Bharat sahni biography definition
Fabulous Lives Of Bollywood Wives: Who is Riddhima Kapoor's husband, Ranbir's brother-in-law Bharat Sahni?
Who Is Bharat Sahni?
Sahni is the owner and managing director of Wear Well a garment manufacturingand exporting company. According to the company's website, WearWell generates an annual revenue of $30 million, which is roughly equivalent to Rs 252 crore.Bharat Sahni became part of the family business in 2002, taking charge of both developing and implementing WearWell's marketing strategies, along with overseeing the merchandising teams. Joining him on the Board of Directors are his brothers, Akshay Sahni and Nitin Jain.
WearWell, headquartered in Delhi, serves an international clientele from Europe, the USA, and Canada. Their customer base includes prestigious fashion and lifestyle brands such as Marks & Spencer, Inditex (which owns Zara and Massimo Dutti), Mango, Forever 21, Next, Oasis, Esprit, Urban Outfitters, Baby Shop, Tesco, and more. The company boasts a production capacity of 500,000 garments per month, specializing in both woven and knitted apparel, with a particular focus on womenswear and childrenswear. The company was established in 2002.
As per Bharat Sahni's LinkedIn profile, he completed his schooling at Modern School, Vasant Vihar, in Delhi. He then earned a B.B.A. in Finance and Marketing from Saint Mary's College of California and later graduated from Ohio State University with a degree in Business, specializing in Management, Marketing, and related fields.
Bharat and Riddhima got married in 2006, after reportedly dating for five years. They have a daughter named Samara. The family resides in a luxurious home in South Delhi, wh
Boman Irani
Indian actor, producer, filmmaker, voice artist and photographer (born 1959)
Boman Irani | |
|---|---|
Irani in 2017 | |
| Born | (1959-12-02) 2 December 1959 (age 65) Mumbai, Maharashtra, India |
| Nationality | Indian |
| Occupation | Actor |
| Years active | 2001–present |
| Organization | Irani Moviestone |
| Spouse | Zenobia Irani (m. 1985) |
| Children | 2, including Kayoze Irani |
Boman Irani (born 2 December 1959) is an Indian actor and comedian who works primarily in Hindi-language films. One of the most popular character actors in Hindi cinema, he has featured in over 100 films, and is the recipient of a Filmfare Award and two IIFA Awards.
Some of his notable works include Munna Bhai MBBS (2003), Veer-Zaara, Main Hoon Na, Lakshya (all 2004), No Entry (2005), Lage Raho Munna Bhai, Don (both 2006), Khosla Ka Ghosla (2006), Heyy Babyy (2007), Dostana (2008), 3 Idiots (2009), Housefull (2010), Don 2 (2011), Housefull 2, Cocktail (both 2012), Jolly LLB (2013), PK, Happy New Year (both 2014), Dilwale (2015), Housefull 3 (2016), Sanju (2018), Total Dhamaal (2019), 83 (2021), Uunchai (2022) and Dunki (2023). He made his directorial debut with the self-starring drama The Mehta Boys (2025).
Early life
Irani was born on 2 December 1959, in Mumbai to an IraniZoroastrian family. His father died 6 months before Irani was born. He has 3 elder sisters: Shirin, Shenaz and Roshan. Irani grew up with dyslexia in his childhood, which he eventually overcame.
He finished his secondary schooling at St. Mary's School, after which he undertook a 2-year waiter course at Mithibai College in Mumbai. Irani also managed a bakery and namkeen shop in Mumbai that was run by his mother, Jerbanoo. She died in June 2021 at 94.
Career
Photography career
While working at the Taj Mahal Palace Hotel, he took photos
Birbal Sahni
Indian palaeobotanist (1891–1949)
Birbal Sahni, FRS | |
|---|---|
Bust of Birbal Sahni, 2014 | |
| Born | (1891-11-14)November 14, 1891 Bhera, Shahpur District, Punjab, British India - Presently in Pakistan |
| Died | April 10, 1949(1949-04-10) (aged 57) Lucknow |
| Nationality | Indian |
| Citizenship | India |
| Alma mater | Government College University, Lahore, Emmanuel College, Cambridge |
| Known for | Bennettitales, Pentoxylales, Sahnioxylon rajmahalense |
| Spouse | Savitri Suri |
| Scientific career | |
| Fields | Paleobotany |
| Institutions | Birbal Sahni Institute of Palaeosciences, University of Lucknow |
| Doctoral advisor | Albert Seward |
| Other academic advisors | Goebel |
| Doctoral students | Rajendra Nath Lakhanpal |
Birbal SahniFRS (14 November 1891 – 10 April 1949) was an Indian paleobotanist who studied the fossils of the Indian subcontinent. He also took an interest in geology and archaeology. He founded what is now the Birbal Sahni Institute of Palaeobotany at Lucknow in 1946. His major contributions were in the study of the fossil plants of India and in plant evolution. He was also involved in the establishment of Indian science education and served as the president of the National Academy of Sciences, India and as an honorary president of the International Botanical Congress, Stockholm.
Formative years
Birbal Sahni was born in Bhera, Shahpur, in today's Pakistani Punjab, on 14 November 1891. He was the third child of Ishwar Devi and the pioneer Indian meteorologist and scientist Ruchi Ram Sahni who lived in Lahore. The family came from Dera Ismail Khan and they frequently made visits to Bhera which was close to the Salt Range and Khewra's geology may have interested Birbal at a young age. Birbal was also influenced into science by his grandfather who owned a banking business at Dera Ismail Khan and conducted amateur research in chemistry.[1] 1Even though within a decade of its formulation the theory of modernization – an analytical paradigm founded by American sociologists in the 1960s to explain the process whereby traditional societies attained modernity – stood largely discredited, its conceptual and methodological assumptions continue, albeit with some modifications, to underwrite the practice of social gerontology in India today. The influence of modernization theory was evident in family research in India undertaken in the 1960s, which focused primarily on the study of family patterns and structures.1 W. J. Goode, as one of these early and better known theorists, propounded that industrialization and urbanization of traditional societies would lead to the dismantling of the extended family and the development, in its place, of a nuclear or conjugal family system, along the lines of the west.2 The tradition vs. modernity binarism of the modernization paradigm meant that the perceived fall in the status of old people in modernizing societies such as India was conceptualized primarily in terms of a conflict between the cultural values of a western modernity and the indigenous tradition, a formulation which also alerts us to the fact that such constructions were not solely attributable to a mimicry of internationalist gerontology’s Ageing and Modernization paradigm.3 As Lawrence Cohen observes, gerontology in India is predicated upon a sense of Kulturkampf: Western modernity is specifically the central villain in the gerontological narrative of the Fall and what is under threat is the loss of an ‘essential Indian self’, no less. The proverbial Indian joint family, along with the aging person ensconced firmly at its centre, get reified within this discourse as signifying an unchanging notion of an authentic indigeny. To quote Cohen: ‘Against both an imagined West and an experienced Here and Now, the family’s internal relations are constituted not as shifting in time and potentially fracti
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