Lifestyle

of-ruins-and-decay-a-new-show-asks-why-picturesque-paintings-of-british-india-still-appeal

Mon Mar 30 20:13:35 IST 2026

“These are such beautiful paintings,” remarked an onlooker at the opening of a new exhibition on Friday at the Delhi Art Gallery (DAG).

The paintings in question are picturesque landscapes from the early 19th century (1800-1850), filled with ruins—dilapidated forts and buildings made dysfunctional—set against sweeping, dramatic backdrops. They evoke an India untouched by modernity, but also one quietly in decay.

Take, for instance, the Ruined Mosque, the Juma Musjid, Mandu (1852) by Claudius Harris, where the dome appears worn, with outgrowths emerging from it.

Or The Palace of Tirumala Nayak, Madurai—grand in scale, yet curiously empty, with not even a single soul in sight.

“In the picturesque, architecture and landscape have to go together. The architecture has to be irregular, preferably ruined. There has to be great irregularity of form,” explains Giles Tillotson, senior vice president (Museum Exhibitions), DAG, and curator of the exhibition.

For instance, “a picture of the Taj Mahal taken from the Southern Gate isn’t picturesque because it’s formal, but if you put a great tree covering half of it, or exaggerate signs of decay, you’re making it picturesque by increasing that sense of irregularity.”

An English aesthetic that developed in the late 18th century, the picturesque was brought to India by artists such as William Hodges and Thomas Daniell, along with his nephew William Daniell.

The exhibition brings together works by landscape artists—both European and Indian—who followed them, including George Chinnery, Henry Salt, James Baillie Fraser, and Sita Ram, among others.

In one oil on canvas, Chinnery paints an ox in front of a thatched dwelling. In another, rendered in muted watercolours, he paints a tomb in Bengal, the structure dissolving into its surroundings; its edges darkened.

“The reason it’s problematic in the Indian context is if that was the idea of 18th-century India, then it was a place in decay. It showcases a civilisation that is essentially over, and ready for a young, energetic, industrial country to take over,” says Tillotson.

“True, many of the structures depicted may well have been in ruins when artists painted them; but this raises another question: why choose those buildings over others?” he writes in the book accompanying the exhibition.

“Even structures that were far from ruined—such as the Brihadishvara temple in Thanjavur—are shown depopulated, their function deliberately played down.”

Here, Tillotson notes that while the intention of the artists remains a point of academic debate, what interests him is “to show it to a young Indian audience, to say: this is a vision of your country 200 years ago. What do you make of it? And particularly, if you like it, why do you like it? What is there to like?"

"That’s not a straightforward question.” A possible answer, he suggests, lies in nostalgia. “It’s the idea that landscape is something old, ancient, untouched—chaste, even—not violated by modernism.”

While spearheaded by European painters, the style was also taken up by Indian artists, particularly in Murshidabad. One name that stands out is Sita Ram, several of whose works are part of the show at the DAG.

The show brings together British and Indian landscape paintings to examine their artistic interconnectedness and shared visual vocabulary.

at-silq-in-delhi-a-vast-silk-route-idea-finds-focus-on-the-plate

Tue Mar 24 19:32:53 IST 2026

Delhi’s dining scene isn’t short on ambition. New restaurants open every week, each claiming to offer something new, something unique. Some live up to the hype, many leave you underwhelmed. Silq, a new dining place in Chanakyapuri, is one that delivers.

The restaurant draws from the Silk Route, the ancient networks of trade routes that connected East Asia to Europe, facilitating the flow of goods but also ideas and culture in ways that still resonate today. While Silq isn’t the first to tap into this theme, it approaches it with clarity and confidence, having a clear sense of its vision and executing it boldly.

The focus here is on bringing together Persian, Mughal, Levantine, and Mediterranean culinary traditions—the ingredients, cooking styles, and dining rituals that were once exchanged through this route.

“Translating something as vast as the Silk Route into a menu meant focusing less on geography and more on the shared threads that connect it,” says founder Sagar Kumar. “Our research drew from a mix of historical references, traditional recipes, and regional cooking practices across India, Persia, and the Middle East. We looked at how spices travelled, how dishes evolved across borders, and how methods like slow-cooking, grilling, and fermentation became common links across these cultures.”

So to create the menu, chef Azaan Qureshi, part of the famous Qureshi family known for preserving and popularising Awadhi and Mughlai cuisines, was brought on board.

The idea behind the food menu was “to reinterpret that very first moment of contact between the Levant and the Indian subcontinent. Long before recipes were codified, when flavours travelled more as instinct than instruction,” says Qureshi. “What would a seekh have tasted like when it first arrived on Indian soil? Not yet fully Awadhi, not entirely Levantine but something in between, shaped by curiosity and adaptation. At Silq, that question becomes the foundation.”

Setting the tone

At Silq, the experience begins at the door, with a dab of attar on the wrist. As you settle in, a server lights the candle at your table. This is followed by a Mehraan sharbat, an aromatic, yet surprisingly refreshing, drink made with saffron, cardamom, cinnamon, and sandalwood, and served as a palate cleanser. A masala papad arrives as an amuse bouche, while live musicians play classical music in the background.

The ambience and decor of muted tones, along with brass and copperware, further add to what’s ahead.

Inventive menu

When it comes to the cocktail menu, Silq keeps things subtle, but doesn’t hold back either. Alongside the classics, it offers a set of inventive concoctions that complement the larger theme. Take, for instance, the vodka-based Rasmalai, infused with khus root, saffron, and rose petals, or the gin-based Genda Phool, built around house-made marigold syrup, orange blossom, and coconut water. Bold in concept, these drinks deliver on flavour.

Among the best-sellers on the menu is the Sunaar Ras, a scotch-based cocktail infused with supari and accented with rose and gold varq. Then there is the Bazaar-e-Kanji, bold and fermented.

Rooted, yet exploratory

Coming to the food, the menu is broad yet focused, offering something for everyone while maintaining a sense of balance.

You can begin with soups and salads such as the Moroccan lamb lentil—a slow-cooked lamb and lentil soup with tender morsels—and Bagh-e-Bahar, a Levantine fattoush salad.

The appetisers strike a balance between the familiar and the new, from Moradabadi dal and bhutte ki khees to a well-curated selection of kebabs. According to Kumar, the Laham Adana Kebab and Tandoori Bharwa Gucchi—black morels stuffed with cheese and dry fruits, slow-roasted to a crisp in the tandoor and served with toum—are among the guest favourites.

The main course, too, offers a generous spread, from biryani to nihari. But what stands out is a simple dal— Dal Silq, a slow-cooked black lentil preparation with the restaurant’s “unique” spices, best paired with khameeri roti.

You end on a sweet note with desserts such as malai phirni, shahi tukda, baqlava, and a rose-flavoured kulfa. Silq’s menu and overall experience feel familiar and rooted, yet leave enough room for discovery.

house-of-baithak-exhibition-where-art-sparks-contemplation-and-connects-souls

Wed Mar 18 16:48:34 IST 2026

The House of Baithak collective – a group of five Kerala-based artists – did not come together because they all belong to God’s own country, but because they are bound by their art's focus on inherent ideas and the thought processes behind their creations. The solo exhibitions by Asha Nair, Anupama Rajiv, Prasanth KP, Dr Aswathy Raveendran and Dr Mayera Suman will be on display at Telangana State Art Gallery between March 25 and 29. When you see their art, you are struck with the ideas that their paintings try to communicate or not communicate.

Anupama Rajiv experiments across ceramics, pottery and painting, viewing the canvas as an extension of life energy and thinking patterns. In her exhibition, ‘Lives Entwined’, one work depicts a group of women relaxing by a stream: one bathes, others lounge in stress-free postures, fully immersed in their private moment. These women wouldn’t have faces, maybe they don’t need them during that engrossed feeling. The absence of faces underscores their complete engagement and contentment—no identity needed when presence is total.

Another painting shows a bride in quiet contemplation. Her wide eyes gaze outward, yet reveal nothing specific; a pattern of shadow veils her face, deepening the intrigue. Marriage entwines two lives, but for a woman, it often means entering an unfamiliar world. What occupies her thoughts? The ambiguity invites viewers to linger and ponder. “I don’t premeditate,” Anupama explains. “I start painting and let it follow my flow of thought. It evolves naturally, and I stop when it feels right. My art is simply what I think.”

Dr Mayera Suman focuses on life’s small details, using bold contrasts. Her collection, ‘The Fly’, centres on flies across every piece. In one vibrant red-background painting, a fly would be flying while a herd of cattle watches impassively. Why notice such a tiny thing? Mayera poses the question without answering—is attention to small details enriching or distracting? Another work features two foreground chimps, nearly smiling, one pointing at the bee with delight. In the background, the same chimp appears shaded to emphasise joy. Unlike the indifferent cattle, the chimps seem uplifted by the insect’s presence—perhaps because apes are playful, happy beings. “We all notice small things in life,” Mayera says. “I don’t know if it’s good or bad. Viewers should find their own meaning.”

Prasanth KP draws deeply from Kerala’s waterscapes, especially Vembanad Lake near his home. In his collection, ‘Vembanad’, his watercolours and acrylics capture fleeting impressions of nature and daily life with a traveller’s sensitivity and restrained palettes. They evoke the rhythms of fishing communities, drifting birds, subtle aquatic ecologies, and water’s shifting moods—from serene dawn to reflective dusk. Rooted in lived intimacy rather than distant observation, his works portray an interconnected harmony of people, labour, and nature in the backwaters, drawing viewers into quiet narratives of calm endurance.

Asha Nair’s exhibition, ‘Footprints’, celebrates two decades of devotion through lyrical acrylics exploring Kerala’s sacred cultural and spiritual realms. Her ethereal, luminous paintings capture the ritualistic fire of Theyyam, the graceful drama of Kathakali, and the shadowed sanctity of Sarpa Kavu serpent groves, where nature and divinity intertwine. She honours quiet resilience: a temple attendant lighting lamps in pandemic silence, a percussionist’s heartbeat driving festive energy, majestic tuskers, and tranquil coastal horizons. Through evocative strokes, her art conjures petrichor, flickering ceremonial lamps, and eternal drum rhythms, inviting immersion in Kerala’s timeless, interconnected soul.

For Dr Aswathy Raveendran, nature is paramount. Her collection, ‘Mist and Memory’, presents intricate, lush forest landscapes in oil and acrylic. Rain-kissed, moss-covered forest, white-barked trees on hill shoulders and detailed flora and fauna come alive on canvas. With meticulous attention to colour, form and texture, she evokes a profound sense of oneness with the wilderness. Viewers are drawn into the heart of the wild, experiencing its beauty and mystery firsthand, as if the forest’s untold stories unfold directly before them.

wicked-the-musical-play-review-an-immersive-theatrical-dive-into-the-wonderful-world-of-oz

Mon Mar 16 18:33:35 IST 2026

Watching Wicked: The Musical at the Nita Mukesh Ambani Cultural Centre (NMACC) feels less like attending a theatre production and more like stepping into a fully immersive version of the world of Oz.

The celebrated Broadway musical, currently running in Mumbai, unfolds with such scale and visual ambition that the boundary between stage and audience often dissolves.

The most striking aspect of the production is precisely this sense of immersion.

At several points in the show, the performance spills beyond the stage and into the audience, making viewers feel like participants rather than passive spectators.

The moment that truly captures this magic is when Elphaba takes flight. Instead of remaining confined to the stage, she glides out over the audience, her iconic defiance of gravity unfolding above the crowd. It’s a thrilling theatrical moment that earns audible gasps and applause.

The staging is lavish without feeling cluttered. From the towering set pieces to the constantly shifting backdrops, the design creates a world that feels fantastical.

Lighting plays a particularly powerful role, casting emerald hues across the theatre and punctuating key emotional moments with dramatic intensity. Both the intricate stage mechanics and the mesmerising visual spectacle become one of the production’s strongest assets.

Costumes, too, deserve mention. Glinda’s sparkling gowns and Elphaba’s stark black silhouette form a striking visual contrast that mirrors their emotional journey.

Performance-wise, the actors bring energy and charisma to the beloved characters. Elphaba commands attention with her powerful presence, particularly in the show’s emotional crescendos. Glinda, with her bubbly charm and comic timing, brings levity to the narrative.

That said, some of Glinda’s dialogue occasionally feels a little stretched, lingering longer than necessary. These moments slightly slow the pace, but do little to dampen the overall delight of the show.

What ultimately makes Wicked at the NMACC memorable is the sheer theatricality of the experience and a story that audiences around the world have cherished for years.

By the time the curtain falls, what lingers is not just the music or the performances but the sense of having been transported into a world where witches fly, friendships fracture and heal, and theatre itself seems to defy gravity.

Overall, Wicked at NMACC is a dazzling, immersive production, that is occasionally indulgent in its pacing. It reminds audiences why live theatre remains so magical.

a-pop-up-that-brought-bold-coastal-flavours-to-bandra

Mon Mar 09 13:23:45 IST 2026

For a limited window last month, Bandra’s The Penang Table hosted an unusual culinary crossover.

The restaurant’s new collaborative series, Gang of Penang, began with a partnership with chef Lisa of Lisa’s Lanka, formerly known for the cult Goa restaurant Jaffna’s Jump.

The pop-up promised a meeting point between Malaysian and Sri Lankan flavours, two cuisines shaped by similar spice routes and coastal traditions. The menu leaned unapologetically towards bold flavours including pepper, mustard, coconut and tang. But what stood out most was the comfort that underpinned these dishes, even when the spices were assertive.

One of the most memorable dishes of the evening was the Jaffna curry with jackfruit, a vegetarian take on a traditionally meat-heavy preparation. The curry carried the deep aromatics that Jaffna cuisine is known for, roasted spices, curry leaves and warmth without unnecessary heaviness. The jackfruit absorbed the gravy beautifully, offering a meaty texture that worked surprisingly well with the intense spice profile.

Seafood also featured prominently on the menu, and the Yellow Grain Mustard Curry with fish showcased that coastal character. The fish was remarkably fresh and soft, flaking easily into the mustard-forward gravy. The curry itself leaned slightly salty for my palate, but the flavours were still balanced enough to remain enjoyable. With a side of rice or hopper, it came together as a comforting, homestyle plate.

The hopper, however, was where the meal really found its star moment. Served here in a dramatic charcoal version shaped like a basket, the hopper held a filling of chicken within its crisp, lacy shell. Hoppers can sometimes be an afterthought in Sri Lankan menus, just a vehicle for curry, but this one held its own. The delicate crunch on the edges gave way to the soft centre, creating a contrast in textures that made it deeply satisfying.

If there was a single standout dish of the evening, it had to be the Eggplant Moju. This classic Sri Lankan preparation, sweet, sour and spiced, was elevated here in a way that made the humble brinjal feel unexpectedly exciting. The eggplant had absorbed the tangy marinade perfectly, delivering bursts of flavour with every bite.

Dessert kept the momentum going. The Spiced Palm Brûlée, infused with nutmeg and cinnamon and finished with palm sugar caramelisation, was outstanding. The custard was silky and aromatic, while the crackling brûlée top added just enough bitterness to balance the sweetness.

Alongside it, The Island Malt with Baileys gelato, Milo crumble and salted caramel was rich and indulgent. For me, the malt notes came across slightly stronger than expected, but those who enjoy bold dessert flavours will likely appreciate its intensity.

What made this pop-up interesting was not the conversation between cuisines. Sri Lankan food rarely gets the spotlight in Mumbai’s dining scene, and pairing it with Penang’s culinary sensibilities added a layer of curiosity to the experience.

"We are looking forward to many more pop-ups that will hopefully continue into the year," said Lisa, speaking to THE WEEK. "For diners willing to lean into those bold flavours, the experience can be deeply rewarding," she added.

from-burrata-to-tiramisu-an-italian-feast-at-nmacc-arts-cafe

Mon Mar 09 13:15:14 IST 2026

For a brief window from March 5 to 15, the NMACC Arts Café is hosting Michelin-starred Italian chef Adriano Baldassarre, promising Mumbai diners a curated taste of Italy. The menu leans on traditional Italian comfort, burrata, handmade pasta and classic desserts, served with the elegant presentation that the cultural centre has quickly become known for.

The evening began with the Burrata Tart with Peruvian Asparagus, Black Olive and Fresh Tomato Tapenade. The burrata was beautifully soft and creamy, mercifully not chewy as burrata sometimes can be, melting gently into the crisp tart base. The tangy tomato tapenade and olives balanced the richness of the cheese.

Equally satisfying was the Gratinated Onion with Truffle and Parmesan, where a whole onion had been slowly cooked and filled with mushrooms, onion and parmesan before being baked and finished with truffle. The result was deeply comforting: sweet, savoury and earthy, with the filling doing most of the heavy lifting in flavour.

The mains, however, were a mixed bag. The Pizza Green Zucchini “Solo”, topped with zucchini, ricotta, mozzarella and parmesan, looked promising but ultimately felt bland and somewhat uninspiring. The flavours were muted, and the pizza lacked the punch that a good Italian pie typically carries.

The Angel Hair Aglio Olio Peperoncino, another dish rooted in simplicity, leaned too far into minimalism. Traditionally, the magic of aglio e olio lies in fragrant garlic, olive oil and a gentle kick of chilli. Here, the pasta felt overly plain and somewhat lacking in character.

Redemption came in the form of the Chicken Tortelli à la Boscaiola, delicate pasta parcels filled with chicken and wild mushrooms and finished with green peas and aged Parmigiano Reggiano. This dish struck the right balance, comforting, flavourful and satisfying.

Desserts, however, were unquestionably the highlight of the meal. The Tiramisu, a classic Italian dessert, was exceptional, light, creamy and beautifully balanced with coffee and mascarpone. It was so good that we ordered it twice and fittingly ended the meal with it.

The Torta Caprese with Stracciatella Ice Cream delivered a rich, dark chocolate intensity, while the Torta al Formaggio with Red Berry and Chocolate Ice Cream offered a lighter, tangy cheesecake. The Almond Ice Cream with Orange Zest was strictly okay.

If the savoury courses occasionally wavered, the desserts reminded diners why Italian pastry traditions remain so beloved.

food-beyond-laal-maas-the-lost-dishes-of-jodhpurs-royal-kitchen

Wed Mar 18 16:40:07 IST 2026

Mention Rajasthani non-vegetarian food and one dish inevitably dominates the conversation: laal maas. At most, someone might add safed maas—its creamier, sophisticated cousin made with yoghurt, nuts, and mild spices instead of the fiery Mathania chilli that gives the laal maas its signature red.

“In the royal records, however, there isn’t much mention of laal maas,” says Bikram Chandra Khadka, executive sous chef at Ajit Bhawan in Jodhpur.

Built in 1923 by Maharaj Ajit Singh, the younger brother of Maharaja Umaid Singh, Ajit Bhawan was later expanded in the 1970s into what became India’s first heritage hotel. It remains the private residence of Rani Usha Devi, wife of the late Maharaj Swaroop Singh.

Khadka is now working with the royal family, including her sons Suryaveer Singh Rathore and designer Raghavendra Rathore, to revive lost recipes of Jodhpur’s royalty preserved in the family’s private archives.

Inside the ‘Gol Kamra’

As you step into the Gol Kamra, the royal family’s private dining room, you get a sense of what their favourite pastime was. Crocodiles, wild boars and tigers stare down from the walls.

A massive elephant tusk rests neatly inside a glass case. Even the photographs across the room capture the very act of hunting.

There’s a sense of quiet opulence in the room. That opulence, and the hunt once arrived at its table, too, as rich, slow-cooked game meats.

The pit roasts

“This dish is called khad maas,” says Chef Bikram, lifting the lamb from the pit. It has been marinated for six to eight hours with cinnamon, bay leaf and whole spices, then wrapped in wheat dough, sealed in banana leaves and lowered into a charcoal-heated pit.

“Traditionally, khad maas was made with wild boar. But since wild meat is banned, we use lamb,” he says. Along with the wild boar, other meats that were made were rabbits, deer and birds like the partridge, the chef says.

Here, slow cooking is key. “The temperature remains around 180–200°C, much lower than a tandoor, which can go up to 400°C. Because the heat is moderate, it roasts slowly over four to five hours. That gradual cooking tenderises the meat beautifully.”

Earlier, the meat would have been buried directly in hot sand rather than cooked over charcoal, a technique shaped by the desert terrain.

The Rajputs’ courtly ties with the Mughals also left their mark on the kitchen. Handi Butha, a dum-style preparation of meat slow-cooked in an earthen pot, is another dish the chef prepares. And then there’s the junglee maas.

The Royal comfort

Although meat-heavy, royal cuisine also included comfort foods that were, as Chef Bikram puts it, “typically hydrating.” These were everyday dishes that anyone could have—but the royal khansama would refine them by adding richer ingredients and proteins.

