A man dressed as Santa Claus poses for a photo with this gigantic replica of North America's the Cathedral Basilica, that weighs about 18 tonnes. (PTI Photo/Shailendra Bhojak) 
A cake designed to represent the highlights of 2022. The show was unveiled on 16 December and will end on 2 January, The entry fee is  <span class='webrupee'>₹</span>100. (ANI Photo)
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A cake designed to represent the highlights of 2022. The show was unveiled on 16 December and will end on 2 January, The entry fee is 100. (ANI Photo)

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In photos: A traditional Christmas cake from Portugal

A cake known as bolo-rei—made with port wine, mixed nuts and candied fruit—is a Christmas specialty from Portugal

The bolo-rei, a donut-shaped cake, is a Christmas speciality in Portugal. Every year, the National Association of Bread and Pastry Producers recognises the best bolo-rei in the country. The 2022 winner is a small bakery, named Padaria da Ne, located in Amadora, in the northwestern suburbs of Lisbon. In this photo, a baker places candied fruits on a bolo-rei before putting it in the oven. (Photo by CARLOS COSTA / AFP)
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The bolo-rei, a donut-shaped cake, is a Christmas speciality in Portugal. Every year, the National Association of Bread and Pastry Producers recognises the best bolo-rei in the country. The 2022 winner is a small bakery, named Padaria da Ne, located in Amadora, in the northwestern suburbs of Lisbon. In this photo, a baker places candied fruits on a bolo-rei before putting it in the oven. (Photo by CARLOS COSTA / AFP)
A freshly baked bolo-rei at the Padaria da Ne bakery in Amadora, Ingredients include port wine, candied fruits and lots of mixed nuts. (Photo by CARLOS COSTA / AFP)
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A freshly baked bolo-rei at the Padaria da Ne bakery in Amadora, Ingredients include port wine, candied fruits and lots of mixed nuts. (Photo by CARLOS COSTA / AFP)
A photo from the kitchen of Padaria da Ne bakery shows a baker shaping the dough to make bolo-rei. The cake is eaten in the period between 25 December to 6 January. (Photo by CARLOS COSTA / AFP)
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A photo from the kitchen of Padaria da Ne bakery shows a baker shaping the dough to make bolo-rei. The cake is eaten in the period between 25 December to 6 January. (Photo by CARLOS COSTA / AFP)
A baker places a freshly baked bolo-rei at Padaria da Ne. (Photo by CARLOS COSTA / AFP)
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A baker places a freshly baked bolo-rei at Padaria da Ne. (Photo by CARLOS COSTA / AFP)
Customers wait to buy Christmas specials, including bolo-rei, at the Padaria da Ne bakery. (Photo by CARLOS COSTA / AFP)
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Customers wait to buy Christmas specials, including bolo-rei, at the Padaria da Ne bakery. (Photo by CARLOS COSTA / AFP)

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A magical exhibition of gingerbread cities for Christmas

The Museum of Architecture's Gingerbread City in London's Belgravia district is an ode to Christmas

A gingerbread installation on display at the Museum of Architecture's Gingerbread City in Belgravia district, London. (Photo: Maja Smiejkowska, Reuters)
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A gingerbread installation on display at the Museum of Architecture's Gingerbread City in Belgravia district, London. (Photo: Maja Smiejkowska, Reuters)
The exhibition showcases five intricately designed cities conceptualised and created by more than 100 architects, designers and chefs. (Photo: Maja Smiejkowska, Reuters)
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The exhibition showcases five intricately designed cities conceptualised and created by more than 100 architects, designers and chefs. (Photo: Maja Smiejkowska, Reuters)
The installations, made with dough, sweets and icing, feature five edible cities across different climate zones such as polar, continental, temperate, dry and tropical. (Photo: Maja Smiejkowska, Reuters)
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The installations, made with dough, sweets and icing, feature five edible cities across different climate zones such as polar, continental, temperate, dry and tropical. (Photo: Maja Smiejkowska, Reuters)
This is the sixth edition of the annual exhibition that draws large crowds every year. (Photo: Maja Smiejkowska, Reuters)
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This is the sixth edition of the annual exhibition that draws large crowds every year. (Photo: Maja Smiejkowska, Reuters)
This year’s theme reflects the desire for more liveable cities where most daily necessities can be met within a 15-minute walk, cycle or trip on public transport. (Photo: Maja Smiejkowska, Reuters)
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This year’s theme reflects the desire for more liveable cities where most daily necessities can be met within a 15-minute walk, cycle or trip on public transport. (Photo: Maja Smiejkowska, Reuters)
The Gingerbread City at The Museum of Architecture will open on 3 December, 2022 and will run until 3 January, 2023 at 6-7 Motcomb Street, Belgravia, London. (Photo: Maja Smiejkowska, Reuters)
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The Gingerbread City at The Museum of Architecture will open on 3 December, 2022 and will run until 3 January, 2023 at 6-7 Motcomb Street, Belgravia, London. (Photo: Maja Smiejkowska, Reuters)

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