Producer Karan Johar is ready to launch two new faces in Bollywood with his upcoming movie Student Of The Year 2, the second part of his directed movie of year 2012 – ‘Student of the Year’.
Young star Tiger Shroff plays the male lead in the new film, Student Of The Year 2 and it is being directed by Punit Malhotra. The film went on the floors on April 9 and its shooting is underway. It is produced by Karan Johar, Hiroo Yash Johar and Apoorva Mehta under the film production banner of Dharma Productions.
The cast was announced via the social media on Wednesday. Karan, who is presenting the film under his home banner Dharma Productions, individually introduced the three main leads.
After introducing the “leader of the brat pack” Tiger, he introduced the girls who are joining the “new class.” He introduced Tara with a poster in which she is seen wearing a pair of denim shorts and a matching jacket.The newcomer is excited to begin a new innings.
“And suddenly you know it’s time to start something new and trust the magic of new beginnings! Firsts are always special, especially when you’re blessed enough to be a part of the Dharma family. My journey begins… Student Of The Year 2,” Tara posted on her Instagram page.
Tiger also extended her a warm welcome by saying, “I’m sure you are as excited as I am. See you in class!”
Moments later, the official Twitter page of Dharma Productions announced Ananya, daughter of actor Chunky Panday, as the second lead for the film.
“And finally! Presenting Ananya — joining class of 2018 at Saint Teresa. Welcome to the movies! SOTY 2,” read a caption to a poster featuring Ananya in a red sporty crop top.
There has been a dramatic rise in the Instagram following of Ananya Panday ever since she was announced as one of the female leads of Student Of The Year 2. The newbie had 1901 people following her on the photo and video-sharing website when the announcement was made. Within four hours, she is now being followed by over 70,000 followers. Within a matter of hours, Ananya has gained a staggering 68,000 followers.
With Student Of The Year, Karan had introduced Alia Bhatt, Varun Dhawan and Sidharth Malhotra, who have cemented their space in the film industry year after year with a slew of diverse projects.
Writer: Team Viva
Courtesy: The Pioneer
One of the fluid identities, Designer Neeta Lulla, has now come up with her new inventions and latest designs at her newly launched store in Delhi, addressed by Team Viva.
Designer Neeta Lulla doesn’t bother about the labels that get stuck on her and just goes with the flow. She has done it all, from costumes to wedding garments, pret to couture, and taken each task assigned to her as a challenge. So she chooses not to define herself or her design discipline. “From my school days, I have always gone with the flow and somehow it has worked. I have never sat down to make notes or planned my day from point A to point B. I have juggled with designing clothes for multiple films, styling magazine shoots, building a label, showcasing collections and spending time with the family. There is no hard and fast rule when you are multi-tasking. You just need to prioritise at that point of time and see to it that you finish the task.” The designer was in the city for her flagship store launch in DLF Emporio.
What are your expectations from Delhiites once you open your store here?
I have a lot of clients from Delhi who fly down to Mumbai to buy my outfits. With the kind of clothes and the work I am bringing in, I am hoping for great sales. There is sensuality in the latest range. There are vintage colours with silver and foam.
What will be your pitch in the crowded designer retail space in Delhi?
I feel my products will speak for themselves. If I am not doing well, I am to blame and may be I have not been up to the mark. But I have always believed and come up fairly because in the end, the product speaks. I think that is the loudest one can shout.
Apart from that, one needs to keep reinventing constantly. In that sense I am not a consistent designer. But some of my high points have been fluidity of forms and silhouettes, colour accents of the Renaissance and the subtle blend of Indian and contemporary. Last year, I had focussed more on heritage and played with Kanjeevaram saris. This season has Edwardian elements with pretty butterflies which would make one wonder if this is Neeta Lulla. I like to keep surprising myself, given the short attention span my buyers have. As a creative person too, I get bored with doing the same thing over and over again. That is my design philosophy.
Your meticulous research and knowledge of fabric are considered to be one of the reasons why you are sought after for period films. Do you bring that to your contemporary lines as well?
I have studied fashion, so I do extensive research on fabric and silhouettes. I have been teaching fashion for the past 26 years. But filmmakers get drawn by my ability to create a look which is conversive and in sync with the adjectives of the contemporary audience. For example, I had to create a brocade look. Instead of opting for brocades or pure silk, because my DOP was using natural light, I had to create something that looked rich but at the same time did not scream texture. Thus a lot of work was done on mul with embroidery sections created on it. We needed to walk that thin line.