Such preparations included gatta, rabodi, chakki ki sabzi and ker sangri.

Lost in time

After independence, the royals lost their privilege. Hunting was also outlawed. And with this was also lost the ritual of hunting and slow-cooking the game in the desert pits. Wild meats gave way to domesticated lamb and goat.

Lifestyle shift followed, and so did further shifts in food.

“Traditionally, game meat was tougher,” says chef Bikram. “They were warriors. They could eat meat cooked directly over fire or buried under sand.”

Today, even royal kitchens rely on careful marination and controlled heat. “Their lifestyles have changed,” he adds. “Royal families adopted modern and Western food habits. They travel internationally. They don’t eat legacy-heavy food daily anymore.”

The dishes of Rajasthan’s royal kitchens faded further because they never entered the mainstream, unlike in the case of Awadhi cuisine, “where the royal dishes were carried forward by generations of cooks into commercial hotels,” says the chef.

“In Rajasthan, the recipes remained within families. Many royal families preserved these recipes privately within palace kitchens. They weren’t commercialised.”

An exclusive experience

Ajit Bhawan now plans to reintroduce these lost recipes as “an exclusive experience for special guests,” says group general manager Nitin Sud.

“When we say exclusive, we mean it won’t appear on the regular menu,” he explains. “It will be a specially curated dinner, served in gold-plated cutlery, traditional crockery and silverware, as it once was for the royal family.”

The eight-course menu will be priced at Rs 10,000 and is expected to launch in about three months.

In a city as gastronomically rich as Jodhpur, Rajput royal cuisine remains prominent. Hence, reviving these forgotten dishes, says Chef Bikram, “is our responsibility as a standalone heritage property.”

“Many commercial hotels focus on popular dishes like laal maas,” he adds. “But not everyone has access to these lesser-known preparations,” he adds.

food-review-kyra-kochi-pays-homage-to-a-food-culture-centuries-in-the-making-greek-persian-restobar

Tue Mar 10 11:00:30 IST 2026

This weekend, I was feeling adventurous, cuisine-wise. So when I heard a new place opened up at the Holiday Inn in Kochi that served both Greek, Persian, and their fusion dishes, I knew I had to try it. With that in mind, I called up two of my friends, both food critics as well as enthusiasts, for company, and decided to check if “Kyra”, the new joint, was worth the hype.

We were greeted with rather interesting decor, red folded designs on the ceiling, calming yet fun music soothing you, and an interesting theme greeting you at high and low seated tables lit by quaint lamps. It balanced the aesthetics right; it was both loud and subtle at the same time, a welcome relief from drab pastels and rectangles that have recently become the norm. The staff ushered us to the centre of the restaurant floor. That way, we could see almost every inch of the space, as well as have our own little bubble, enjoying what was to come.

Right off the bat, Kyra spoils us with choices. In cold platter, they have the Arabic Muttabal and Persian style Kashk-e Bademjan based on brinjal (aubergine), the walnut-based Anatolian dip Muhammara, a levatine salad Tabbouleh, and the Wark Enab (a play on the Ottoman-style Dolma), accompanying the humble hummus.

Being adventurous, we picked Muhammara and Kashk-e Bademjan from this to accompany the Hot Mezze platter we ordered, with Lamb Kibbeh. They also have the Arabian Sambousek, which I have tried earlier. Do check it out if you are into Samosas. They served this platter with a side of soft Turkish pita and some crispy Manakish flatbread. Surprisingly, the only underwhelming thing in the entire spread was the hot hummus.

After loading myself up by tasting everything on this platter, I decided to experiment with a salad! The Apple & Goat Cheese salad called out to me, and I am glad I heeded it. Crunchy slivered almonds paired amazingly with the apple and basil dressing, and the warm hot cheese; twas a party in my mouth!

And this is how we started out feast. After staring at the soup menu for a bit, my company for the evening and I decided to go for drinks instead. There were three of us, and each of us chose a liquor to test their impressive collection of Greco-Persian-inspired cocktails. One picked bourbon, the other tequila, and I picked the humble gin.

Among the six we tested, the Cikolata Affaire (bourbon-based) and the on-fire Nutty Soiree (Gin-based) stood out!

The Walnut baklava that was paired with the sous-vide concoction that was Nutty Soiree was a sure-‘fire’ winner, while the Cikolata Affaire, which chocolated its way into our hearts, demanded seconds. The tequila-based Muhammara Picante was also impressive. Overall, it was experimental, but for a change, in Kochi, the mixology was spot on.

This set us up for the main course. An all-in-all Kebab platter that came in a serving table so long, it had to be set diagonally to our four-pax dinner table. Among them, the Chicken Joojeh Kebab, the Lamb Adana Kebab, the Shish Taouk (baby chicken legs), the Samak Hara Kebab (chilli marinated fish), and Kebab-e-rubian (Persian prawns) were excellent to the point we were hoping we didn’t fill ourselves in the appetiser-starter round.

The portions were not only on point, but they also paired well with an array of classic Greek and Persian dips that elevated the experience. The only miss was the rather plain flatbread and the famous chelo kebab, which was rather dry and soulless—that deserves a better grade of meat, and we hope they fix it soon. There are only a handful of place serving good grade meat in Kerala, despite the high percentage of consumption.

As we finished the sumptuous platter, the three of us were already too satiated... But we had a lot more menu real estate to cover, and decided to pause our adventure here.

And now, it was dessert time! Again, we were spoilt for choice. But the responsible adults that we think we are, we decided to try the Kunafa and the Yoghurt cake another time. Now, there was one standout offering that we couldn’t ignore—Chocolate Tahini Lava Cake.

The dark chocolate cake arrived with molten tahini, crumble, and sesame. And a side of some Turkish saffron pistachio ice cream. Heaven!

As we were digging into our plates of dessert, the table across was celebrating someone’s birthday. The spritey wait staff sang and danced, and it was indeed such a warm experience. After all, fine dining is all about the experience.

Of late, there are many fine dining experiences that promise you the same. But once you reach, you are greeted with bland pastel interiors, soulless dabs of the same European-American mish-mash rehashed into looking good, but flavour refuses to take part in this “reimagination”. And yes, the weird pin-drop silence as if it were a rather pricey lunch break at school.

Kyra was but removed from this standardised experience, as it brought some life into fine dining. And it should. The food is inspired not by peace. The Greco-Persian wars were famous. This conflict led to the Greek victory and then conquests that spanned history, but the initial contact also became the inflexion point, which triggered this massive wave of cultural exchange in the region.

And now, thousands of kilometres later, we are partaking in the culmination of a food culture centuries in the making.

It was more about enjoying the moment. And Greco-Persian cuisine goes well with Kerala cuisine sensibilities. It just works. And you are almost always guaranteed fun when a food culture features spasimo, the traditional plate-smashing ceremony!

Reviewed Establishment: KYRA, Holiday Inn, Kochi

Type: Fine-dining Restaurant and Bar

Cuisine: Greek, Persian, Greco-Persian Fusion

when-indigenous-kitchens-took-over-a-five-star-table

Wed Feb 11 16:43:41 IST 2026

On a balmy evening in Mumbai, the open-air dining space at Taj The Trees, located in Mumbai's Vikhroli, transformed into something far more elemental than a luxury hotel venue.

For four nights, it became a window into indigenous kitchens from eastern and northeastern India, as women from the Santhal tribe of Jharkhand and the Asur community of Meghalaya brought their food, ingredients, and stories to the city.

The entire menu was more than “inspired by tribal cuisine,” it was, in fact, the tribal cuisine at its most basic, yet unexplored, best. It was deeply local food, unapologetically traditional, cooked the way it has been for generations, using ingredients many of which the women carried with them from their home states. The pop-up, supported by the Tata Steel Foundation, was as much about preserving culinary heritage as it was about creating opportunity.

A team of five women helmed the kitchen, and the heart of the experience lay in hearing them speak about what food means in their lives. Chef Dwipannita Rabha from Meghalaya, who curated the menu from her state, described herself as a schoolteacher by profession but a chef at heart. Cooking, she said, in a conversation with THE WEEK, had always been her calling, one she now documents on Instagram, quietly building a digital archive of indigenous foodways.

Platforms like this pop-up, she added, gave women like her the confidence to imagine a future where their skills were recognised beyond their villages.

Her sentiment was echoed by her counterpart from Jharkhand, as both spoke of gratitude for the exposure and a hope that this would not be a one-off, but the beginning of many returns to cities like Mumbai.

The meal itself unfolded like a lesson in restraint. The non-vegetarian thali, generous yet unpretentious, began with a clear chicken soup that set the tone for the evening. Made with barely a handful of spices, it was soothing, almost meditative, oozing earthy flavours minus any kind of excess. Every dish that followed leaned into this philosophy of minimal seasoning, maximum integrity of ingredients.

The desserts were perhaps the most surprising. From ragi malpua to black sesame barfi, they redefined indulgence. Low on sugar, high on nutrition, and rich in texture, these sweets felt less like an end to the meal and more like an extension of it as thoughtful, balanced, and deeply rooted in local food knowledge.

What lingered long after dinner was not just the taste, but the quiet confidence of the women behind it. In a city obsessed with novelty, this pop-up reminded diners that some of the most exciting food stories are not new at all; they are simply waiting to be heard.

chocolate-day-10-playfully-savage-office-friendly-messages-quotes-to-send-your-single-friends-this-valentines-day-season

Mon Feb 09 11:21:04 IST 2026

We all have that one friend who is without a Valentine (again). It’s alright; you can't resist the temptation to pull their leg if you love them. A little savagery could be the motivation your friend needs to find their soulmate in hiding.

IN CASE YOU MISSED: Happy Propose Day 2026: Best propose quotes and wishes for this Valentine's season

Here are ten sharp, office-appropriate, and—most importantly—playfully savage messages to send your single friends on this Chocolate Day:

1. “Chocolate Day for you means zero sharing, zero drama, and zero texts. Cheers, mate!”

2. “Chocolate Day: When your only date is the expiry date on the wrapper.”

3. “Happy Chocolate Day! Eat all the chocolates yourself — at least they won’t leave you too soon :P ”

4. "May your chocolate be as dark and cold as your dating life."

ALSO READ: Happy Valentine's Week 2026: 49 wishes to share with your partner, crush, or situationship

5. “Even dark chocolate has more sweetness than your dating history.”

6. “Chocolate Day reminder: chocolates melt, relationships end, but your single status remains undefeated.”

7. "Celebrating alone? Don't worry, the calories don't count if there isn’t a significant other around to witness the shame."

8. “Couples celebrate Chocolate Day. Singles celebrate emotional resilience.”

9. “You’re single on Chocolate Day because even fate said, ‘Let’s not waste chocolate.’”

10. “Chocolate Day reminder that the only thing being unwrapped tonight is your loneliness :P”

beyond-the-booth-director-jaya-asokan-on-why-india-art-fair-is-no-longer-just-a-4-day-event

Mon Feb 02 15:28:51 IST 2026

One of the leading events on India’s cultural calendar, the India Art Fair returns with its 17th and largest edition this year. The four-day event, to be held in New Delhi from 5 to 8 February, will feature a record 135 exhibitors, spanning galleries, institutions, and design players. “We always try to focus on something new,” says festival director Jaya Asokan. “This year, we’ve introduced the Swali Craft Prize and an AMA Artist Award.”

In a conversation with THE WEEK, Asokan talks about the highlights of this edition, shifting collector trends, the rise of art initiatives in tier-II and III cities, and the relationship between art, religion, politics, and society at large.

Edited excerpts:

Now in its 17th edition, what are the highlights at the India Art Fair this year?

With a record 135 exhibitors, this is our largest edition yet. These include galleries, institutions, and design players.

A key thing to see is that in our ten years of partnership with BMW India, we’ve now done five editions of ‘The Future Is Born of Art’ commission. This year, it has been awarded to Afra Shafiq. She has created the façade, which she calls ‘A Giant Sampler’. It will be realised on the India Art Fair façade with an AR layer—if you download an app, the motifs move, and so on.

Then there is the talks programme, anchored by the prompt ‘What Makes Art Happen’, which brings together artists, thinkers, and cultural leaders from around the world.

Then there is ‘Artists-in-Residence’. Every year, we choose about three to four artists who are not gallery-represented and are quite young, and give them this platform. This year, we have Dumiduni Illangasinghe from Sri Lanka and Arun B., among others.

We also have a performance art programme called ‘Breakfast in a Blizzard’, curated by HH Art Spaces and led by Yuko Kaseki, Uriel Barthélémi, and Suman Sridhar. This will also be quite interesting within the fair programme.

Beyond the highlights, what are some additions to the fair this year?

We always try to focus on something new that we didn’t do the previous year. So, we’ve introduced the Swali Craft Prize. Initiatives like these push us towards being more of a year-round format rather than just a four-day event. That’s a significant departure from the past.

We also have an AMA Artist Award this year, which will be given to Umar Rashid, who also has a booth at the fair. So, we’re increasingly trying to do more non-commercial initiatives.

Are there also changes in what collectors are looking for today?

Absolutely. We’re seeing more repeat buyers and younger, more research-driven collectors. There are also far more institutional acquisitions. All of this points to a broader and more informed collector base than we’ve seen in earlier cycles.

The art fair has a strong focus on South Asian art. Given the region’s diversity but also its differences, how do you see it playing a role in building dialogue or synergies across this region?

I think this applies not just to South Asia but globally. Our strength is that we are a regional fair. We don’t want to be a standardised, cookie-cutter fair of the West, and that’s the beauty of it.

While we welcome international galleries, the fair is always skewed around 80–20. People come here specifically to discover Indian and South Asian art and culture.

What’s quite beautiful is the kind of synergy that happens. For example, Britain’s David Zwirner Gallery came here and discovered artist Mahesh Baliga through a gallery at the fair, and then went on to do a show at their London space. Similarly, representatives from the Los Angeles County Museum of Art came, acquired works, and have now signed an artist for a major show in 2027.

So, the fair brings people together and facilitates these dialogues, whether across Bangladesh, Sri Lanka, or even London and Los Angeles.

We’re also seeing art initiatives emerging in tier-II and III cities. Jodhpur had an art week last year, for instance. How do you view this expansion? Is it metro saturation or a growing appetite in smaller cities?

I think it’s the appetite. Like this year, we have people from Raipur, Surat, and Ludhiana. Of course, it also has to do with the country’s economic state. There is wealth, and new centres of wealth.

There’s also an aspirational element to art. For some, it’s a luxury item; for others, motivations vary. But there’s definitely a surge of interest in smaller cities. And it’s part of our mandate to educate and expose audiences, which is why we did the IAF EDI+IONS in Hyderabad last year. Unless we start initiatives in smaller cities and build that appetite and education, the ecosystem won’t grow.

Earlier this year, we saw controversy around an artwork at the Kochi-Muziris Biennale. How do you look at the relationship between art and religion, politics, and society at large?

Art and artists will always be reflective of the times they live in. A lot of them speak directly to religion, politics, ecology, and social activism. These themes are pervasive in artists’ lives, and it’s very difficult to take them away. Sometimes, the idea is also to incite a reaction, not just to paint a pretty picture. Artists will continue to respond to these issues.

beyond-the-bottle-sula-vineyards-ceo-rajeev-samant-on-sulafest-and-wine-tourism-expansion

Mon Feb 02 01:12:02 IST 2026

On the second day of Sulafest, with music floating over rolling vineyards and thousands of wine lovers spread across Sula’s Nashik campus, it is clear that the festival has outgrown its original brief.

What began as a niche wine-and-music gathering 15 years ago has today evolved into one of India’s most recognisable cultural markers—an event that blends live music, wine tourism, and a distinct lifestyle ethos.

As Sulafest celebrates its 15th edition and Sula Vineyards completes 26 years, CEO Rajeev Samant reflects on how the festival has scaled without losing its soul, why Indian artists now dominate the line-up, and how a conscious shift towards low-alcohol experiences has reshaped the vibe on the ground.

In a wide-ranging conversation with THE WEEK on Day 2 of the festival, Samant also speaks about changing wine consumers, sustainability-led winemaking, and why wine tourism is emerging as Sula’s fastest-growing vertical even as domestic wine sales face headwinds.

Sulafest has clearly grown beyond being just a music festival. How do you see its role today?

It has absolutely become a cultural marker. What’s interesting is that the actual space for Sulafest today is slightly less than what it was five years ago. We’ve repurposed some land, but we’re selling more tickets than ever. That tells you something.

At the same time, we’re very conscious about safety and quality of experience. We put a voluntary cap on numbers. Last year we were sold out, and this year too we sold between 8,000 and 10,000 tickets, which is really the maximum we can do. If you come now, you won’t get a ticket. I think Sulafest is probably the only music festival in India that has sold out two years in a row.

You pivoted to largely Indian artists. Was that a risk?

Last year we had only Indian acts, and we didn’t get a single complaint. That says a lot about the maturity of India’s music scene. People don’t need imported acts anymore. With currency issues and logistics, it’s also becoming harder to bring international artists.

This year we have one international artist, but we are very proud to be a largely Indian festival.

You’ve also consciously moved away from spirits at the festival. Why?

Before COVID, we used to sell spirits. But last year and this year, there are only wine and beer. Kingfisher is one of our sponsors because drinking wine continuously for eight hours isn’t ideal. A glass of wine, water, beer: that balance works better.

The vibe is noticeably better when alcohol levels are lower. People are more peaceful.

How involved are you personally in running Sulafest now?

Honestly, I’m hardly involved anymore. I give guidance at the start and come on the last day to mingle and enjoy the scene. Our team runs everything and almost entirely in-house.

Apart from specialised sound, staging and some artist management, we don’t use external agencies. It’s a huge team-building exercise and something we’re very proud of.

Sula commands over 65 per cent of India’s domestic wine market by value. How has the Indian wine consumer changed over the past decade?

The biggest change is geography. A decade ago, it was all Mumbai and Pune. Today, Nashik itself is a huge wine market. Nagpur, Aurangabad, Kolhapur all are strong.

Even in Karnataka, Bengaluru used to account for 95 per cent of sales. Now it’s closer to 80–85 per cent. That tells you wine is spreading beyond metros.

There’s also much greater curiosity, especially among younger consumers, and far better availability of good-quality Indian wines.

The portfolio itself has expanded dramatically.

Absolutely. Ten years ago, shelves had maybe one Sula wine and Grover’s La Reserve. Today we have the Source range, which is growing in double digits, and RASA reds, which are genuinely world-class.

I’m talking about solid $25 wines—not $100-plus Bordeaux—but wines that would do very well in a blind tasting anywhere.

We now grow 20 different grape varieties and make wines from each, along with blends and reserves. Things have come a long way.

With over 11,000 tonnes of grapes crushed in FY25, how do you balance scale with craftsmanship?

Different price points need different approaches.

Our classic Sula range, around Rs 800 in Mumbai, is made at scale. These wines are fresh, fruity, and meant to be bought and enjoyed immediately.

Above Rs 1,000, in the Source range, you start seeing some oak. At Rs 1,800-2,000, with RASA, you’re looking at eight months to a year in oak, including French oak. That’s expensive and far more hands-on.

At the premium end, the winemaker’s involvement is intense. At the entry level, it’s more formula-driven. That’s how you balance scale and quality.

Viticulture is often cited as Sula’s backbone. How important are your grower partnerships?

It’s absolutely central. We work on 10-12-year contracts with grape growers. Today, only about 5 per cent of our grapes come from our own vineyards, those go into our most expensive RASA wines. The remaining 95 per cent come from contract farmers, and we’re very proud of that. Our teams work closely with them on new varieties and best practices.

We source grapes from Nashik, Latur, Solapur, Sangli, northern Karnataka, and even near Telangana. White grapes prefer cooler nights—so Nashik is ideal. Red grapes need warmer nights, which is why they do better in south Maharashtra. A lot of this is strategy, and some of it is trial and error.

Sustainability is now central to lifestyle choices. Where does Sula stand today?

We’re currently at around 70 per cent solar-powered operations, up from 64 per cent just a couple of months ago. Our aim is to get to 100 per cent.

India’s grid is still largely coal-based, so reducing grid dependence is critical. All our roofs now have solar panels. The next big focus is battery storage, so solar energy can be used during peak evening hours.

Bottle weight is another major contributor to carbon emissions. We’ve worked with Indian bottle manufacturers to reduce bottle weight by 15–20 per cent over the last five years.

Our supply chain is also 95 per cent Indian: grapes, bottles, cartons, screw caps, labels. That’s something we take great pride in.

What are the biggest challenges ahead for Indian wine?

Taking wine to more people. That’s the toughest part.

Whisky has had 100 years to entrench itself. Wine represents a completely different lifestyle and mindset. Government regulations don’t make it easy either.

We’re the world’s most visited vineyard—about 3.5 lakh visitors annually—but we need more wine festivals across the country. Unfortunately, state-wise rules make that very difficult.

Wine tourism seems to be a bright spot. What’s next on that front?

Wine tourism is growing in double digits for us, even when overall wine sales have been sluggish. That’s where our focus, investment, and capex will go.

Our Nashik campus will see continuous upgrades, but we’re also looking at new campuses. There are some exciting projects lined up, though I can’t say much just yet. You’ll hear about them very soon.

michelin-chef-henrik-jyrk-marries-nordic-and-indian-flavours-in-souk-at-taj-mahal-palace

Tue Jan 27 16:07:41 IST 2026

On a pleasant Friday afternoon, Mumbai’s iconic Souk at Taj Mahal Palace feels unhurried; calm, lingering, and perfectly attuned to the mood of the meal to follow.

Copenhagen-based, Michelin-trained chef Henrik Jyrk is in the city for one of Taj's specially curated Rendezvous by The Chambers, alongside his wife, a singer and self-confessed foodie of Malaysian descent, preparing to present a menu shaped by his long-standing engagement with Nordic and Southeast Asian cuisines.

At the heart of Jyrk’s cooking is a conversation between geographies that feels lived-in rather than curated; his food carries the warmth and intuition of Southeast Asian kitchens, shaped as much by personal history as by professional training.

Married to a Malaysian-Indian partner and long immersed in Asian food cultures, Jyrk’s approach resists the theatrics of fusion, choosing instead a quieter overlap of influences. “I don’t think of it as blending cuisines,” he says. “It’s about balance, that is, letting ingredients speak, and using spice, fermentation, and technique to deepen what’s already there.”

In India, that sensibility translates into food that feels familiar without being predictable.

After years spent navigating global kitchens from fine-dining institutions to Asian street food cultures, Jyrk, known for his restraint-first approach, begins with produce and builds outward, allowing technique and spice to deepen flavour.

A prime example of this philosophy is the plate of white and green asparagus he serves, a dish that quietly underscores Jyrk’s commitment to produce-led cooking. Though not in season, the asparagus arrives remarkably fresh, its natural sweetness intact, the stalks yielding easily with each bite. Beautifully plated without excess, the dish allows texture to take centre stage: crisp at the edges, juicy at the core. It showed how, when good ingredients are handled with restraint, they need little embellishment.

Jyrk came down briefly to India, and having worked in some of Denmark’s renowned Michelin kitchens, he is now looking at experimenting with Indian flavours and spices to recreate a fusion that is yet to take-off globally. “My creative process always begins with the produce, what’s in season, what’s local, and what feels alive right now. I layer Indian influences carefully, not to overpower the ingredients, but to enhance what’s already there,” he tells THE WEEK.

The meal opens with a scallop paired with ginger and caviar, a deceptively simple plate that sets the tone for what follows. The scallop is clean and sweet, cooked just enough to retain its translucence, while ginger adds a gentle heat rather than an aggressive bite. The caviar isn’t there for drama; it lends salinity and depth.

But for me, the most intriguing plate of the evening is the Nordic curry with goat and peas, where Jyrk’s philosophy becomes clearest. This is not curry as we recognise it in an Indian context, nor is it a Nordic dish masquerading as one. The goat is slow-cooked to tenderness, carrying an earthiness that anchors the dish, while the peas add freshness and a subtle sweetness. The curry itself is gently spiced, neither broth nor a gravy, it sits closer to a sookha, masaledaar preparation, deeply seasoned, and intensely flavoured without being heavy.

What stands out across the menu is Jyrk’s restraint with Indian flavours. This makes the food feel thoughtful rather than theatrical, though it may leave diners expecting bolder punches slightly underwhelmed. That said, the clarity of flavours, something rooted in Nordic cooking, keeps the plates grounded and elegant.

Dessert, dark berries with vanilla ice cream, brings the meal full circle. The berries offer sharpness and depth, cutting through the richness of the vanilla, while staying true to the Nordic emphasis on seasonal produce. It’s a quiet ending rather than a dramatic one. The dish exists to cleanse and leaves you with a sense of completeness.

The overall experience feels cohesive and well-paced, reflecting a chef comfortable enough with his craft to step back and let the ingredients lead. There are no unnecessary flourishes, no overworked plates, and no moments that feel engineered for applause.

“I’m not trying to recreate Indian or Southeast Asian dishes as they are,” Jyrk says. “What interests me is the way spices stay with you. I adapt that sensibility to Nordic ingredients and techniques, so the food feels familiar, but still a little unexpected.”

As I sit down with the couple for a tête-à-tête after the meal, their chemistry is immediately apparent. She often completes his sentences, stepping in effortlessly, offering context or clarity, hinting at a creative partnership that extends well beyond the table.

It’s easy to imagine these culinary ideas taking shape in shared domestic moments, flavours tested and refined long before they reach the plate.

On a lighter note, she laughs and admits that at home, it is she who does most of the cooking—not him—puncturing the seriousness of the chef’s persona and adding a human, disarming endnote to the conversation.

six-most-googled-recipes-in-india-from-sacred-sweets-to-shaking-sips

Wed Dec 17 18:22:48 IST 2025

Food has always been a universal language. Recipes across the globe have been tabled on opposite ends of the Earth. Recipes vessel culture, defines seasons, and sometimes, a bold statement in a chilled glass. From the fermented breakfast staples of Southern India to the glamorous lounges of London, it occupies the most googled recipes list in India.

Whether you are looking for the ultimate probiotic punch or a dessert fit for a deity, this curated list explores six legendary flavours that define their regions. The listicle below dives into the stories and traditions behind these global favourites.

Idli: The South Indian Moon on Plate

The art of eating idlis differs from hand to hand. It may be transformed into a half-moon or can even be completely squished to deform into how its slightly grated companion looks. Does a steam bath soften your skin? Well, idli testimonializes that. Evolution from a grinding stone to rotatory blades has never made any defining change in achieving that signature "cloud-like" fluffiness, because I have heard people making contradictory statements about the aforementioned. The process begins with soaking and grinding the grains into a smooth yet slightly textured paste. Then, nature takes over. Over several hours, wild yeasts and bacteria transform the batter, increasing its volume and developing a subtle, characteristic tang. When steamed in specialised circular moulds, the result is a soft, spongy disc that is naturally gluten-free and rich in probiotics. A side of spicy Sambar or a variety of chutneys, most notably coconut, tomato, or mint, mostly accompanies idlis’ gullet ride.

Pornstar Martini or simply Maverick Martini

From the table top of the London Lab Bar, Douglas Ankrah’s Maverick Martini, or more popularly known as Pornstar Martini, has ruled the counter since early 2003. It quickly rose from a niche club creation to become one of the most ordered drinks globally, loved for its vibrant colour, playful ritual, and accessible flavour profile. In the world of modern mixology, the drink has become a tropical explosion, traditionally featuring vanilla-infused vodka, passion fruit liqueur, passion fruit purée, and a hint of lime juice. Shaken vigorously in a shaker and poured down into a chilled coupe glass, a slice of passion fruit floating on top, and accompanied by sparkling wine sidecar completes the cocktail. The drink was initially named Maverick Martini after a nightclub in Cape Town frequented by the creator. The drink being bold, stylish, and unapologetically flamboyant made its title sound more seductive later.

Ukadiche Modak

Maharashtra kitchens fill with the heavenly aroma of Ukadiche Modak, becoming the steamed soul of Ganesh Chaturthi. This sweet dumpling also slipped into the list of the most searched recipes on Google. The favourite of Lord Ganesha’s, the dish is revered as a sweet bliss of blessings. The luscious mixture of grated coconut, jaggery, cardamom powder, chopped nuts, and ghee, used as the stuffing for the rice flour dough pouch. These dumplings are then steamed to turn the rice flour translucent and glossy. Remember to stick a few strands of saffron before steaming, to get that yellow tint and subtle flavour.

Thekua of Chhath Puja

Thekua is a cookie-like snack, prepared as the prasad of Chhath Puja. This deep-fried biscuit becomes the definitive taste of Bihar and Jharkhand origin snacks. Whole wheat flour with melted jaggery or sugar, ghee, and desiccated coconut, along with fennel seeds and cardamom, following perfect kneading, completes the preparation of the dough. Small portions of dough are then pressed against Sancha imprints, if available, or a toothpick can be used to carve any pattern on it. Thekua transforms into a snack when deep-fried in ghee or oil on a slow flame and tastes best when had without losing much of its crunch.

The Six Flavours of Life with Ugadi Pachadi

The festive Hindu New Year (Ugadi) drink, the Ugadi Pachadi, is more than just a recipe. It holds the flavours of life in the form of six distinct tastes, Shadruchulu. Floating unripe cut mangoes and the bitterness of neem flowers, with the sweetness of jaggery and the spiciness of pepper, with essential salt within the liquid base of sourer tamarind water, all represent the tangy, bitter, sweet, spicy, salty, and sour emotions of life. Since there is no cooking involved, the rawness of its ingredients hits sharp waves of flavours when you take a sip of Ugadi Pachadi.

Beetroot Kanji: The probiotic elixir

Googling the Beetroot Kanji recipe can lead to the conclusion that many have started caring for their health. Beetroot Kanji is simple in preparation as it requires only a few ingredients and no cooking. However, the drink needs three days in the sun to ferment. This healthy drink is prepared by adding slices of beetroot and carrots into water containing a mix of crushed mustard seeds, black salt, asafoetida, and red chilli powder. The Kanji can help boost immunity, gut health, and also keep your body warm during a cold.

swiss-watchmaker-longines-names-sara-ali-khan-new-friend-of-the-brand

Wed Dec 17 16:51:17 IST 2025

Renowned Swiss watch brand Longines announced that film star Sara Ali Khan will join its family as the new Friend of the Brand. Welcoming the ‘Metro In Dino’ actress, Longines, in a statement, said: “With her vibrant personality, natural charm, and impeccable style, Sara is a perfect match for Longines' own commitment to timeless elegance.”

She made an impressive debut in the 2018 film, Kedarnath. Sara, who holds a degree in history and political science from Columbia University, has impressed audiences with her versatile performances in movies such as Simmba, Atrangi Re, and Zara Hatke Zara Bachke.

Expressing her excitement about the new partnership, Sara said, "I am delighted to begin an association with Longines, a brand I have long admired because we echo similar values. Their timeless elegance, and their respect for legacy truly resonates with me. Longines values authenticity, celebrates grace and precision, and inspires confidence. I couldn't be happier to join them as Friend of the Brand."

Longines has a long-standing connection with India – the brand sold its first watch in the country in 1878. “Welcoming Sara as a Friend of the Brand beautifully strengthens this historic bond, merging Swiss watchmaking heritage with the vibrant spirit of modern India,” the watchmakers said in the statement.

Based in Saint-Imier, Switzerland, Longines was launched in 1832. It has been the official timekeeper for major world championships, and has been a partner to international sports federations. Longines is a member of The Swatch Group Ltd. The brand, recognised by its winged hourglass logo, is available in more than 150 countries.

luxury-label-kirrikin-brings-indigenous-australian-fashion-to-india-weaving-stories-of-land-art-and-identity

Wed Oct 29 23:07:09 IST 2025

It was a full house at the Australian High Commission in New Delhi on Tuesday, where guests gathered for a special evening marking the India debut of Kirrikin – an Indigenous Australian luxury fashion label designed in Australia and crafted in India. A partnership between the Australian High Commission, the Centre for Australia-India Relations, and the Fashion Design Council of India (FDCI), the event celebrated the cross-cultural exchange, as it brought the story of the First Nations Australians (a term used to describe Australia’s Indigenous people) through fashion, to India.

The evening opened with a vibrant cultural performance of dance and music, setting the tone for a showcase that reflected the deep connection First Nations Australians share with the land, water, and nature – echoed in the collection’s palette of earthy greens, oceanic blues, and sunlit oranges. The brand, founded by social entrepreneur and Wonnarua woman Amanda Healy, transforms hand-painted First Nations artworks into striking luxury resortwear and accessories.

Notably, the term ‘Kirrikin’, which means ‘Sunday’s best clothes’, holds special meaning for the Wonnarua people. “The term traces back to the original language recorded by missionaries in Australia during the 1820s and has become a symbol of the label’s commitment to revitalising the language of the Wonnarua people,” the Australian High Commission noted in a release.

A shared history

Speaking on the India debut and the country as a fashion market, Healy told The WEEK, “Our commonality in love of colour, pattern and design makes us natural partners. We also notice the love of soft fabrics here. Most of all, we have a common heritage in terms of colonial impact. Our history mirrors yours.”

The brand manufactures almost everything in India. “We do occasionally do a small run in Australia, but generally everything is made here. Even if we make in Australia, we use fabrics from here,” says the founder-director. “I chose India as my major supplier because of the sheer fabulousness of your fabrics.”

The brand appears firm in building a strong international presence, having showcased its collections across several countries. “We receive tremendous support from Europe, perhaps because there’s a deeper recognition there of the lasting impact of colonisation,” she says.

And it’s only fitting, given the growing conversations around sustainability in fashion – an industry often criticised for its pollution and waste. Indigenous communities worldwide, however, have long showcased how to live in balance with nature. “We are still very unique on this planet and understand how to live in harmony with it,” Healy highlights.

bankai-beats-inside-mumbai-s-anime-only-party-where-cosplay-meets-cocktails

Mon Nov 03 17:47:03 IST 2025

For a night this weekend, Lower Parel’s antiSocial will transform into a scene straight out of a Japanese dreamscape where anime fans, dressed as their favourite characters, dance, eat, drink and celebrate a culture that has grown from niche fandom to a full-blown movement.

Welcome to Bankai Beats — an adults-only anime party that has become one of Mumbai’s most anticipated subculture gatherings.

“Think of it as a coming-of-age for anime fans,” says organiser Shashank Rawat, the creative mind behind the event. “We’ve all attended comic conventions and cosplay meets, but this is different. It’s where the city’s otaku crowd finally gets to let loose — no kids, no filters, just music, cosplay and conversations.”

Unlike the usual daytime fan fests, Bankai Beats begins at noon and flows well into the night, complete with DJ sets, sushi platters, themed cocktails, and a dance floor that sees Naruto, Sailor Moon, and Luffy from One Piece grooving side by side.

The event is open only to those above 18, which means the energy and the creativity get a little bolder. Anime has so many genres and layers, say the organisers. It's a safe space to explore and express that side freely.

There’s also a cosplay competition, but attendees aren’t expected to show up in extravagant, screen-accurate costumes. The idea is to capture the spirit of a character, not necessarily spend months crafting armour.

And in true Mumbai fashion, there’s a twist — Bankai Beats might be the only cosplay event where you’ll spot pitchers of beer clinking across the room. Most anime fans are introverts until the first drink; after that, you see everyone talking, singing, and bonding, say those familiar with the theme.

The night’s beats come courtesy of DJ Tempura, a masked musician popular in J-culture circles. Expect a playlist that blends anime soundtracks with J-trap and lo-fi mixes, the kind of experimental, high-energy sound that keeps the crowd on its feet.

Even the food and drink menu gets an anime twist from themed sushi rolls to Japanese-style cocktails. “It’s all about creating a world within a world,” says Rawat.

The growing popularity of such gatherings shows how anime has moved beyond being a niche obsession into a mainstream creative influence in India. Events like Bankai Beats offer more than entertainment; they create community.

So, whether you’re a die-hard purist or a casual watcher who just knows Attack on Titan, you’re welcome at this wild, wonderfully weird celebration of Japanese pop culture

how-climate-friendly-is-your-fashion-report-ranks-worlds-largest-fashion-brands-on-transparency

Tue Sep 30 12:58:27 IST 2025

Ever wondered how your favourite fashion brand does when it comes to being upfront about disclosing information on its climate friendliness? A report titled ‘What Fuels Fashion’, put out by the global not-for-profit Fashion Revolution, has ranked 200 of the world’s largest fashion brands, including Ajio, Max, and Reliance Trends, to conclude that the average disclosure is just 14 per cent.

The report measures scores for brands across multiple categories related to transparency, climate action, and supply chain sustainability, with a detailed methodology emphasising measurable impacts. Of these categories, decarbonisation carries the greatest weight (41%), followed by accountability, financing decarbonisation, energy procurement, and just transition advocacy.

Decarbonisation covers targets aligned with reducing emissions, phasing out the use of coal, renewable electricity, and an exclusion of accounting loopholes like carbon offsets, which do not actually result in any emission reduction.

Accountability involves supply chain transparency, disclosure of suppliers, emission hotspots, and factory-level data essential for targeted action.

Energy Procurement assesses how brands source energy in their operations and supply chains, including the use of self-generated renewables, power purchase agreements, and disclosure of procurement methods.

Financing Decarbonisation measures disclosures on investment in renewable energy infrastructure and support to suppliers for decarbonisation.

Just Transition Advocacy evaluates brands’ public commitments and advocacy for workers' rights and climate adaptation in supply chains.

Of the 39 brands that disclose no information in the public domain are Smart Bazaar, Van Heusen, Forever 21, Max Mara, Nine West, Reebok, Ted Baker, Aeropostale and Saks Fifth Avenue. The brand which does best on the scale is H&M with a score of 71 per cent. Other high rankers are Puma, Gucci, Adidas and Hanes.

Of popular Indian brands, while Smart Bazaar discloses no information, Max (Reliance) does a little better with a two percent score. Ajio is slightly above these with an overall score of five percent. Amazon’s score is 9 per cent, while the popular Shein is at 13 per cent.

On the accountability factor, Max, Ajio, and Reliance Trends draw a zero. Just as they do on decarbonisation, which means there is no way to measure if their carbon emissions have reduced from a baseline.

The report notes that the fashion industry has plateaued when it comes to disclosures on supply chains. This means there is no way of knowing whether these are built on the resources of the poor and marginalised. It is of concern that the largest chunk of these non-disclosures (59 per cent) come from publicly listed companies, which owe this information to their investors. Reliance Trends, Ajio, Smart Bazaar- all three do not put out information on where there products are made/sourced from.

The report also draws attention to one of the fashion world’s worst mistakes- overproduction. As it points out- the sector thrives on creating desire, fuelling consumption and chasing ‘endless growth’. However, as 91 per cent of the brands examined do not disclose their production volumes, they cannot be held accountable.

India also does poorly on the energy source front, with 46 per cent of the fashion industry’s energy coming from coal. This is second only to China’s share of 61 per cent.

As the report clarifies, it calculates the ranking based on publicly self-disclosed information without an independent verification of these claims. It also does not measure ethics or sustainability. Most importantly, it is not a shopping guide.

green-is-the-new-gold-in-fashion-it-means-serious-business

Wed Sep 10 22:27:05 IST 2025

From a rise in handloom and sustainable brands to thrifting and conscious buying, sustainability is no longer a vague term in fashion. And rightly so, given the industry contributes 10 per cent of global carbon emissions, pollutes water bodies, with a whopping 85 per cent of textiles ending up in dumps each year as per estimates. The issue is especially crucial for India, with its fashion apparel industry projected to reach $146.3 billion by 2032.

Despite the rising awareness around the environmental and social benefits of sustainable fashion, price remains a problem. A bigger question is how the manufacturers are to gain by switching to more eco-friendly practices, which they can then transfer to the consumers.

“The manufacturers need to become more sustainable for business reasons, to become more competitive,” says Bernadette Blom, director of Amsterdam-based Good Fashion Fund, an impact fund organisation that works on sustainable solutions in the textile and apparel industry in Asia.

Climate solutions, including sustainable fashion, were much discussed at the AVPN Global Conference 2025 in Hong Kong, organised by AVPN, the biggest network of social investors in Asia. On the sidelines of the event, Bloom, along with Jayanth Kashyap B, Investment Lead at Good Fashion Fund, spoke to The WEEK on trends in the sustainable fashion space in India, the bottlenecks in making the transition, what’s there for the manufacturers, and more:

Edited excerpts:

Why has the focus of Good Fashion Fund been on Asia?

Bernadette Blom: It’s because most of the garment manufacturing hubs are in Asia. So our investors are looking to make an impact there in supporting manufacturers in becoming sustainable through solutions like supporting newer technologies.

We are focusing on two countries with GFF 1, which are India and Bangladesh. It’s fully invested, and we’re establishing a follow-on fund. We closed it just before Covid at $19 million.

How much of it is invested in India?

Jayanth Kashyap B: We’ve done six investments, out of which four are in India, of about $10 million.

What are the focus areas of your investments?

Bernadette Blom: It’s mainly to help tier I, II, and III companies that are exporting to global brands.

Jayanth Kashyap B: These are basically mid-size manufacturers. Tier I includes those that deal with finished garments, where they cut, make, and trim. Tier II is the fabric mills that make fabrics that get converted into garments, and tier III is yarn, which gets made into fabric.

So the focus is throughout the value chain, across all three tiers, as long as it leads to a significant reduction in the consumption of energy, water, and materials. We’re equally focused on the social part, to ensure the workers’ condition, well-being, safety, and health.

What changes have you seen in the sustainable fashion space in India since 2019 from both the consumer and the manufacturers’ side?

Jayanth Kashyap B: From the consumer's side, there’s a little more awareness of the purchasing choices. But the onus still falls on the manufacturers and the brands. But do the consumers know what they’re buying? Most don’t know what they’re purchasing, where it's made, and how it’s made; it’s pretty non-transparent in terms of awareness, and it’s not the consumer's fault. That’s how the industry operates.

And on the manufacturers’ side, the companies are seeing a value in making these improvements over time, and by doing that, they also hope that they can get more business out of this from international brands as well, because there’s a business case that needs to be made.

But do the manufacturers have the monetary incentive there so the sustainable solutions don’t end up increasing the cost, thereby discouraging customers, and the brands losing business?

Bernadette Blom: The manufacturers actually need to become more sustainable for business and become more competitive. This is what we’re seeing: when we install such technologies, the production process at times becomes more efficient, and the cost comes down. They also end up becoming more competitive and attractive to the global brands.

Jayanth Kashyap B: For example, we invested $25 million in Tamil Nadu-based Sri Kannapiran Mills. Within the first year of installing the technology, which was a mix of equipment for weaving, spinning, and transformer replacement, it showed results. The machinery was 25-30 years old, so you can imagine how resource and energy-intensive it would be.

And we did a comparison: The material wastage went down by about 95 per cent, and energy, more than 50 pc. The carbon dioxide savings amounted to 1,000 tonnes. And in terms of financial savings, it was about $250,000 in the first year itself.

What are the bottlenecks in moving towards sustainable fashion in India?

Jayanth Kashyap B: It requires much more private capital to come in.

Bernadette Blom: There’s also the need for access to long-term finance for the SMEs, who form a big part of the supply chain. It also needs more technical support.

delhi-contemporary-art-week-the-now-through-artists-lens

Thu Sep 04 15:21:11 IST 2025

Danda Nach (punishment dance) is an all-male religious folk dance and theatrical ritual from Odisha’s Ganjam district.

“It’s a procession-style performance where only men from farming and labour families participate. They end up playing the female characters, too,” says Odisha-based artist B. Pradhan, whose artwork—an installation titled ‘Danda Nach’—is on display at Bikaner House, New Delhi for the Delhi Contemporary Art Week (August 31-September 4).

However, here, women are the actors, and what the artist showcases is their migration.

“Odisha had witnessed migration before, but by men. Now the women are migrating with their utensils and other household items,” the 29-year-old artist said.

Along with migration, several other contemporary themes—from love to war, and politics to leisure—are being showcased at the Delhi Contemporary Art Week (now in its 8th year) by the six women-led galleries: Latitude 28, Blueprint12, Gallery Espace, Shrine Empire, Exhibit 320, and the Vadehra Art Gallery.

“Every participating gallery focuses on different themes. Ours is on the artists who are marginalised,” says Mandira Lamba, co-founder of the contemporary art gallery Blueprint12.

Another striking work is a series of paintings that showcase queer love in public and private spaces. It makes the simple acts of eating at a dining table or lazing at a park profound, thus making a strong case for a more inclusive world.

Then there is Ketaki Sarpotdar’s ‘There is no need for a hundred bees to get a hundred flowers to bloom’ by Latitude 28, which showcases a family sitting in a circle, and playing Chinese whispers.

A newspaper lies at one corner, bearing the headline: “Saffron coloured building believed to be a temple in UP turns out to be a public toilet."

This is a metaphor for how misinformation travels, now more than ever through social media.

A series of paintings that blur the lines between past and present, East and West, high and mass entertainment is Pakistani artist Farhat Ali’s artworks, which reinterpret history and popular imagery through miniature painting.

Imagine miniature-style figurines co-existing with Mickey Mouse and Donald Duck, and that’s Ali’s paintings that also fuse two art forms—one tradition, the other rather contemporary—that remain widely popular in South Asia.

Leisure as an act of resistance

When it comes to women, artist Jayati Bose brings forth in her series of paintings that say yes.

She showcases women at leisure—faceless, barefoot, in muted tones—taking a break to mindfully do nothing.

“I’m a mother, and whenever I would take a break, the guilt trip would take a toll on me. And that’s the case with every woman. But why? Don’t we deserve it?” says Bose, who first started painting in 2021 “not to become an artist, but for leisure.”

On why she has kept the colours muted and forms faceless, she says that it was because "I didn’t want to build their identity, as it’s the story of every woman".

The highlight of the event is ‘Taqiya Kalam’, which reimagines art in living rooms, study rooms, and bathrooms, bringing forth an experience that is otherwise restricted to the white-walled, almost exclusive contours of the traditional idea of galleries.

Stepping into the exhibit—curated by Priyanshi S with Amrita Guha and Joya Nandurdikar of Untitled Design—is like entering into a collector’s home.

Here, you’ll find everything: from paintings and photographs to sculptures, books, pieces of furniture, and even charcuterie, thus also blurring the lines between different art forms.

There are no labels on the walls, and that’s "intentional", says curator Priyanshi S.

At one corner, the bathroom is reimagined as a place for queer intimacy, and on another, a pair of heels lies around, just like that.

Lines are blurred between the political and personal, the emotional and geopolitical, as themes and issues merge into one another at the Delhi Contemporary Art Week, which is on till September 4.

from-glass-skin-to-matcha-masks-is-virality-shaping-indian-beauty-industry

Thu Aug 28 15:08:37 IST 2025

Just a few years ago, terms like ‘curly hair range,’ ‘Korean glass skin,’ ‘Vitamin C serum,’ ‘hyaluronic acid,’ ‘niacinamide,’ ‘retinol,’ and ‘LED masks’ were eerily absent from the beauty and personal care discourse, which is no longer the case today, a shift that closely mirrors the evolving discourse online.

Take curly hair care, for instance. Despite wavy and curly being the dominant hair types in India, the market had little to offer until about four to five years ago. But today, one is spoilt for choice, not only with the number of brands that have entered the category, but the multitude of products out there. A cleansing shampoo, a moisturising one, a conditioner, mask, leave-in conditioner, curl cream, mousse, gel, diffuser, serum – you name it, with even traditional brands such as Unilever’s Dove coming out with its curly hair range. This boom, interestingly, aligns with the growing popularity of the Curly Girl Method (CGM) online, with social media pages like fuzzycurls_, run by creators Megha and Vibha, amassing over 200,000 followers on Instagram by focusing on curly hair care education and product recommendations.

Hence, while social media has long influenced consumer behaviour, shaping what people buy and why,its impact is now extending to product development itself. Virality doesn’t just drive sales; it also informs what brands create and bring to market.

A viral moment

“Initially, our focus was solely on the product itself, and now we have found a balance between our brand and current trends,” says Niharika Jhunjhunwala, Founder and CEO of ClayCo, a homegrown beauty brand that focuses on Japanese beauty rituals, or J-beauty, with products containing ingredients like matcha and rice, which have recently garnered considerable traction online.

It also offers products such as Glass Skin Ritual Set and Double Cleansing Ritual Set, routines that are popular online. Jhunjhunwala, however, highlights that “While it’s possible to launch a product that becomes ‘viral’, if the product lacks quality, it won’t sustain. The reverse is also true. For example, we launched our Matcha Clay Mask two years ago, and it remains one of our best sellers to this day, even though the Matcha trend gained traction only recently.”

Delara Lalwani, founder and creative director of Boofootel, a brand that offers “Skincare designed for Indian skin,” says: “The Indian beauty market today is very exciting, but also very noisy. Social media has completely changed the way people discover and buy skincare. Consumers are more informed, more curious, and way more experimental than they used to be, which, according to me, is great. But it also means there’s a lot of pressure on brands to constantly chase what’s trending. One ingredient goes viral, and suddenly every brand is launching a version of it, whether or not it makes sense for their product or their consumer.”

She gives the example of Korean glass skin, which “might be all over the internet, but it’s not always achievable or even healthy for Indian skin. Let’s be honest, Korean and Indian skin are fundamentally different. Korean skin is generally thinner, drier, and has much less melanin. Indian skin, on the other hand, is naturally thicker, oilier, and more prone to pigmentation and inflammation. Plus, we’re dealing with a completely different climate. One that is hot, humid, and polluted. So the same 10-step routine or layering of actives just doesn’t translate. In fact, it can sometimes do more harm than good.”

According to the Nykaa Beauty Summit Report 2024, by Nykaa and Redseer Strategy Consultants, India’s beauty industry is expanding rapidly, with “ projections showing it will reach $34 billion by 2028. This growth is fueled by rising disposable incomes, increased consumer aspirations, and the influence of social media and e-commerce.” Interestingly, among the factors at play is microtrends, which are short-lived but powerful, typically lasting 3-6 months, and which gain popularity through social media and pop culture. “ The report notes the rise of microtrends such as graphic eyeliners, lip stains, and tinted moisturizers, all of which have become must-have products thanks to their visibility on platforms like Instagram and TikTok,” it said.

Chasing the trend

According to Rohan Agarwal, partner at Redseer Strategy Consultants, brands keep an eye out for the trends and figure out which are catching early attention. “As a brand, you would want to ride the wave, as the trends are also becoming sharper and shorter in duration, which means the brands have to be really agile,” he says.

At the same time, with the Indian beauty market still in its nascent stage, global beauty trends continue to play a role. “For example, the Korean glass skin, which started with South Korea before blowing up globally, very promptly, some of the brands that are more proactive with respect to bringing in trends that may work in India started creating such kind of engagement in the market. And what happens is, if you initiate, say, 100 trends, maybe 10 of them work. And as soon as some of these trends catch on, is when the rest of the brands follow, which we’re also seeing with some of the conglomerates like Unilever launching specialised products in India, which might not exist in their global portfolio,” he says. “What has happened is that more D2C brands and online marketplaces are taking charge of identifying some of these trends,” Agarwal adds.

A trending concern

According to Dr Chiranjiv Chhabra, founder & chief dermatologist at Alive Wellness Clinics, while ingredients like niacinamide or peptides were “once only discussed in clinical or dermatology circles,” that’s no longer the case, thanks to social media. These are “now repackaged into trendy serums and toners with social-first branding.” However, “While it’s great that more people are taking an interest in skincare, the pace and pressure of social media virality often push brands to prioritise trends over science,” Dr Chhabra says.

In fact, it’s a “growing concern,” she says, as “skincare should be rooted in science and not just what’s trending. When brands chase virality, there’s a risk that products are formulated more for quick appeal than long-term results or safety. The influence of social media, particularly influencers and content creators, plays a huge role here. Many of them share routines or promote products that might have worked for their skin, but those recommendations aren’t always safe or suitable for everyone. For example, high-strength actives like glycolic acid, salicylic acid, or retinol are often promoted as “must-haves”, but when used without guidance, they can cause irritation, sensitivity, or even worsen skin conditions.”

According to the expert, “A common trend followed a lot by youth is the overuse of strong actives like exfoliating acids and retinoids without proper understanding. Many people layer multiple actives because they have seen them recommended in viral routines, but this can damage the skin barrier and lead to inflammation. Even in haircare, we see trends like scalp detoxes or miracle oils being marketed aggressively without real evidence.”

The rat race factor

However, for brands, “it’s quite challenging” these days to attract digital-first customers, if you are not following trends, says ClayCo’s Jhunjhunwala. “However, I feel that a good product always surpasses trends - and any new-age brand needs a mix of both,” she adds.

While the virality factor is increasingly at play, it’s equally challenging for brands to keep pace as trends are fleeting, lasting a few months if not weeks, while products require much longer to be created.

“It is definitely a challenge because digital-first consumers move fast. They’re exposed to new brands, new ingredients, and new routines every single day,” says Boofootel’s Lalwani.

According to Agarwal, it’s “very difficult” to turn trends into opportunities. “There are several steps to be undertaken. But if you take too much time, you’re just out of the race.” And to turn trends into opportunities, “you need to have a very strong listening and analysis mechanism to identify the right trends from the rest, and a strong R&D team to convert some of those ideas into reality. And then a very strong supply chain,” he highlights.

According to the Nykaa Beauty Summit Report 2024, too, “Brands that are agile enough to capitalise on these microtrends can see significant gains,” and “The ability to quickly respond to these trends through agile manufacturing and marketing strategies will be crucial for brands looking to stay ahead of the curve.”

matchas-green-revolution-how-indias-culinary-scene-is-embracing-the-superfood

Thu Aug 21 18:14:30 IST 2025

At a time when wellness fads and culinary trends often blur into one another, matcha has carved out a space of its own—bridging luxury dining, social media buzz, and health-conscious living. In India, the bright green Japanese tea powder has found its way from artisanal cafés to fine-dining menus, where chefs are reimagining it beyond its traditional use.

From lattes and desserts to innovative fusions with Indian mithai, matcha is increasingly becoming a flavour that represents both indulgence and experimentation.

At Taj Mahal Palace, Mumbai, Executive Chef Raghu Deora has been at the forefront of this evolution, crafting matcha-infused offerings that appeal to local sensibilities. In a conversation with THE WEEK, he shared insights on what’s driving the craze, how it’s shaping menus, and why he believes matcha is the next superfood to watch out for.

Q/ Matcha has become a buzzword in the wellness and culinary world. What, in your opinion, is driving its popularity in India right now?

A/ Matcha is definitely trending these days – primarily, the way it is being promoted internationally. And yes, it has its own benefits when it comes to human health in the longer run.

Q/ Are you witnessing a growing interest in matcha-based offerings among your guests?

A/ Of course! Thanks to social media, where influencers and star kids make it even more temping to youth to try it for the first time which later becomes a standard. What avocado and quinoa were a few years back, matcha and its by-products are now.

Q/ From a chef's perspective, do you think matcha is a short-term health craze or a lasting culinary staple?

A/ As a chef, I understand that every ingredient has a life cycle with a saturation level. At the moment, brands are marketing it as a premium luxury ingredient which will eventually become a day-to-day ingredient. We all know how green tea started and now it is all available in all the versions.

Q/ Could you tell us more about the new Matcha Florentine & Madeline selection, La Patisserie? What inspired its introduction?

A/ Patisserie and chocolates are close to human existence and their emotions. And, from a culinary perspective, they are very flexible in nature to tweak and mould as per the preference of the local market for whom it is to be designed or developed. When in France, you do Madeline, and when in India, you do cashew matcha katli or a matcha kheer – the possibilities are endless.

Q/ What types of matcha-based desserts or dishes are you putting on your menus? Any favourites among guests?

A/ Matcha gives us an opportunity to be versatile with our high-end social events where the ever-demanding luxury clientele is open to explore newer ingredients with unique tasting notes. Lately, we have done matcha tiramisu, matcha biscotti, match lassi and so on. Matcha tea has been on our menu from a long time now.

Q/ Have you experimented with Indian-matcha fusion—say, matcha paired with traditional mithai or savoury Indian snacks?

A/ Yes. Indian cuisine is growing and it hasn’t explored its depth to the fullest. We have done matcha chai, matcha nankhatai, matcha butter for our chlorophyll muffin.

Q/ How do you balance matcha’s unique umami bitterness with other flavours while designing a dish?

A/ Chefs operate on their experience and their leanings – whatever a chef has eaten, sniffed, cooked, travelled so far – it all adds up and helps to decide what might work and how to make it work. The only recipe is to keep on trying till the time you yourself would buy it.

imc-2025-how-indian-magazines-are-redefining-relevance-monetisation-in-digital-world

Fri Aug 08 16:16:37 IST 2025

In an era where content floods every screen and scroll, the Indian magazine industry is grappling with a critical question: what does a magazine really mean in the digital age? At the Indian Magazine Congress (IMC) 2025, industry leaders, publishers, and digital strategists converged to reflect on this challenge and to reassert the magazine’s unique power to build deep, lasting connections with its readers.

Ananth Nath, Executive Publisher of Delhi Press and President of the Association of Indian Magazines (AIM), framed the debate with an observation that cut to the core, “A magazine is a physical product and a metaphor. You think of your reader, you curate for a select audience. It’s about knowing what your reader needs and what they don’t need.”

The shrinking of casual readership, he argued, could paradoxically lead to stronger market positioning, if publishers embrace subscription as the cornerstone. With newsstands vanishing and casual discovery declining, he sees the future in a direct, relationship-based model, where subscribers aren’t just consumers but a community.

Neeraj Sharma, MD-CMT Accenture, injected a dose of counterintuitive economics and said, “It’s easier to make money through print than digital.” With 72 per cent of internet users reporting digital fatigue overwhelmed by the flood of notifications and constant content magazines can reclaim relevance by offering a slower, more deliberate experience. But Sharma stressed that cultural relevance demands adaptability, content must be multi-format, with print, video, and even short-form reels complementing each other.

“Magazines must truly own their readers,” he said, pointing to the need for pull-type digital experiences rather than aggressive push notifications.

From the south, B. Srinivasan, CMD of Ananda Vikatan, brought focus to curation, communities, and commerce as the three pillars for survival. In a world of infinite content, the magazine’s role as a curator of quality not quantity becomes more valuable. Communities built around shared interests can become both loyal audiences and revenue drivers, with commerce integrated into the ecosystem.

On the monetisation front, Puneet Kukreja, VP at Times Internet, offered a reality check, paywalls may not be the long-term solution. Instead, he advocated for adding utility-based products that make readers’ lives easier, blending information with tools and services that reinforce the brand’s presence in daily routines.

Magazines today are far more than printed pages that arrive once a week or month they are evolving into brands, communities, and cultural touchstones.

from-kala-cotton-to-banana-fibre-how-homegrown-brands-are-innovating-indian-textiles

Thu Aug 07 20:49:56 IST 2025

While the term handloom, in India, still evokes the image of our mothers' saris, beautiful Benarsi silk, intricate jamdani on muslin, or Chanderi and Kota Doria, many homegrown brands are now pushing the envelope, reimagining and repackaging India's rich tradition into newer articles and silhouettes. And everything from the simple trousers, shirts, and dresses to accessories, tote bags, and even scrunchies is on the table. Taking forward the tradition and catering to the modern consumer while keeping the environment in mind appears to be the key.

This is evident at Weave the Future, an exhibition presented by the Ministry of Textiles, which brings together farmers, weavers, handloom artisans, brands, and textile initiatives at Delhi’s National Craft Museum. Launched on National Handloom Day (Thursday), the exhibition runs until August 17.

From Kutch to Pune via Bhopal

While it's understood that India's weavers, spread all across the country, are largely settled in smaller towns and villages, several brands are working with weaver clusters, working with both well-known and lesser-known fabrics, weaving techniques, and embroideries.

Gujarat's Kutch-based brand Varso, run by 26-year-old Komal Baldaniya, is one example. The brand works with kala, or black, cotton, a once-forgotten, drought-resistant, coarse crop, which is now seeing a revival, thanks to brands like Varso and Khamir, a Bhuj-based craft organisation.

"The fabric is rain-fed, doesn't need any more water or pesticides," says Baldaniya, who explains that it's called kala (black) cotton because of the dark-coloured seed that ends up on the end product. In an interesting take, her brand also focuses on the little-known Soof embroidery done by the Meghwal community of Kutch.

"The specialty of this embroidery is that it doesn't require a stencil, or an embroidery ring, and is done on the back," she explains, as she showcases the kala cotton dresses with Soof embroidery she has brought with her from Gujarat.

Not only reviving forgotten fabrics, brands are also working on traditional techniques like eco-printing. They're using ingredients like leaves, turmeric, and saffron to offer striking shades to garments.

Homegrown brands are also working with interesting fabrics. For example, Pune-based re.kala's Kalamkari collection has dresses made with banana fibre and cotton, and another made with orange peel. "Most of the designs are zero waste, and if not, we use fibre in accessories like tote bags and scrunchies," says founder Shweta Deshmukh. "And even smaller scraps are converted into paper and paintings," she adds.

On the growing number of brands working in the handloom space, she says, "We've looked towards the West for far too long, and now we have started looking inwards."

Here, the Kolkata-based brand Love For The Loom by Sonali Bhattacharya stands out as it showcases its beautiful collection of jamdani on muslin saris, which look straight out of a Bengali classic. Its Ganga Jamuni collection is an ode not only to India's composite culture, but it also maps the regions that fall on the course of the Ganga. "Faizabad, in Uttar Pradesh, has been a major centre of Jamdani weaving," she points out.

India's handloom potential

Notably, about 35.22 lakh households are involved in the handloom sector. Not just that, over 70% of the handloom weavers are women, according to the 4th All India Handloom Census (2019–20). India's textile industry continues to command global demand, too. For example, in FY 2024-25, the United States, the largest destination of Indian textiles, accounted for Rs 331.56 crore worth of exports. With much potential in store, and brands increasingly taking interest, it's interesting to witness where India's handlooms are headed.

art-inspired-restaurants-india-burma-burma-artistic-dining

Wed Aug 06 16:55:21 IST 2025

An imposing installation inspired by Burma's giant Kyaiktiyo pagoda – a golden Buddhist temple perched atop a precariously balanced boulder – hangs at the centre, immediately catching the eye. On a cabinet are neatly displayed Burmese artefacts -- papier mache, lacquerware, and wooden figurines. Upstairs, a wall hand-painted in subtle pastel hues instantly evokes peace. The mural, featuring several pagodas, depicts the ancient city of Bagan, a UNESCO World Heritage Site often called the land of pagodas.

This isn’t an art gallery or museum. It’s the newest outlet of Burma Burma, a premium casual restaurant chain by Mumbai-based Hunger Pangs Pvt Ltd, recently opened in Aerocity, New Delhi. Founder Ankit Gupta speaks as passionately about Burmese art and culture as he does about food — if not more so. That passion is evident in each of his outlets, with every location drawing inspiration from a different aspect of the Burmese heritage. “For example, our restaurant in Saket, New Delhi, celebrates the tribes of Burma,” says Gupta during a walkthrough of the Aerocity space, as he explains how Burma gets its name from its largest ethnic group — the Bamar tribe. Similarly, at the Ahmedabad outlet, a 50-foot wall showcases Burmese textile art.

Not only Burma Burma, a growing number of restaurants in India are increasingly incorporating art into their spaces, creating a sensorial experience that moves from palette to palate.

Take, for example, Ristorante by Dali, a new Italian restaurant in New Delhi’s Greater Kailash (GK) 2 that pays homage to Spanish surrealist Salvador Dalí. Or Begeterre, on Gurugram’s Golf Course Road — inspired by Roman culture, it’s billed as India’s first museum-themed restaurant. Then there’s Arts Room, at Eldeco Centre in Delhi’s Malviya Nagar, which takes its name seriously: here, art is as much on the menu as the decadent food.

It's not every day you get to see artworks by global icons under one roof, let alone at a restaurant. But that's what happens at the NMACC Arts Café at BKC Mumbai, which has on display masterpieces from the likes of British artist Damien Hirst, known for his death-centred artworks, Japanese contemporary artist Takashi Murakami, Bangladeshi visual artist Rana Begum, among others. The space is designed by Gauri Khan and stands true to its moniker.

Down south is Hortus, a cocktail bar in Panampilly Nagar, Kochi. Inspired by the 17th-century book Hortus Malabaricus by the then-Dutch governor of the Malabar region, the space oozes botanical heritage of the Malabar with its deep green and pale mustard walls and ceilings, hand-painted flowers, and ceiling installations depicting the inspiration of the place.

In a beautiful description about the interplay between art and food, the three-Michelin-star restaurant Osteria Francescana, run by celebrated Italian chef Massimo Bottura, says on its website: "Contemporary art is an inspiration, a guide and a muse." And that the artworks at the restaurant aren't mere decorations but "windows onto the landscape of ideas that widen horizons and open up possibilities."

And while talking of the interplay between art and food, who can forget the OG Khyber, the over six-decade old restaurant at Mumbai's Kala Ghoda, which houses not one but three paintings by none other than MF Husain. What's even more interesting is when the establishment got burnt to the ground in 1985, during its renovation, Husain reportedly painted his artworks in its very premises.

Suffice to say, paintings, murals, and striking pieces are increasingly a part of the culinary experience. What it requires is a keen eye and intrigue for your next dining experience to completely stand out.

friendship-day-thoughtful-presents-to-gift-your-far-away-best-friend-without-burning-a-hole-in-your-pocket

Sun Aug 03 11:56:50 IST 2025

Another International Friendship Day is here. According to the United Nations, "friendship feels almost radical in its simplicity. It doesn’t arrive with fanfare or policy; it doesn’t need speeches or signatures. It begins with something quieter: a conversation, a shared moment, a willingness to see one another not as strangers but as fellow travellers through the human experience."

Missing your best friend?

A handwritten letter or greeting card will never go out of fashion when it comes to showing your emotions to a dear one. Handwritten letters are valued for their deep sentimental value as it remind the receiver that the sender did take some time to think and put their thoughts for the person on paper. They say nothing can beat the gift of love and time. Yet, material presents can be a tool for close souls to relive favourite memories. As another International Friendship Day is here, here are some pocket-friendly gifts to send to your best buddy who is geographically far away.

ALSO READ | Seven budget Friendship Day gadgets under ₹2K to gift your friends

Friendship Bracelets: Send him/her a meaningful friendship bracelet or a matching charm. It's a constant reminder of your connection and who knows, you may get a similar one in return!

A Curated Playlist: Put together a Spotify or YouTube playlist of songs that remind the two of you of your best trips, occasions or events together. You can also include memorable songs from the movies the two of you caught together.

Digital Gift Cards: Most leading online shopping websites now have e-gift cards that allow the holder to shop for a certain amount. In most cases, you can choose the amount, making it an affordable option that fits your budget.

Shared Subscription(s): Split the cost of a streaming service. If your buddy is a gaming freak, it could be a gaming subscription. For bookworms, there are audiobook services and for film buffs, of course, there are several OTT options!

Personalised Mug: The cup or mug could carry your favourite selfie together or even that one iconic photo when the crew was in its full strength. You can further customise them with a funny quote, or your initials. Most digital studios offer mug customisation these days. Even better, a simple Google search will throw up at least half a dozen websites; it is a practical gift that will make them smile with every use.

ALSO READ | Five premium Friendship Day gadgets under ₹35K to gift your special friend

Matching Phone Covers: The concept is the same as with the mug. With a phone case, your friend will see the photo of you together more often every day.

Digital Scrapbook or Video Montage: The success of this item depends on your creativity and digital savviness. Even with both, don't begin unless you have enough time to invest in it because making a nostalgic story of your friendship may take hours before it yields a decent output that you may feel is worthy of sharing with him/her. Canva, InShot, Google Slides, and Genially are all free online platforms that you can use to make incredible digital scrapbooks. Apart from in-built tutorials, you can also check out YouTube to master them.

from-seoul-to-delhi-k-pop-band-nomad-on-their-india-debut-pressures-aspirations

Fri Jul 25 18:55:11 IST 2025

Whether you're a fan or not, it's hard to watch a K-pop music video and not realise that being an idol is no easy feat. Years of intense training, mastering vocals and choreography, maintaining visuals that meet South Korea’s demanding beauty standards, engaging with fans, and keeping up with packed tour schedules -- it's a lifestyle that can be quite demanding. Add to that the pressure of standing out in a global K-pop scene that’s more competitive than ever, and the pressure becomes even more intense.

However, for NOMAD, a five-member rookie group known for tracks like California Love and Call Me Back, "it's a great ingredient for growth, if used positively."

"Just like our first EP’s title track, No Pressure, it’s 'no pressure, no diamonds.' To become a diamond, you have to handle a certain amount of pressure," says member JUNHO.

Led by leader DOY, and joined by members RIVR, ONE, JUNHO, and SANGHA, NOMAD is known for their unique genre-blending style of music, which comprises K-pop, hip-hop, and R&B. The five-member group recently performed in India at the All India K-Pop Contest 2025, organised by the Korean Culture Centre, in Delhi.

After the event, the members spoke with The WEEK about their journey, aspirations, and experience of performing in India for the first time:

Your group's name is rather unique. Does NOMAD have a special meaning, and how does it reflect your music or philosophy?

DOY: Just like the meaning of the word itself, it signifies that wherever our feet touch, it becomes our stage. So, we’re creating our own path and moving freely, without being confined by any fixed forms, creating our own direction.

How did your journey as a K-pop group begin?

DOY: I am the leader and producer of the group. When I first planned this project, I searched for each member from across the country. It was like completing a puzzle, and once the five members came together, I felt certain that “Now we can begin.” That’s how our journey began.

Are there any artists who have especially influenced your music? If you could collaborate with any artist, Korean or international, who would it be?

DOY: It would be the K-pop boy band BigBang for me. And it wasn't just about their music, but also their journey, how they personally created everything themselves across all aspects. It had a huge impact on me.

JUNHO: There are so many amazing artists I’d love to collaborate with, but if we ever got the chance to work with BigBang -- the very group we learned from and looked up to -- I don’t think anything could feel more like a dream.

While some K-pop groups have achieved massive global fame, there are those who, with their themes and music, connect deeply with dedicated fans. Where does NOMAD see itself on this spectrum, and what’s your ultimate goal?

RIVR: I think our spectrum is still taking shape. We’re still in the beginning stages, so we’ll have to gradually build and discover our own spectrum as we go.

DOY: Ultimately, we have one main goal. Of course, success is important, but more than that, we hope to deliver as many good messages and positive energy as possible through K-pop — one of the many influential fields around the world. We believe that if we can do that, even just a little, we might contribute to making the world a better place. That’s the kind of team we aspire to be.

How was it performing in India for the first time?

DOY: It feels like another unforgettable moment has been recorded in our journey. The moment we first faced our Indian fans on stage and shared that joyful moment together made us truly happy.

SANGHA: The passionate energy from our Indian fans allowed us to perform with even more passion.

ONE: Every moment was memorable, but since it was the final round of the All India K-pop Contest, the participants’ performances especially stood out for us. Seeing the participant’s love and passion for K-pop on stage, made us so happy and also gave us a strong sense of responsibility.

Looking ahead, is there a dream stage or country you'd love to perform in?

SANGHA: One of our goals is to go on a world tour after releasing more albums in the future.

kolhapuri-chappal-row-prada-arrives-in-maharashtras-kolhapur-to-visit-artisans

Wed Jul 16 15:50:40 IST 2025

A team from Italian luxury house Prada visited Maharashtra’s Kolhapur on Tuesday to engage with the local artisans and study the region’s footwear-making methods, days after the brand faced backlash for allegedly appropriating the famed Kolhapuri chappals.

Four members from the technical team, including Prada’s heads of footwear design and external consultants, visited the city. “They toured the Kolhapuri chappal manufacturing cluster, observed the production process, and held discussions with local artisans," said Lalit Gandhi, president of the Maharashtra Chamber of Commerce, Industry, and Agriculture, told PTI.

Gandhi further added, “Our chappals are handmade and rooted in tradition. The team will now submit a report to its corporate office, and based on that, senior officials from Prada may visit Kolhapur in the next phase.” Gandhi views Prada’s visit as instrumental and indicates that a serious interest has been taken by the brand. The team also toured the retail market area in Kolhapur and interacted with shopkeepers.

The Kolhapuri chappal issue emerged when Prada displayed an uncredited appearance of the footwear on their models during the 2026 Spring Summer show in Milan late July. Backlash emerged against the brand, which marketed them as “toe-ring sandals”.

Prada issued an apology on their social media and acknowledged the true origins of the footwear. “Prada acknowledges that sandals inspired by traditional Indian footwear are made in specific districts in Maharashtra and Karnataka, India... We are committed to responsible design practices, fostering cultural engagement, and opening a dialogue for a meaningful exchange with local Indian artisan communities... We are in contact with the Maharashtra Chamber of Commerce on this topic,” they wrote.

“Once we noticed the design on the runway, we raised an objection and asked them to acknowledge its origins. They responded to us via email, accepting that the theme was inspired by Kolhapuri chappals,” Gandhi added.

High Court dismisses PIL against Prada

On Wednesday, the Bombay High Court dismissed a public interest litigation (PIL) against Prada for their use of Kolhapuri chappal at the Milan runway. Filed by five Pune-based lawyers, the court questioned the locus and statutory rights of the advocates, who were not the proprietors or owners of the footwear.

The plea had said the Kolhapuri chappal (sandals) is protected as a Geographical Indication (GI) under the Geographical Indications of Goods (Registration and Protection) Act. The court dismissed the same and said that a detailed order would be passed later.

music-in-a-glass-delhi-bar-channels-jazz-opera-and-rock-into-cocktails

Sat Jul 12 19:31:26 IST 2025

Delhi’s drinking scene is hip and happening, with bartenders going bold, artistic, and innovative.

There are places where you can eat your cocktail (I mean, not literally!), and then there are those inspired by Japanese-style love hotels, thus serving kinks on the menu.

In line with this is HOME, a luxury lounge from PVR INOX, whose new music-inspired beverage menu, HARMONY, serves symphony in a glass.

The twelve drinks on the menu are each inspired from a different music era.

From hip-hop and jazz to rap and rock & roll, the menu has something for every taste.

Inspired by the clarity, balance, and formal structure of classical music is 'Not A Rocket Science', made with macerated rum, Makrut lime leaf, and Timur Berry cordial.

Then there is the 'Mamma Mia', “which is inspired by the Romantic Era in American music, which also saw the rise of American bars”, explains Santanu Chanda, the award-winning mixologist and group beverage manager, about the drink that is made with vodka, amla brine, and cherry liqueur.

Another notable one sees the energy and rebellion of rock and roll represented by 'Elvis Presley Who', an era which also saw bartenders whipping exotic cocktails. This one is made with tequila, tangerine, Worcestershire sauce, Tabasco, lime, tomato foam, and parsley.

Another interesting drink on the menu is 'Analog Affair', that’s “breakfast in a drink,” says Chanda.

“It’s inspired by the hip-hop era, which also saw bartenders experimenting with unusual ingredients such as those found in the fridge. This one comes with whiskey, peanut butter, mixed jam, and cacao vermouth."

Speaking on the inspiration behind the menu, the award-winning mixologist says: “All different music eras have a different significance when it comes to spirits. During some era, tequila was shining, in another gin. Many artists were also associated with these.”

On the experiments happening in the Indian drinks space, he says that it is a “fantastic time” for the industry, as it is “no longer only restricted to Delhi, Mumbai or Bengaluru".

superqueens-india-s-first-drag-musical-dives-deep-into-identity-self-expression-and-visibilitywith-flair

Wed Jul 09 19:35:35 IST 2025

India's first drag musical 'Superqueens' is set to make Delhi’s cultural scene fabulous this July. The 90-minute celebration of drag, identity, and self-expression is India’s first ever drag-centred musical show, and goes live at a prominent jazz bar on Thursday.

Personal stories, dance, and music are all incorporated into the cabaret-style entertainment, challenging common myths about drag culture, while also underlining queer identity and visibility.

For Arjun Sagar Gupta, founder of 'The Piano Man' which is hosting the show, it was never about spectacle alone.

“All art forms are expressions of creativity,” he said. “It’s not about narrowly bottling things into categories. These are incredible artists, ready to share their art, and our job as a venue is to give them the space, support, and infrastructure to do that.”

'Superqueens' mixes music and movement with an interesting and charming peep into the lives of five well-known drag artists: Hash Brownie, Betta Naan Stop, Sickk, Whacker Cracker, and Lush Monsoon.

The production blends personal stories with cheerful performances, and is set to a mix of Bollywood, club, and pop songs, showcasing the diversity of voices within India's drag community.

However, there is a deeper tale of teamwork and trust behind the shine and sequins. Written and directed by Vivek Mansukhani and choreographed by Shohini Dutta and Udisha Uniyal, the show is based on the performers' real-life experiences. A creative choice that gives the production the truth and emotional depth is the fact that each queen portrays their actual drag persona.

“The five drag queens—their stories, their energy—that’s what inspired this show,” Mansukhani explained. “Most of them are used to club gigs, not structured theatre performances. Helping them shape a full-length musical based on their own journeys has been deeply moving.”

Teya, one of the artists who plays Sickk, describes her drag persona: “Sickk is just me turned up to the max. She says what I can’t always say. She expresses what I can’t always express. When I perform in drag, I channel all of that through her.”

Another of the cast members adds: “Superqueens isn’t just theatre: it’s personal. The stories are drawn from our lives, with a good dash of fiction to keep it interesting. It’s about our struggles, our joy, and the magic of being who we are.”

'Superqueens' provides a glance into a cultural space that is gradually expanding into new forms of performance, narrative, and representation on the Indian stage in a country where drag continues to gain greater visibility.

'Superqueens' premieres tomorrow at The Piano Man, Eldeco Centre - Malviya Nagar, Delhi, with a repeat performance on Sunday. Tickets are available on the District app.

soulful-experience-at-souk-in-colaba-taj-mahal-palace

Wed Jul 09 23:05:30 IST 2025

There’s something inherently poetic about a meal that not only satisfies your palate but stirs something deeper—memories, emotions, even curiosity. At SOUK, nestled atop the Taj Mahal Palace in Colaba, that’s precisely what unfolded. The newly reimagined menu under Chef Alaa Aloush is more than a culinary upgrade—it’s a soulful journey through the Levant.

Chef Aloush’s roots in Syria, paired with his experience across the Middle East, shine through in dishes that are ingredient-focused, richly storied, and plated with elegance. His food isn’t just cooked—it’s composed with memory, technique, and heart.

We began with two fresh, vibrant salads—Falafel Salada and Fattoush. While both offered the crunch of fresh lettuce, cucumber, and mint, each had its own character. The falafel, especially, stood out—two styles served over a base of Alexandrian hummus, given a striking pink hue by Turkish chilli. The fattoush was rustic, with twice-cooked pita bread adding a toasty crunch, brought alive with sumac, dried mint, and a drizzle of pomegranate molasses.

The Mazraeat alshamandar followed—an ode to beetroot in its many avatars, contrasted beautifully by creamy burrata and bursts of pomegranate. This was art on a plate—colourful, textural, and refreshingly different.

Then came the dramatic star of the evening—Salt Baked Chicken. Cooked without a grain of salt added directly to the meat, the chicken is instead baked in a salt crust and cracked open at the table. The result? Incredibly tender meat with subtle earthy-salty notes, served with saffron rice and sautéed vegetables. A must-try for both flavour and theatre.

Among the vegetarian mains, the Greek Spinach Pie was comfort food elevated—flaky phyllo encasing creamy cheese, spinach, and mashed potatoes. Think of it as Chef Aloush’s refined take on the classic spanakopita, and it hits all the right notes: crispy, rich, and nostalgic.

We closed our Levantine meal with Muhlabiya, a traditional Syrian milk and rice pudding, delicately flavoured and topped with pistachios. It was followed by Layali Lubnan—literally “Lebanese Nights”—a dreamy semolina and milk-based dessert, lush with cream and nuts. Both were satisfying, not overly sweet, and served as the perfect finale to a meal that lingered long after it ended.

Souk’s new menu feels like a deeply personal diary of Chef Aloush—written in spices, textures, and tradition. Whether you’re already familiar with Levantine food or discovering it anew, this experience at Souk is nothing short of revelatory.

darjeeling-in-a-cup-tracing-the-soul-of-india-s-finest-tea

Sat Jul 05 21:31:11 IST 2025

Often called the “champagne of teas”, Darjeeling tea is a premium black tea grown in the foggy, sprawling hills of West Bengal's Darjeeling. Cultivated at high altitudes, it is prized for its delicate aroma, as well as a distinct muscatel flavour that sets it apart from other varieties, making it a favourite among tea connoisseurs worldwide.

In a conversation with THE WEEK, Jeff Koehler, an award-winning food and travel writer, and the author of four cookbooks and two non-fiction works—including 'Darjeeling: A History of the World's Greatest Tea', which won the 2016 IACP Award for Literary Food Writing—talks about his tea-centric novel, and how four years of post-study travel through Africa, Asia, and the Middle East led him to discover food as deeply as people and places.

How did you come up with this subject of Darjeeling tea for the book? Have you been a tea lover since youth?

I grew up in the American Pacific Northwest, just north of Seattle, and wasn’t always a huge tea drinker. It was in Darjeeling, when I was travelling around Asia after university, that I first tasted tea. By that I mean just tea: no milk, no sugar, no spices, no lemon, just pure tea. It was winter. I was staying at the Planter’s Club, and I marvelled at how a cup of plain tea could have that toasty flavour, bristling with peans and apricots.

That was in the mid-1990s, before I began writing about food. In the years that followed, I spent quite a bit of time in India. I was also travelling widely, and visited tea plantations from Kenya to Malaysia and Japan.

The more I learned about Darjeeling and its tea, the more interested I became—and the more special Darjeeling seemed: its tea, of course, and the story and culture behind it.

The more I dug, the more it seemed that Darjeeling’s story encompassed so many elements, as I wrote in the introduction:

“And at its source, the world’s most celebrated tea is more than just any crop—it’s the history and politics of India and Britain, the legacy of colonialism, the rise of global commerce and worker aspirations, the perils of climate change, and much, much more, writ large, and brewed into one glorious cup of amber liquid.”

I believe that we write what we want to read, and the story of Darjeeling was the story I wanted to read. There wasn’t a good book about it. So I ended up writing one.

Your book is split into four sections, each one of them named after a flush of tea: 'First', 'Second', 'Monsoon' and 'Autumn(al)'. Was it a conscious decision?

I knew from the beginning I wanted to structure it like this; to give the book an overall framing arc of the harvest seasons. One of the amazing things in Darjeeling is how tea brewed from leaves taken from the same tea bush changes over the course of the harvesting year. It is nothing short of miraculous to see its light lemony yellow colour in spring … gradually deepen until it is almost crimson in late autumn.

It really is the ultimate story of terroir. I love how the leaves themselves change, with the processing depending on the weather. Tiny adjustments are done each day from the morning tastings.

I was able to follow the entire harvesting year in Darjeeling, visiting the same gardens throughout the four flushes. I wanted to try and capture that change in the book.

You spent a lot of time in Darjeeling to do research for your book, and spoke to many different people who are involved in this industry. What is your take on the future of the Darjeeling tea industry?

A decade ago, there was significant concern due to changing weather patterns and erratic rains. These changes seem to be accelerating, and with them, concerns rise about not just the future, but also the present of Darjeeling tea.

You mention the Darjeeling tea industry's challenges—climate being one of the main concerns. Do you believe that due to climate change, Darjeeling tea is losing its texture, aroma and flavour?

A lack of rain and an increase in temperature can affect Darjeeling’s unique aromas and flavors. Yet, there are still magnificent Darjeeling teas being produced. Production volume has dropped, however. There is a lot less of it than before.

Recently the local government announced that 30 per cent of tea garden land could be used for other business purposes. How do you respond to this? Will it destroy the biodiversity of Darjeeling and its culture? Will Darjeeling tea lose its heritage tea culture?

A few gardens have tackled the issue of tourism in the past. Perhaps the most notable success is with Glenburn, consistently rated as one of the best boutique hotels in India.

A luxury hotel with just 8 rooms, it has been built in a manner very sensitive to the land. To stay is to fully understand the traditions and the culture of Darjeeling tea, as well as to understand the need to do everything possible to help preserve it.

You mentioned in your book that the absentee rate of the pluckers is also a cause for a fall in production volume. What do you think is the cause of labour absenteeism? Is this because the minimum wage is very low? Are facilities not enough for them to remain in the same industry? Or has the aspiration level gone up, especially among the youth?

It seemed clear that absenteeism was being driven by a combination of education and a connection to the outside world via phones, computers, and TV. The combination created aspirations for the younger generation who see their future outside of a tea garden.

However, it also fuelled the aspirations of parents, who see their kids with better lives away from the gardens.

i-love-sonam-and-rhea-kapoor-they-are-the-ultimate-style-duo

Fri Jun 27 17:32:17 IST 2025

My personal style is: A lot about quality materials, silhouettes that are boxy and have that ease, and I like subtle colours. I can never wear black as I am committed to wearing ivory all the time. I don’t feel the need to experiment with colour as I feel there is a universe of styles to explore when it comes to ivory and creams. I love luxury styling, it can be cotton, muls or silks, the higher the fabric count, the more it appeals to my mind. Also it's a conscious effort to buy less and choose well.

My personal style icon: As cliché as it sounds, I love Sonam and Rhea Kapoor; they are the ultimate style duo. I love all the icons who create drama, and newness in fashion and are always about innovating new techniques of styling. As a stylist, I look up to Rhea Kapoor because she pairs the East meets West ideas extremely well. The sisters have a pulse on fashion and they still create looks together that will be relevant even in the future.

An item in my wardrobe that means a lot to me: My mother has a chip on her shoulder because she’s beautiful and stylish and is always dressed up in stunning saris. Whenever she comes back from an event, she likes to declare “I look the best.” It’s because she has this gorgeous personality and aura and is always dressed in saris. It’s the gravitas of her personality and how she wears her looks. I cherish the saris that belong to her that were ahead of their times, like a powder greyish blue with all thread embroidery. A grey organza sari with a black border. She never wore traditional colours and had the eye for the most unconventional colour and design combinations.

My favourite souvenir from my travels: My collectables of handbags from Yves Saint Laurent. I don’t experiment with too many designer bags. It’s only French designers such as YSL and Jacquemus for me. Otherwise, it’s always artisanal chocolates.

The best gift I have received: A pair of Victorian diamond earrings from my husband during our wedding. Indian men don’t really propose, I said cool I am not into rings either. But 12 years later, I lost one of the earrings and had to convert the earring into a ring. I also love this gold kada (bangle) given to me by my mother, it has a Chinese-influenced design that is very Calcutta. I now have in my possession four real zari saris from my mom’s wedding. I plan to never wear them as the sentiment is just too powerful of how I saw them. I can never do justice when it comes to emulating my mother’s style but that never stops me from trying.

The best gift I have given: I gift watches to people, so everyone in my family is gifted watches by me. My mom has a Rolex, my brother a Fredrique Constant, and my husband has an Omega.

The last thing I bought: A silk Sabyasachi shirt last month from his new ready-to-wear collection as I feel the brand is moving strongly in the direction of intricately designed Western apparel, beautifully reimagined to the Indian context. Since I am a textile connoisseur, I have to have Sabyasachi’s ready-to-wear in my wardrobe.

The last book I read: I don’t read books. But I do like listening to podcasts of books on mental health.

The last film I loved: I am a sucker for love stories. I loved 'Past Lives' and also appreciated the slow living concept of 'Perfect Days'. My favourite recent film is ''Call Me By Your Name'.

My Spotify list would include these songs: Lot of Punjabi music right now, and Oaff and Savera.

My beauty/ wellness routine is: Korean skin care, good sunscreen, I drink Vitamin C, supplements, beetroot juice and I eat my antioxidants and collagens. I take a lot of effort for my skin but I don’t like an unhealthy obsession with it. I am 43 and I love how healthy my skin looks. I believe in longevity and maintaining youthfulness of skin and hair.

My favourite holiday destination: I love to travel across India which is so diverse and I think it’s quite underrated. Otherwise I love travelling to any European or international city where there are good museums and art as it’s a common interest and passion with me and my husband.

I love to collect: Extremely well-made Indian clothes, suits and anarkalis that will stand the test of time, are classy and elegant.

My fridge always has: Preserves from foreign places, I love to cook so there's always fresh fruit and vegetables. Pickles, schezwan sauce and ghee made by my mother in Jabalpur. I love dark chocolates and Nutella.

Minimalism or maximalism: Always maximalism, I don’t believe we Indians can do minimalism. Our soul is maximalist. Although with my work people assume that there is a minimal manifestation in me. But my work is grand and maximalist but it has an international look and feel as our weddings take place outside India. The perspective may appear minimalist but the layering and the soul of the details are always maximalist.

My home looks like: Lots of exposed light, I have big French windows in every room facing the mangroves of Versova. My house is all ivory, it’s peaceful, calm and has very little colour. The beauty of my house is my Golden Retriever pet called November.

My favourite mix of traditional and contemporary is: Is my own styling as I am never too traditional, nor too contemporary.

My best ideas come when: When I am in a high-energy state, talking to people or listening to music.

The best way to spend Rs 20,000 is: Ekaya saris for gifting are great in the price range, even Raw Mango.

My idea of happiness is: Is always to cook for my loved ones. I tell the world that I am a better cook than a stylist. I love to work, so my personal gratification comes when I am able to feel fulfilled with my work. My husband and I also like doing things together. I am not much of a talker, we watch movies in separate rooms as I will be watching a chick flick and he will be watching a horror film, we come out and talk about our binge indulgences. We love to travel to great museums and world’s best parks. Being with him at home and at these places is my ultimate idea of happiness.

this-new-delhi-food-pop-up-takes-you-on-an-eastern-himalayan-trail

Wed Jun 25 18:27:06 IST 2025

For many in India, the Himalayas generally evoke images of Kashmir, Manali, Shimla, Mussoorie, and the like. But when it came to Himalayan food, it is the eastern Himalayas that increasingly gained traction. Momos and thukpa were considered passé, as more hyperlocal dishes has begun to capture attention.

"Currently in India, the food of the north-east is becoming increasingly popular, especially in Delhi with popular places like Majnu-ka-tila and Humayunpur. But we who live in West Bengal know so little about the cuisine of the hills -- Darjeeling and Kalimpong -- part of the eastern Himalaya," says Kolkata-based chef Katherine Lim. So when Lim and Kalimpong-based chef Ishita Rai Dewan, who runs two restaurants there named Cloud 9 and Cafe Kalimpong, came together during a chef's retreat, they knew they had to introduce the food to more people.

And this culminated in 'The Mountain Table', an East Himalayan-themed food pop-up at Pullman, New Delhi Aerocity, which is underway till June 29.

Given its geography, "Kalimpong is the confluence of Nepalese, Bhutanese, Tibetan, and even Chinese people," says chef Lim, and this sets the tone for what's coming ahead.

The menu is not extensive but straightforward and balanced, not making it difficult to choose what to order.

There is no momo or thukpa on the menu, instead, you can start with a light bowl of soup, such as the Tibetan Fing soup, which is a Tibetan-style glass noodle soup that has mushrooms and tofu.

I skip that and go right for the starter -- the Kalimpong Mountain Mezze platter, which comes with an interesting set of dishes, such as chives pakora, Kalimpong style aloo dum, Sadako wai-wai, and Kalimpong cheese bamboo shoot dale achar, and two kinds of dips. This sets the tone for what's ahead - an exquisite variety of dishes and balanced flavours.

For the main course, I play safe and order the classic Ema Datshi, a comfort Bhutanese dish of cheese and chilli stew served with bread. While this has mild flavours, the mountain spiced mutton, which has Sichuan pepper, black cardamom, and cumin, is spicy yet not heavy on the palette.

The dessert menu is plain and simple, and I go for the Mango Sago pudding. "We don't have very many desserts in our cuisines. It's generally fruits," says chef Lim. And this simple mango-lychee ice cream dish makes for the perfect end to the meal.

mountains-forests-and-sea-retreats-in-india-that-offer-yoga-with-scenery

Sat Jun 21 18:43:11 IST 2025

Yoga is great, but what can be even better is doing yoga with a view. Several hotels and resorts across India exactly do that, where you can stretch into your asanas while smelling the forest, embracing the calm of the mountains, or letting the sea breeze guide your breath, thus offering a holistic experience.

Here are five such hotels and resorts in India where with every stretch and each breath, you reconnect with yourself and nature:

Ananda in the Himalayas, Uttarakhand

Located near Rishikesh, itself known as the yoga capital, Ananda in the Himalayas is one of India’s most renowned wellness retreats. It offers guests a range of yoga and meditation programmes such as what it calls a 'Yoga Detox', which is based on six purification techniques of Hatha Yoga. It also houses a stunning yoga pavilion, which is open to allow the flow of breeze, and is surrounded by trees. So you're not only doing yoga but immersing yourself in the stillness of the Himalayas at the same time.

Six Senses Vana, Dehradun

Another property that should be on your yoga retreat bucket list is Six Senses Vana in Dehradun. This serene resort offers a blend of Yoga, Ayurveda, Tibetan medicine, and natural healing therapies and is located on the foothills of the Himalayas, thus, enhancing the healing experience.

Atmantan Wellness Retreat, Mulshi

Just a few hours drive from Mumbai will transport you from the chaos of the city to the quiet of the nature at the Atmantan Wellness Retreat in Mulshi. Located on the lap of the Sahyadri hills and overlooking the Mulshi lake, the retreat offers Yoga sessions along with a picturesque view. You start with an Ayurvedic consultation to determine your dosha, which then determines the course of the treatment, which includes yoga, Ayurvedic treatments and nutritious food.

CGH Earth - SwaSwara, Gokarna

This retreat is located on Om Beach in Gokarna, Karnataka, which is surrounded by lush green. Offerings that stand out are Yoga shala, a dedicated centre for Asana classes, and a meditation deck, located atop a hill, and offers a view of the beach.

Taj Green Cove Resort and Spa Kovalam, Kerala

This is another retreat and offers a view of the stunning Kovalam beach. Here, you can choose the yoga you want to do based on the difficulty level, and immerse yourself into nature, yoga and wellness.

india-s-thrift-revolution-from-stigma-to-style

Fri Jun 20 18:11:28 IST 2025

Thrift culture in India has come a long way from being a marker of economic constraint and necessity to a thriving trend fuelled by sustainability, aesthetics and social media, especially among the younger generations.

What was previously a quiet practice of hand-me-downs, the idea of second-hand clothing has transformed across the country. Thrifting used to be overshadowed by societal perceptions and stigma, but now it is a statement of individuality and sustainability. “Thrifting was never really seen as cool. If anything, it was seen as something you did only if you couldn’t afford better,” says fashion columnist Nitin Bage in his Medium piece, Why It’s More Than Just Cheap Fashion.

What is thrifting?

Thrifting refers to purchasing second-hand goods, typically clothing, furniture, or accessories, that are still in usable condition.

Thrift stores put together their inventory carefully, ensuring quality and style. The economics behind thrift shopping is straightforward yet powerful- you are getting goods at a fraction of their original price while preventing wastage and supporting an economy that focuses on reducing waste by reusing, repairing, recycling, and regenerating products and materials in a closed-loop system.

“Only a few years back, it was unlikely for anyone above the lower strata to wear second-hand or rejected clothes. But that story has changed,” says Riya Rokade, founder of Vintage Laundry, a Mumbai-based Instagram thrift store she launched in 2020 while studying styling. Demand has surged as “people moved towards thrifting owing to the price factor and a wide variety of options,” she told Local Samosa.

Most Indian thrift stores emerged after 2018-19, with social media playing a key role in their rise and sustained popularity. Stores like Believe It Thrift It in Ahmedabad, and Curated Findings in Delhi, emerged in 2019-2020, assembled by owners who were inspired by Instagram trends.

Today, young creators and thrift shop owners display carefully curated ‘drops’, vintage hauls, and thrift-flipped looks that wouldn’t be out of place on Pinterest boards. “Our customers are mostly drawn to our alternative designer streetwear style rather than sustainability. Even though thrifting in itself is sustainable, we also promote circular fashion where we encourage our customers to reuse and repurpose clothes,” say Yashodev Sushil and Karthik Aditya, the founders of Instagram thrift store Designer Habitsss. From pricing based on added value to emphasising individuality, stores like theirs are reconfiguring resale.

As sustainability grabs the spotlight in the fashion industry, a new wave of consumers is reshaping style choices. Gen Z, in particular, is gravitating towards thrift shopping as a way to express individuality while promoting eco-friendly practices.

With growing awareness of the downsides of fast fashion, this generation is not just looking for unique pieces but also factoring in the ethical footprint of their purchases. Each pre-owned purchase becomes a small act of resistance against mass consumerism, fostering a culture that prioritises long-term impact over fleeting trends. “Mainstream fashion doesn’t offer sustainability, but thrifting lets you explore that. When you thrift clothes, when you buy second-hand, you have the option of giving life to something that was discarded. It’s a personal lifestyle choice because you can help the environment, help people around you and still do so much with thrifted fashion- it’s not limiting you in any way,” says Shannah Jacob, an avid thrifter residing in Dehradun.

The rise of thrift culture in India is leading to sustainable choices, but it is also appealing to those who seek self-expression. Thrifting has also cultivated a sense of community among shoppers, with many people forming friendships and connections through their shared love of second-hand. "Thrifting helps me express myself because the way that I wear what I want to wear shows who I am as a person, to an extent. It’s a very good conversation starter too,” says Dhruv Raghunath, a 19-year-old student residing in Bangalore.

For any first-time thrifter, concerns about hygiene top the list. But with the industry becoming more structured, it is actively working to change that mindset. The industry as a whole has replaced unaesthetic vocabulary like ‘used clothes’ and ‘second-hand’ with the likes of ‘preloved’ and ‘pre-owned’. The evolving terminology around the industry has made it more mainstream and acceptable. Sellers accept only clean, washed clothes from individuals. After a rigorous quality check, these undergo another round of laundry before being put up for sale.

Financially speaking, thrift shopping offers immediate financial relief- money that stays in your wallet rather than being lost to hefty retail markups. Thrift shopping delivers greater value per rupee spent, as the satisfaction of scoring a bargain surpasses the shrinking returns on new branded purchases. The pre-loved items might offer a unique aesthetic and economic satisfaction, especially for younger consumers and students.

Thrifted items often stand out because they provide an opportunity to find one-of-a-kind pieces that are not available in mainstream retail outlets. This exclusivity adds a layer of originality that branded items typically lack. "The clothes that you get right now are all mostly fast fashion, and they don’t have any personality like if you go to, say Westside, they’re all the same kind. It’s clothes that I wouldn’t want to wear, and the only places where I can get the clothes that I would want to wear are either not in production anymore, or they just don’t sell them in India. So the only way you can get those in India is to get them second-hand or thrifted," Dhruv shares.

Despite the growth of online thrifting, traditional second-hand markets continue to be cherished. Delhi’s Sarojini Nagar, Mumbai’s Mangaldas Market, Guwahati’s Fancy Bazaar, and Chennai’s Moore Market are go-to destinations for strategic shoppers seeking fashionable yet affordable clothing. These lively hotspots offer a wide range of second-hand apparel, fulfilling the demands of a broad audience that values thrift shopping.

Thrifting in India has evolved from a budget-bound fallback to a conscious and thoughtful lifestyle. It has now become a favourable alternative for sustainability advocates, economic consumers, and fashion enthusiasts. This shift indicates a larger cultural movement rooted in the intersection of self-expression, cost-awareness and environmental ethics.

my-best-ideas-come-when-my-mind-is-entirely-at-peace-or-superbly-bored-devika-narain

Fri Jun 20 13:59:47 IST 2025

My personal style icon: My grandmother.

An item in my wardrobe that means a lot to me: I have a necklace that belonged to my great-grandmother's mother. I love that I get to have a piece of the family history. I also have a turquoise mul saree that used to be my grandmother's. I wore it a few years ago to a wedding and dropped red wine all over it. When I called my grandmother to apologise she told me she'd dropped whiskey on it years ago too and the stains of that were still there! I love that piece, I still wear it, stains and all -- a reminder of the super fun life we have both lived.

My favourite souvenir from my travels is: A hot pink wooden cow I picked up from Madagascar.

The best gift I have received: My grandmother gifted me her earrings, they are so precious because I grew up watching her wear them. I always wanted to be her.

The best gift I have given: The time to raise my puppy.

The last thing I bought: Two books for my niece by the visual artist and author Oliver Jeffers.

The last book I read: 'The Heart and the Bottle', by Oliver Jeffers ( I always read the books I give). Currently reading: 'Who Cooked the Last Supper: The Women's History of the World' by Rosalind Miles.

The last film I loved: The Michael B Jordan starrer 'Sinners'.

My Spotify list would include these songs: "Come Undone" by Duran Duran, Farida Khanum's "Aaj jaane ki zid n karo" and a lot of Coldplay and Maroon 5.

My beauty/ wellness routine is: Simple and fuss-free. I believe in using my mother's and grandmother's home remedies and keeping myself clean, hydrated and moisturised. All natural things I eat, go on my face -- from papayas to besan and mustard.

My favourite holiday destination: So tough, but Italy, Mexico and Udaipur.

I love to collect: Interesting things. From curious objects like my animal chessboard from Tanzania to art and vintage fabrics.

My fridge always has: Cheese and Coke.

Minimalism or maximalism: Maximal, always.

My home looks like: An amalgamation of things I love – books, plants, art and puppies.

My favourite mix of traditional and contemporary is: I love the current design scene in India which beautifully blends tradition with the modern, via art, architecture and fashion.

My best ideas come when: My mind is entirely at peace or superbly bored. Late night, early morning or while I'm reading a book.

The best way to spend Rs 20,000 is: Is to invest it – in the market or in something that gives you joy. Like books or flowers.

My idea of happiness is: To be with people you love, doing things you enjoy.

bite-of-summer-delhi-event-celebrates-the-mango-with-music-food-and-storytelling

Mon Jun 16 16:32:42 IST 2025

To say that Indians are obsessed with mangoes is no overstatement. What else could explain the impressive turnout at the Bazm-e-Aam—a unique celebration of the 'king of fruits' through storytelling, music, and food, despite the sweltering heat?

The event, which saw the attendance of scholars, artists, historians, writers, food lovers, and cultural enthusiasts, was hosted by the Kashkol Collective at the India International Centre in Delhi on Saturday.

It opened with a Dastangoi (Urdu oral storytelling) by Ashhar Haque, and was followed by a conversation between heritage conservationist Sohail Hashmi and journalist Sopan Joshi, the author of the much-acclaimed book 'Mangifera indica: A Biography of the Mango'.

The conversation threw light on how the mango isn't just a fruit in India but also has historical, cultural (and even political) nuances to it.

For instance, Hashmi recalled a time when Pakistan’s former president Zia-ul-Haq gifted Anwar Ratol mangoes to the then-Indian Prime Minister Indira Gandhi. In response, fruit growers from Rataul, a village in Uttar Pradesh’s Baghpat district, approached Gandhi to point out that the mango variety wasn’t originally Pakistani, but had its roots in India.

Also, who can forget the famous interview of PM Narendra Modi in which he spoke of how he likes to eat mangoes?

The conversation on mangoes on a hot summer evening in Delhi then paved the way for a music performance by Dholak Rani, featuring Shivangini Yeshu Yuvraj and Isha Priya Singh, who presented Songs of Summer, a medley of folk tunes and melodies that captured the very essence of the summer.

The evening ended sumptuously with a mango-focused dinner curated by chef Sadaf Hussain. It included dishes such as 'aam kathal ki sabji' from Bihar, the Gujarati-Parsi dish 'ras-no-fajeto', a mango and mutton keema dish called 'achraj' from Lucknow, a mango chutney from Manipur, and 'aam ki kheer' from Rajasthan among others. A clear reflection of the versatility of the fruit, this exercise also showed how differently the fruit could be prepared at different places.

"When we first envisioned Bazm-e-Aam, we wanted to create an evening where stories, poetry, music, and food could come together around something as simple, yet profound, as the mango—a fruit that has been part of our history, our culture, and our conversations for centuries," said Ambreen Shah, founder of the Kashkol Collective and the director of Bazm-e-Aam, in a press note.

i-dress-how-i-feel-and-i-always-own-the-room-designer-maheka-mirpuri

Fri Jun 13 17:44:37 IST 2025

My personal style is: Being unapologetically me. I could live in a crisp white shirt with blue jeans—effortless, pure, and quietly powerful. I actually own now 33 white shirts, each with its own unique detailing. There’s something about white—it holds its own power. Nothing matches the confidence of a perfectly tailored white shirt.

And my accessories? Non-negotiable. There’s always a touch of drama, a flash of dazzle, and a whole lot of authenticity. I dress how I feel. And I always own the room.

My personal style icon: A blend of JLo’s boldness and Sarah Jessica Parker’s eclectic flair—but always with a pinch of my own spice. Fashion should express, not impress. Be inspired, but original. And please, never be a fashion victim.

An item in my wardrobe that means a lot to me: A hand-painted scarf from my early design days. I created it with a heart full of dreams. Today, it reminds me how far I’ve come—from one sketch to a legacy stitched with love, hustle, and vision.

My favourite souvenir from my travels is: A little red cowbell from Switzerland. It jingles like a memory—of Lucerne’s calm, Zurich’s charm, and those postcard-perfect views. Who knew a tiny keychain could hold such a loud reminder of peace.

The best gift I’ve received: My three-tiered Bvlgari Serpenti watch. It’s not just a timepiece—it’s a power piece. It was something I had my eye on for years and finally my husband gifted it to me. Every time I wear it, it reminds me of milestones I’ve earned.

The best gift I’ve given: A paper collage I handcrafted for a close friend—it mapped his journey, moment by moment. A wall hanging he will see, cherish and remember forever.

The last thing I bought: The VLogo Signature Metal and Swarovski Minaudière by Valentino. It’s a statement. A great add-on to my collection.

The last book I read: ‘The Laws of the Spiritual World’ by Korshed Bhavnagri. A book that doesn’t just sit on my shelf—I return to it. For answers. For reminders. For stillness in a loud world.

The last film I loved: Hrithik Roshan and Deepika Padukone starter ‘Fighter’. It was fast, fearless, full of fire. The music, the emotion, the cinematography— it stayed with me. But when I want comfort cinema, it’s ‘Sex and the City’ or ‘Pretty Woman’, I can watch them endlessly. There’s something about love, labels, and unapologetic femininity that never gets old.

My Spotify list would include: Retro English hits from the 80s–90s, timeless Bollywood hits, Afro House for energy, and Frank Sinatra when I want that mood. My playlist is my passport—wherever the vibe takes me.

My beauty/wellness routine is: Always polished. Nails, hair, skin—they’re part of my energy hygiene. Hydra facials monthly, massages when needed, and enough water to float a yacht. Beauty, for me, is care—not cosmetics.

My favourite holiday destination: London. It’s more than a city—it’s my nostalgia. Grew up between its skies and sidewalks. The weather is moody, the style is elegant and crisp.

I love to collect: White shirts. Big belts. Trainers. Hats. Watches. Timeless things that speak volumes. They all hold stories—of places, people, and parts of me.

My fridge always has: Chia seeds and blueberries—a daily dose of clean energy. Chia works quietly to ease bloating and balance digestion, while blueberries bring in antioxidants that fuel my skin and spirit. Wellness begins here—in the small, consistent rituals that add up to radiance.

Minimalism or maximalism: Maximalism—with purpose. I believe in impact—bold lines, rich details, unapologetic choices. Style should turn heads and tell stories.

My home looks like: Elegant, artful, and alive. It smells like fresh blooms and carries an energy of welcome. People say they feel good when they walk in. That’s the real décor. A heartfelt warm welcome with positive vibes.

My favourite mix of traditional and contemporary is: A Banarasi vibrant lehenga styled with a sharp short blazer. Or a classic Paithani with a crochet embellished blouse or a Chantilly long jacket—it creates magic. Like I did for my Modern Maharani collection. It was from Banaras to Bridgerton.

My best ideas come when: I’m on the move. Whether I’m globe-trotting or just rearranging fabrics in my salon, motion stirs magic. The muse loves momentum.

The best way to spend ₹20,000 is: Give to it Tata Memorial hospital, I run a fundraiser MCAN for them. That amount could mean someone’s treatment, someone’s hope. We are the lucky ones. Giving doesn’t take away—it multiplies grace. Always give.

My idea of happiness is: Being real. Doing what I love. Not comparing to others. Setting my own benchmarks. Staying rooted in gratitude. And knowing that even on hard days—I’m still blessed.

cycling-the-talk-steering-leadership-towards-sustainability

Tue Jun 03 21:46:29 IST 2025

Purposeful change is not accomplished through grand announcements, but instead through the small intentional choices we make every day. We at Novo Nordisk Global Business Services, understand this well and hence started our journey of change and impact slowly but steadily, one bicycle and one employee at a time.

As a cycling enthusiast for most of my adult life, I recognize the transformative power of cycling in fostering healthier lifestyles, improved mental health and promoting sustainable transportation. Cycling has been a passion and a vital part of my journey since my childhood, when I first hit the pedals. Later in life and being part of the creation of Team Novo Nordisk—a team of professional cyclists living with Type 1 Diabetes— I’ve been inspired to remain dedicated to the sport and over the years, introducing employee led campaigns like cyclothons and other cycling competitions at our workplace.

This passion connected me with several other employees equally passionate cyclists, which resulted in a small group of colleagues coming together to give birth to a wonderful initiative - Chainge Makers, encouraging employees to make cycling part of their commute to and from work. What began as a small group has now become a cultural change in the workplace associated with sustainability, health, and community.

Our ‘Chainge Makers’ programme sits on four pillars:

Cross-functional partnerships – building collaboration across departments and communities towards sustainable mobility

Impact and awareness – making sustainability a key value of Novo Nordisk GBS

Better employee health – increasing productivity through physical activity

Reduction of carbon footprint - taking action to reduce daily commuting emissions. Our community, through Chainge Makers, has cycled more than 9,791 kilometres, saved 1,057 litres of fuel, and offset 2,448 kilograms of CO₂ emissions since early 2024.

This exemplifies the utmost commitment, discipline, and dedication our employees shoulder to bring about real change. Our ‘Cycle to Work’ Weekdays Challenge in Q1 also illustrates this perfectly. Over eight weeks, over 24 GBS employees cycled over 2,174 kilometres, saving 219 litres of fuel and offsetting 507 kilograms of carbon emissions.

From the very beginning, we knew that if this was to be more than just another engagement initiative, we need to be inclusive, accessible, and empowering, So, we started off by inviting employees to ride just one or two times per week. Over time, riders began to worry less about traffic, and regular riders encouraged their fellow riders. Stories emerged of early morning rides that permitted reflection and tough rides that built confidence. Colleagues felt and described clear impacts: better mental fitness, better health, pride in reducing carbon footprint, and stronger attachment to their commute.

Taking the initiative a step further, we are also introducing training sessions for those who are still not confident but eager to hit the road on two wheels, educating them about road safety while cycling in the city, safety equipment for cycling, bike maintenance tips, and hands-on riding workshop to enhance cycling skills. We have even procured a small number of bicycles so employees can ‘try before they buy’.

This World Cycling Day, let us embrace the spirit of cycling—a pursuit that connects individuals, fosters resilience, and contributes to a healthier and more sustainable future. By collectively moving in the right direction, we can together cultivate a culture that supports cycling as both a recreational activity and a vital component to a sustainable world, paving the way for progress with every turn of the wheel. Let’s be the “Chainge” that we all want to see in the world. It starts with a single turn of the pedals.

John Dawber is Corporate VP & MD, Novo Nordisk Global Business Services (GBS)

understanding-the-labubu-craze-what-makes-these-dolls-so-popular

Tue Jun 03 17:12:31 IST 2025

Inspired by Nordic mythology and designed by Hong-Kong born artist Kasing Lung, Labubu is an elf-like figure, with pointed ears and even sharper teeth, wearing an eerie grin that is somewhere between sweet and scary.

She (yes, it’s a girl) is a character from 'The Monsters' series. Lung first came up with the designs in 2015, and then signed a licensing agreement with Pop Mart in 2019, thus giving rise to the now popular line of toys.

The name “Labubu” has no real meaning. According to Pop Mart, “despite a mischievous look, she is kind-hearted and always wants to help, but often accidentally achieves the opposite”.

Despite being described as everything ranging from “sweet” and “cute” to “ugly” and “creepy”, the dolls from 'The Monsters' series are Pop Mart’s best-selling collection generating about $419 million dollars in revenue in 2024.

Labubu dolls have become a highly coveted, trending purchase on social media. Instagram and TikTok are now flooded with people flaunting their new obsession, from celebrities to influencers.

Thanks to the doll’s overwhelming popularity, Wang Ning, the chairman and CEO of Pop Mart International, saw his net worth shoot up to $1.6 billion dollars.

In fact, the high demand for the toy has even led to Chinese customs authorities intensifying efforts to prevent the dolls from being smuggled!

The collection attained a cult following among niche toy collectors and streetwear fans all over Asia, but their fame cannot be attributed to a single quality alone. Various factors such as the collection’s marketing strategies, celebrity endorsements, and its influence on fashion has contributed to the doll’s immense popularity. Other important factors are:

Blind boxing

One of the reasons why the dolls went viral can be attributed to blind box sales, where buyers didn’t know which characters they would get. This exciting gamble added to their overall appeal, making the purchase more enthralling and addictive for collectors. Even something as simple as a Labubu unboxing video garners over a thousand views on social media.

Celebrity endorsement

The Labubu’s ascent into mainstream culture was elevated in 2024 through Blackpink star Lisa, who was seen with a Labubu toy hanging from her handbag. The star also called the toys her “secret obsession” in an interview. Other celebrities such as Dua Lipa, Rihanna, Kim Kardashian and Singaporean socialite Jamie Chua have also been spotted with the popular doll.

Fashion

The Labubu vinyl plush bag charms are the most sought-after artifact in the Labubu collection. The charms are now a style statement, mainly seen on celebrity handbags like Hermès and Dior. The quirky toy adds sass and spunk, and can be seen as a way to inject some personality into a style that may otherwise be seen as ‘serious’. The combination of high fashion and whimsy allows you to showcase your creativity in a fun, new way.

Nostalgia

Another reason why the dolls might be so popular is because of their ability to tap into a deep emotional need. Engaging with such dolls can provide relief and a comfortable escape into happier times, away from the stress of the present.

Just like all viral trends, this may come and go. However for now, it is a major pop-culture phenomenon that has made it into the hearts of many adults, who consider it to be the perfect ‘pocket of joy’ that comforts them amidst the chaos of ‘adulting’.

an-opal-escent-win-thailand-s-opal-chuangsri-crowned-miss-world-in-dazzling-hyderabad-spectacle

Sat May 31 23:34:53 IST 2025

Thailand's Opal Suchata Chuangsri was crowned the 72nd Miss World after the grand finale held in Hyderabad on Saturday, according to a PTI report. She was crowned by 2024 Miss World Krystyna Pyszková.

Ethiopia's Hasset Dereje Admassu was declared the runner-up. India's Miss World contestant Nandini Gupta was eliminated before she could reach the top 8.

According to the organisers, after a month of purpose-driven activities, cultural immersion and inspiring challenges across Telangana, 108 contestants from around the world vied for the Miss World crown in a spectacular celebration of beauty, purpose, and unity.

After initial eliminations, the contestants were put through through a series of fast-track events such as the 'Head to Head Challenge', 'Top Model', 'Beauty with a Purpose', 'Talent', 'Sports', and 'Multimedia', before being narrowed down to 40 quarter-finalists. This was further shortlisted to a Top 10 in each continental group, halved to a Top 5, reduced to a Top 2, after which Opal emerged victorious.

The winner Opal is a student of International Relations. She has an interest in Psychology and Anthropology and claimed that she would one day like to be an ambassador.

Opal has volunteered for organisations working in the field of breast cancer, and has a special talent for playing the Ukelele backwards. She also keeps sixteen cats and five dogs as pets, according to the Miss World website.

Julia Morley CBE, Chairwoman of Miss World, headed the jury and announced the winner of the 72nd Miss World.

The event also saw renowned actor Sonu Sood receive the prestigious Miss World Humanitarian Award. Sood was a member of the panel of judges this year, alongside Sudha Reddy, Dr. Caryna Turrell (Miss England 2014), and Julia Morley.

When he asked Opal what the journey taught her, she said:

“I’ve learned we must become people our loved ones look up to ... No matter how far we go, our actions should always speak louder.”

international-museum-day-ten-unusual-museums-to-explore-across-india

Sun May 18 12:29:08 IST 2025

This International Museum Day, May 18, here are India’s most unexpected museum experiences, ranging from black magic to toilets and fossil parks.

1. Mayong Central Museum and Emporium of Black Magic, Guwahati

Opened in 2002, the visitors get to experience a glimpse of Mayong, a village with a magical legacy. The emporium contains manuscripts on Black Magic and Ayurveda, along with artefacts like old coins, and bracelets made from bones and shells used to perform rituals.

2. Sulabh International Museum of Toilets, Delhi

Dedicated to the global history of sanitation and toilets, the displays include sanitation artefacts from 3000 BC and exhibits from 50 countries. Exhibits include chamber pots, decorated Victorian seats, and even toilet pots made of gold and silver used by Roman emperors.

3. INS Kursura Submarine Museum, Visakhapatnam

A Soviet-built submarine inducted into the Indian Navy in 1969 and decommissioned in 2001, it participated in the Indo-Pakistani war of 1971 and played a major role in patrol missions. Around ₹6 crore was spent to establish it as a museum ship at RK beach.

4. NIMHANS Brain Museum, Bengaluru

Founded by Dr. S.K. Shankar, HOD of Neuropathy at NIMHANS, the museum showcases 500 brain specimens with not just human brains but also animal brains. It also houses brains with disorders and diseases like Cerebral Palsy, Parkinson’s, and Alzheimer’s.

5. Paradox Museum, Mumbai

This interactive museum delivers an immersive experience through optical illusions. It’s fun and the ultimate Instagrammable place that also educates on the science behind these mind-bending paradoxes.

6. Indian Music Experience Museum, Bengaluru

Established in 2019, the museum is dedicated to preserving and showcasing Indian musical heritage. There are nine exhibit galleries, an outdoor Sound Garden, and a learning centre with genres ranging from Hindustani and Carnatic music to Bollywood and Indie Pop.

7. Calico Museum of Textiles, Ahmedabad

Founded in 1949, Calico’s collection of Indian textiles is considered to be the finest and most comprehensive in the world. There are collections ranging from Kalamkari prints to court textiles used by Mughals and South Indian bronze objects, and Jain art and sculpture.

8. Shankar’s International Doll’s Museum, Delhi

This museum has the largest collection of dolls in India, with over 6500 dolls from around the world. One section contains dolls from Western countries like the UK, the USA, and Australia. The other section contains dolls from Asia and African countries, including India.

9. Indroda Dinosaur and Fossil Park, Gandhinagar

The fossil park, also known as India’s Jurassic Park, houses fossilised remains and petrified eggs of dinosaurs. The fossils date back 66 million years. The park also displays life-size models of the dinosaurs along with the details of each period they existed.

10. National Rail Museum of India, Delhi

This is India’s first transport museum with about 88 real-life-size outdoor exhibits, including locomotives, saloons, carriages, cranes, and special coaches of various gauges. The collections showcase 160 years of Rail history in the Indian sub-continent.

watching-movies-educates-and-informs-my-work-as-a-costume-designer-nachiket-barve

Fri May 16 13:50:06 IST 2025

My personal style is: A balancing act between minimalism and maximalism. I wear only black, so my wardrobe is a spectrum of shades of Carbon, Ebony, Charcoal and Jet Black. However, I love maximalist accessories too, so you will find a lot of silver jewellery, neon shoes and bold graphic bags.

My personal style icon: Azzedine Alaia and Coco Chanel. Alaia wore the chicest minimalist uniform of black when working in his atelier— a pared down refined look that he absolutely owned. On the other hand, the timeless and unique style of Coco Chanel, whose look celebrated the monochrome palette accented with bold and very individual accessories.

An item in my wardrobe that means a lot to me: I buy and cherish pieces that hold personal meaning and value to me. Most items are bought to celebrate a special moment or things that have caught my eye while travelling. I remember buying a silver cuff in Delhi on the way to receive the National Award for Best Costume Designer, that holds a special memory. It’s so important to buy things that truly mean something to you over a longer period of time.

My favourite souvenir from my travels is: To be honest, I keep collecting and buying things from my travels like a magpie! A pair of bejewelled lizard brooches that I bought separately in Jaipur and Florence remain favourites. They were bought in two different cities but are twins and probably made in the same atelier. It’s a great reminder of the borderless world that fashion inhabits!

The best gift I have received: An exquisite pashmina shawl that is just incredible in its mastery and timelessness. Also a monogrammed bag that I received from someone who I hold in great esteem. It was personally chosen and gifted to mark a milestone. The thought behind gifts and the personal attention is what makes each gift special I believe.

The best gift I have given: Custom-making pieces for friends and family is something that brings me great joy. Clothes are clothes, but they become markers of milestones, special moments and bring great joy to living. To see someone live fully wearing something I have custom created for them brings me utmost happiness.

The last thing I bought: An antique Tibetan turquoise and silver cuff that I got from the most graceful lady in Ladakh who was selling antique jewellery. I asked her, “What’s the one thing you feel I must get from your collection?” and as luck would have it, both of us liked the same piece. It’s apparently rare to have this kind of green turquoise in India and Tibet, and more importantly, the whole ballet of the acquisition felt so meaningful and not transactional at all, that always leaves a wonderful sentiment to a purchase.

The last book I read: Yann Martel’s “Life of Pi”. I loved the film and then discovered the book. I reread it recently and it remains one of my favourites for the sheer imagination, the philosophy it tries of explain, and how it makes you think and question what you believe about life.

The last film I loved: ‘Parasite’. It was incredible in terms of the layers of storytelling, the beauty of the frames, the biting commentary on societal inequalities and the whiplash ending. I love the movies, how they transport you to another world, make you empathise with characters that are fictional and open windows into new dimensions. Watching movies is also something that educates and informs my work as a costume designer.

My Spotify list would include these songs: Feeling Good- Nina Simone, Can’t help falling in love- Elvis Presley, Take Five- The Dave Brubeck Quartet, Tsimsum- Life of Pi by Mychael Danna, Apertura- The Motorcycle Diaries, Tere Mere Sapne- Guide, Ray of Light- Madonna. My music preferences vary widely as per my mood, from The Weeknd to Mohammed Rafi, I can listen to the whole gamut in a day’s span.

My beauty/ wellness routine is: Basic but consistent. A mild face wash, moisturiser and non-comedogenic sunscreen. I have very sensitive skin so I stick to the same products. A good fragrance is something I love and have worn the same two fragrances for over two decades. Recently I have been experimenting with newer scents and come to love them as well— again my mood dictates the scent for the day— fresh and citrusy sometimes, woody and spicy some days.

My favourite holiday destination: I am happiest in the midst of nature, whether on safari in the jungles of India or Africa, photographing and being with wildlife in its natural habitat is something I enjoy tremendously. Tadoba Tiger reserve in India and Amboseli National Park in Kenya are favourites. For a more leisurely holiday, the beach is my solace. Especially now being a father, it’s a relaxing escape from work. Snorkelling in Phuket and lazing in Goa are both wonderful and easily accessible for a short break.

I love to collect: Books and magazines. Even as a child, I remember being fascinated by the world of discovery tucked inside the pages of books and magazines. I have been collecting old issues of fashion magazines and National Geographic since my teens and have issues dating back to the 1950s. Books on design, art, fashion and architecture have always been a source of inspiration and wonder for me. Books on Michelangelo, Leonardo da Vinci nestle next to Yves Saint Laurent, Lanvin, Monet and Van Gogh.

My fridge always has: A whole slew of sauces and ingredients. I enjoy cooking [ I would have been a wildlife photographer or a chef, had I not been a designer] so there’s always some Asian sauces and chilli oil, assorted cheeses, marinated food ready for the grill and plenty of fresh vegetables and herbs. I like to create my own recipes based on what produce we have at home and sometimes look out for simple, fresh and colourful recipes from Jamie Oliver and Donna Hay.

Minimalism or maximalism: Both! Minimalism creates order and consistency. Maximalism brings personality and expression. The tension between the two is where I thrive.

My home looks like: My home is also designed the same way— minimal lines with maximal accents. There’s a lot of Indian folk art as I absolutely feel inspired by the colours and forms in Indian art, whether the graceful Pichwais, the robust Madhubanis or the fierce Gond paintings. There are sculpture and artefacts sourced from travel. A lot of plants for blur the interior and exterior, and black and white wildlife images that I have photographed. Of course no home is personal without the images of people living there, so there’s collages of family photos in personal spaces.

My favourite mix of traditional and contemporary is: I feel like a perfect hybrid and my work reflects this contrast— traditional techniques of craft rendered in a modern motif. Like zardozi done in a pattern inspired by the deserts of Africa or appliqué done in the form of giant monochrome flowers. I love the idea of questioning and challenging tradition and creating something contemporary out of its tool set.

My best ideas come when: I am most relaxed and meditative. I feel I tap into my subconscious and create something most liberated. Doodling while chatting on the phone, walking around a garden or even watching something on the television, sometimes the path of least resistance is the best way.

The best way to spend Rs 20,000 is: To walk around local markets and buy mogra gajras, fresh produce or home made papads or pickles, artefacts and chatais from artisans who make it themselves. The smile you see on someone’s face when you buy their whole basket of flowers in a swoop and the sheer relief that illuminates their face is worth every penny.

My idea of happiness is: The tight embrace of my daughter before bedtime and the continuing hope in the Universe that everything will be fine. Being around family, enjoying my work and being able to bring smiles to people in my realm is what makes me happy.

we-are-the-ocean-immersive-exhibition-in-delhi-explores-marine-life-and-pollution

Wed May 14 21:38:34 IST 2025

A subject as vast as the ocean calls for an experience just as immersive, like the one currently underway at Alliance Française, New Delhi. Earlier this month, it launched its ocean-themed 'Festival of Ideas: We are the Ocean'. Running until May 25, it features a multitude of displays and activities, such as interactive art installations, film screenings and panel discussions, among others.

As you enter the premises, you are greeted by a wall of waves, a giant installation that immediately sets the tone as you enter the world of the ocean. From there, you descend into the Romain Rolland Gallery, where a deeply immersive exhibit awaits, exploring the ocean’s environmental, societal, and emotional significance.

By immersive, many mean technological add-ons. However, this exhibition brings forth a different interpretation of an immersive experience, showcasing elements that visitors can interact with.

The outdoor patio in front of the gallery has a striking pollution-laced ocean installation, juxtaposed with another one depicting a clean ocean, bringing forth 'What is' and 'What could and should be'. You then immerse yourself in the soothing sounds of the ocean with a percussion instrument that you play.

As you enter the gallery, there is much to see. On your left, there's a cozy reading space with Amitav Ghosh's latest anthology, 'Wild Fictions: Essays', which sports beautiful waves on its cover, instantly catching your eyes. Right beside that is an installation where soundscapes are used to create imagery of the ocean waves, making for a soothing experience.

Through a virtual reality (VR) experience, you dive into the Mediterranean Sea and explore the stunning landscape of a deep-sea canyon, introducing you to the beauty and secrets of the fragile underwater world. You also get to see an immersive film on the world of plankton.

While these introduce you to the world of the ocean, there are also installations that showcase present realities. Once you finish your dive into the Mediterranean and remove your VR headsets, you come across large pictures of climate refugees and those having been directly impacted by climate catastrophes involving the water. There are also juxtaposed picture displays of the world's water bodies in their healthy states and those deeply polluted, bringing forth the harsh reality of water pollution today.

The exhibition truly has something for everyone: even kids have a wide selection of engaging content to choose from, such as 3-D picture books, colouring books, and block printing, introducing the children of Delhi to underwater worlds.

There are also film screenings and panel discussions, making it appealing to climate and culture enthusiasts alike.

“With 'The Festival of Ideas - We Are the Ocean', France reaffirms its commitment to making the ocean a shared global resource and a driver of Indo-French cooperation," said Damien Syed, Chargé d’affaires a.i. of the Embassy of France in India, in a press note.

"Bringing together experts, artists, and citizens, 'We Are the Ocean' adopts a truly multidisciplinary approach to raise awareness about and work towards ocean action in the run-up to UNOC3," Syed added.

The Third United Nations Ocean Conference, or UNOC3 for short, is due to be held in June, with France being the host country.

may-the-art-be-with-you-fantastic-exhibitions-to-visit-this-may

Tue May 13 19:50:48 IST 2025

The sweltering heat these days makes outdoor leisure activities less appealing. However, there’s one cool escape that still promises inspiration: visiting art galleries.

You learn something new and beat the heat—what could be better? And the good news is, there's a vibrant lineup of exhibitions this May, so you'll be spoilt for choice and not left wanting.

Here are THE WEEK’s top art picks for the month:

Purusha Prakriti

Bespoke Art Gallery, Ahmedabad

Until June 10

In India, 'Purusha' and 'Prakriti'—meaning Man and Nature—symbolise the dual principles of nature and consciousness. While 'Prakriti' represents the material universe, 'Purusha' denotes spirituality. Capturing this essence is the ongoing exhibition Purusha Prakriti at the Bespoke Art Gallery, Ahmedabad.

Curated by renowned historian Uma Nair, the show brings together works by 40 distinguished artists. Highlights include a tribute to the iconic Himmat Shah, alongside works by K.G. Subramanyan, Jyoti Bhatt, and Muzaffar Ali, among others.

Bachpan

Vadehra Art Gallery, New Delhi

Until May 30

This solo photography exhibition by Vicky Roy is a poignant reflection on bachpan (childhood) and brings together black-and-white photographs on the subject. The work draws deeply from Roy’s own early experiences and his time with the Salaam Baalak Trust, a New Delhi-based NGO that supports street children.

It showcases the playfulness, resilience, and inventiveness of underprivileged children across rural and urban India, placing an emphasis on survival, community, and joy.

Nabha Sparsh - Indian Women Printmakers

National Gallery of Modern Art, Mumbai

Until May 25

While printmaking might not get as much emphasis as traditional art, the effort undertaken is just as laborious. Nabha Sparsh, an ongoing exhibition at NGMA Mumbai, celebrates the medium, while highlighting the contributions of India’s leading women printmakers. A collaboration with the Ministry of Culture, this project brings together the works of 150 female artists of India.

The Geometry of Ordinary Lives by Prasanta Sahu

Emami Art, Kolkata

Until June 21

In 'The Geometry of Ordinary Lives', artist Prasanta Sahu explores the intersection of art, research, and lived experience. Currently a teacher at Santiniketan, he views the workshops of blacksmiths, carpenters, potters, and craftsmen as dynamic repositories where stories, techniques, and philosophies are safeguarded through oral traditions. His project also examines how these knowledge systems endure amid the forces of economic and socio-political homogenisation.

Aksharscape

Bikaner House, New Delhi

May 28 to June 1

A one-of-a-kind display, 'Aksharscape' is a solo exhibition of contemporary calligraphy by Nikheel Aphale, presented by Artisera. Here, Aphale explores the themes of spiritual songs, mythological tales, and divinity, as well as elements of humanity, such as inclusivity, equality, and coexistence.

luxury-market-is-growing-in-india-and-we-needed-to-be-here-wolfgang-thelen-founder-of-maybach-icons-of-luxury

Tue May 13 16:29:29 IST 2025

Maybach automobiles has fallen in love with India after the German luxury carmaker sold more than 500 units in the country in 2024. The company has shown a 145 per cent growth annually, making India among its top 10 markets worldwide. The luxury car – its prices start at Rs 3 crore – is unusually a favourite with younger Indians, a growing tribe of the new rich with expensive taste and a passion for fancy cars.

Maybach is over 100 years old; when Wilhelm Maybach created the luxury car brand that soon began to symbolise quality and luxury, using fine materials to make a high-end product. Maybach is now owned by Mercedes as Mercedes-Maybach. Maybach Icons of Luxury is a family-owned company, also German, that has extended the Maybach brand into more accessible but high-quality and handcrafted lifestyle goods.

“Indians have long been shopping from our stores in Dubai or Portugal especially,” says Wolfgang Thelen, founder of Maybach Icons of Luxury, at the opening of his family’s first boutique in India, in Bengaluru. “It’s a coincidence that we are coming at a time when Maybach is selling so well. The luxury market is growing in India and I felt we needed to be here,” he says.

Thelen says his company has 11 boutiques and 650 points of sale all over the world; with 20 percent each in the USA, Europe, Asia, and India-UAE together. “The cars do very well in India and fabulously in China. Our artisanal excellence finds many takers,” he adds.

The boutique is at the centre of the upscale Mall of Asia, and Thelen says more boutiques are coming up in Mumbai, Delhi and Hyderabad. “Bengaluru has a young tech community that we like. It is an evolving market. India’s growth rate is immense, just after China’s. These are exciting things. Besides, Indians are warm and welcoming so we are glad to be here.”

Does he believe the automobile industry and the retail business are two different entities or do they feed off each other? “There is a connection for sure. Maybach is a heritage brand, but specialise in luxury especially for men,” he explains. “We have limited products that are inspired by the car. For sure, our success is connected to the car’s success. But in 2012, the car’s production was stopped but we continued. The car came back only three years later, after Mercedes took it over,” he adds. Icons of Luxury showcases its line of signature eyewear, many pieces made of real gold and real teak, as well as writing instruments and leather goods.

India is renowned for handcrafted products too. “But India’s craftsmanship is missing technology and we have that,” he avers. “We use the leftover horns from water buffaloes from India, we have been buying them for 40 years. We take it to Germany and produce high quality items with it.

Thelen says he has also collaborated with Sabyasachi for his eyewear for the US market in the past.

the-best-gift-i-have-received-is-a-raza-painting-with-my-name-in-it

Fri May 09 19:00:30 IST 2025

My personal style is: Effortless chic. It's sophisticated yet understated, blending elegance with comfort and creating a timeless look.

My personal style icon: HRH Gayatri Devi. Her grace, poise, and seamless mix of tradition and modernity are a constant source of inspiration for me.

An item in my wardrobe that means a lot to me: Sherwani buttons given by my father. They represent a strong connection to my heritage and remind me of his elegance.

My favourite souvenir from my travels is: A Tadao Ando crystal bowl, it's a perfect blend of simplicity and beauty that captures the essence of Ando’s design.

The best gift I have received: A red Raza painting with my name in it. It is a deeply personal and meaningful piece of art that I cherish.

The best gift I have given: A special edition Mini Guccha lamp/vase. It's an elegant, functional gift I give to loved ones to share beauty and thoughtfulness.

The last thing I bought: An elephant brooch from Tryst Jewels—a symbol of strength and good luck that adds character to my wardrobe.

The last book I read: 'Carlo Scarpa: The Complete Buildings', it's a deep dive into Scarpa’s innovative design approach, offering great insights into his architectural genius.

The last film I loved: 'The Brutalist' is a perfect exploration of modern architecture and human connections within minimalist spaces.

My Spotify list would include these songs: Mostly house music—its rhythm energizes and fuels my creativity.

My beauty/wellness routine is: Cleanse, moisturize, and sunblock. A simple, effective, and consistent care for healthy skin.

My favourite holiday destination: Lake Como in Italy. A serene escape with stunning landscapes and timeless beauty.

I love to collect: Art and vintage pieces, especially items that reflect my aesthetic and carry historical significance.

My fridge always has: Dark chocolate and cheese are two of my favorite indulgences that always make me happy.

Minimalism or maximalism: Minimalism, with warmth and character. I like clean lines that still feel inviting and personal.

My home looks like: A white canvas. It's a forever evolving space filled with inspiration and creative energy.

My favourite mix of traditional and contemporary is: Any work from my atelier. A blend of both worlds that feels both timeless and fresh.

My best ideas come when: I’m doing nothing. Moments of stillness often lead to the most creative breakthroughs.

The best way to spend Rs 20,000 is: Buying inspiring books. I find that thought-provoking reads that expand my mind and ideas.

My idea of happiness is: Being surrounded by friends and family, sharing moments of joy and connection.

the-key-to-living-well-is-so-much-simpler-than-you-think-says-rolf-dobelli-in-new-book-the-not-to-do-list

Thu May 08 12:46:11 IST 2025

Unlike most collectors—whose collections include everything from stamps to sailboats—Swiss writer Rolf Dobelli has been collecting stories of failure, “botched attempts at work, family life, marriage and life in general”. It might seem like a morbid obsession, but Dobelli has gleaned some great life lessons from them—a kind of success manual in reverse. And that’s exactly the format he uses in his latest book, The Not-To-Do List; he calls it the inversion method. So in each of the 52 chapters, he describes shortcuts to a miserable life and then, in the end, adds a “quiet voice of reason”, which overturns his own advice.

For example, in the chapter ‘Feed Your Weaker Self’, he writes about the importance of “trusting your inner sloth”. Motivation has to come from the outside, not from within. He gives the example of gorillas who just sit around scratching themselves and digesting food. Since we share 98 per cent of our genes with them, we should just follow their lead.

By the time you’ve finished that inevitable eye-roll, Dobelli gets to the ‘quiet voice of reason’, in which he inverts his own advice and writes about the need for taming the innere Schweinehund, German for ‘inner pigdog’. Sloth, he says, is a natural tilt of our temperaments, right from our hunter-gatherer days. To overcome it, one must develop the “muscle” of self-motivation. But here, too, there is a balance. If you overexert yourself, the muscle will get tired and you’ll find your willpower waning. But by making demands on that muscle, you are training it, and literally willing your willpower to grow. Thus you increasingly conquer your inner pigdog.

Other chapters in the book give such ‘edifying’ advice as being unreliable, drifting through the day, messing up your marriage, setting the wrong goals, getting involved in other people’s drama and practising ingratitude. Dobelli says he got the idea for the inversion method from a Harvard commencement speech by American investor, Charlie Munger, which was bizarrely titled ‘How to Guarantee a Life of Misery’. Munger flipped conventional wisdom on its head and instead spoke about four fail-safe ways to achieve zero success in life. “We can’t pinpoint what leads to success, but we know for sure what makes it an impossibility,” writes Dobelli. “The key is to keep the killer in your sights and give him the slip, then the right path will automatically open up ahead.”

In an interview with THE WEEK, Dobelli says that he tries to use the 52 pointers that he’s distilled in the book all the time. “Some of them have become second nature; others still require a lot of effort on my part,” he says. “One that is not easy for me is scheduling my day in terms of blocks of time. If I don’t take a moment to plan my day first thing in the morning, it becomes utter chaos. Unfortunately, this still happens way too often for me.”

I ask him to describe one life philosophy that has been the banner flying high over his own life. “One that flows through most chapters in the book is: The quality of your life depends on the quality of your thoughts and the quality of your relationships,” he says. “People often think that money or status leads to a successful life. But they mean nothing if your thoughts and your relationships are toxic. You want to be very careful what you think and whom you surround yourself with.”

Much of what Dobelli writes seems evident—self-help gold whose shine has dimmed over time. What makes the book interesting, however, is its plethora of anecdotes, examples, philosophies and quotes. Dobelli has done his homework well. It doesn’t hurt that the writing is sharp and suave, threaded with a sly sense of humour which is accentuated by his format of story-telling. As he says, he has been collecting stories of success and failure since his days as a philosophy student. “I have also collected wisdom from the great thinkers of the past 2,500 years,” he says. “Out of this huge mountain of unstructured notes, I tried to distil the 52 most salient points.”

And what helped him fine-tune his research into these 52 points? Keeping his children in mind and thinking ahead to when they become adults. “I pictured them at, say, 25 years old,” he says. “I would hand them this book and tell them: Don’t do any of these 52 things, and you will have a good life.” Now that’s wisdom!

i-admire-maharani-indira-devi-of-cooch-behar-she-was-a-true-pioneer-of-finesse

Sat May 03 17:44:42 IST 2025

My personal style is: My personal style is an extension of my design philosophy. It also stems from my childhood in Kolkata and being a Rajasthani. I have had access to beautiful craft and textiles from both cultures. Modest, easy, breezy, season-fluid and feminine clothes find their way in my everyday dressing. I have a special fascination for granny dresses, wallpaper and Prairie prints, intricate itsy embroidery and dusty pastels. However, as conflicting as it sounds, I also gravitate a lot towards vibrant Indian weaves in vivid hues and rustic crafts. I would say my personal style is deeply rooted in nostalgia and craft. The look of the way I dress is global and contemporary but the soul is purely Indian.

My personal style icon: My eternal style is Maharani Indira Devi of Cooch Behar. I deeply admire her, she was so ahead of her times and a true pioneer of finesse. She was the first woman to order chiffon saris from France, to get her bejeweled shoes customised in Ferragamo ateliers, to having a live jewel encrusted turtle as a talisman in the casinos of Monte Carlo. She was the immortal fairytale princess who was equally stylish in her maiden home in Baroda and her married home in Cooch Behar. She was in European balls and nightclubs and had a distinct style which paved a way for how modern Indian sophisticated women chose to dress.

An item in my wardrobe that means a lot to me: There are many pieces in my wardrobe which are special because of more than one reason. My nani's saris from Madam Chorosch and some beautiful gota saris are repeatedly worn by me. I love some beautiful craft-oriented jackets which I have picked up from all over the world. But my favourite piece is a fine jamdani off-white kurta which is now tattered, but has more character. It was the first gift my husband gave me and I wear it every summer.

My favourite souvenir from my travels is: My beautiful silver jewellery. And my hieroglyphic carvings from Egypt are very special to me.

The best gift I have received: My favourite perfume gifted by my children years ago from saved pocket-money (and the rest being indulgently sponsored by their grandmother). The empty bottle still finds a place on the dressing table.

The best gift I have given: It would be difficult for me to identify the best gift I have given to anyone. However I put in effort and emotions and don’t believe in random gifting.

The last thing I bought: A need-based pair of Fit-flops courtesy two fractured toes.

The last book I read: I am re-reading 'Discovery of India' by Jawaharlal Nehru. It was my reference book for my History honours programme, but now I am enjoying it for pleasure.

The last film I loved: I am a movie buff and go to the cinema pretty regularly, and the last few Hollywood and Bollywood movies have been fabulous. I loved a spy thriller called 'The Amateur'. I also enjoyed 'The Diplomat' starring John Abraham, and 'Kesari 2' starring Akshay Kumar.

My Spotify list would include these songs: A mix of Elton John and Stevie Wonder to old Kishore Kumar. Also Jubin Nautiyal.

My beauty/ wellness routine is: I love skin care and love old-school facials rather than the fancy dermat treatments. A fairly clean eating plan along with strength training and daily prayers are an intrinsic part of my wellness journey. I do feel I need to upgrade it a bit more.

My favourite holiday destination: I have been going to Greece very frequently for work and simply love the blue sea, Mediterranean cuisine, the warm people and beautiful islands.

I love to collect: Precious, semi-precious and costume jewellery, though I rarely wear any. Also I collect lots of different coffees and chocolates from all over.

My fridge always has: Loads of ice creams and chocolates for my nocturnal bingeing.

Minimalism or maximalism: I am maximal minimalist!

My home looks like: Lived in and functional, but with lots of art and greenery. And a huge garden.

My favourite mix of traditional and contemporary is: My own label.

My best ideas come when: Strangely after a big Sunday lunch and a nap.

The best way to spend Rs 20,000 is: A day by the sea—resting, rejuvenating and recuperating.

My idea of happiness is: Escaping the daily grind and travelling. I feel completely happy and at ease when I board a flight.