Do you feel India is going through a revival period in fashion, bringing back our age-old textiles like Jamdani?
I think we are quite tradition-bound. It is just that social media has widely propagated that consciousness. There is such a strength in our great artisans and heritage of fabric, colours, and design, we can create a global movement.
How do you feel fashion designers can popularise khadi among a younger audience since it has the potential to employ the largest number of people in rural India?
I think khadi is the essence of our country and I have begun to use it even while styling for films. In the Kangana Ranaut-starrer Manikarnika, there is a whole segment where all the characters are dressed in khadi.
How does knowing the back stories of characters, their behaviour and where they are coming from help you in designing costumes?
It is a process that even I am unaware of. It is just an instinct. Once I get the story, I read the script about four times at length and jot down some takeaways of the character. A kind of colour may be shouts out in my head, a fabric, a fluidity of form. Apart from that, what also works is the careful research I do depending on what era it is they are talking about, what kind of trade happened around that time and between which cities or countries, the merchant boats that came in… It is a long and rigorous process. Manikarnika took me six to eight months. You have to be very careful about how you utilise colours while depicting a negative or positive character.
How different is it being a fashion designer from a costume designer?
As a costume designer, you create an entire look and lifestyle for the character that exists in your mind. The reason we call it costume is because it requires a lot of detailing to enhance figure types to create a character that you probably have heard about. As a fashion designer, the consumer is a flesh and blood filled out character and you fit into his/her requirements.
Do you feel fashion as we know it will see a downfall in the generation we are living in today?
There is a tremendous knowledge about what is going on with everybody and today, at the drop of a hat, you can go on to social media and see what all other designers are doing. Then the presence of brands has spoilt us with choices. And with so many online sites that tell you what to wear, how to style yourself and how to look good, people have started making their personal style statement. However, this was not the case earlier where one looked at a fashion magazine for inspiration. Fashion is becoming generic, there is a glut and I would say, therefore, that fashion is static. We are trying to play it safe thinking we should play to the gallery and ensure sales. We are scared to invent and we are getting scared to take chances with designs and to experiment.
Sometimes when you are experimenting, people come up with queries, get judgemental about your work and don’t even find it to be fashionable. But as a creator, we have to take that risk.
Tell us something about your fashion school?
I did launch the school but now I am not connected with it. With the advent of online education, I like channelising budding designers in the right direction in any way possible. I enjoy tapping into the imagination and creativity of young minds.
Writer: Team Viva
Courtesy: The Pioneer
Manish Malhotra this time on his ramp show has introduced ‘Chikankari’ in his new designer wears with a little twist to give ultra-modern look to the western silhouette, such as on lehenga. During the eve, he takes out time for Team Viva and explained that how handloom is our best lifestyle choice.
Bollywood’s favourite designer Manish Malhotra has been known to innovate within his cultural and traditional roots and specialises in soft, flowing fabrics with a feminine allure. Having worked with weavers and karigars for mainstreaming hand-crafted embellishments, he adopted the sewing and tailoring centre at Mijwan, a collaborative effort with Shabana Azmi and Namrata Goyal, who set up a trust to promote the region’s chikankari work. Every year since then, he has been hosting a fashion walk in Mumbai, hoping celebrity endorsement will draw attention to a textile heritage. This year’s edition will feature Ranbir Kapoor and Deepika Padukone as the show stoppers. The designer took time out from his rehearsals to throw some light on his collection. Excerpts:
How did you begin your collaboration with Mijwan, a village tucked away in Azamgarh, UP?
When I visited Mijwan in 2010, I was impressed by the fashion show that the girls from the Kaifi Azmi school put up for us. It was a moment of immense pride, as it showed us how far these women have come. My association with Mijwan Welfare Society has resulted in six beautiful collections using chikankari, all of which have been widely appreciated. Traditionally, this craft has been synonymous with easy and everyday fashion. When I started working with Mijwan, I wanted to push the boundaries — both for the label as well as the craft, by translating chikankari into the language of couture. This has been our biggest challenge and greatest achievement. From 40 women when we started in 2010, to over 400 today, the effort keeps getting stronger every year.
How do you intend to give your design narrative new expressions this year?
Following the label’s endeavour to translate traditional craft into effortless couture, this year the Mijwan collection will be more contemporary and glamorous.The craft of chikankari forms the very foundation — it looks as good on a Western silhouette as it does on a lehenga. The collection will relive the vintage charm of a bygone era with sheer lightweight fabrics in pastel hues, showcasing the intricate artistry of chikan embroidery. Along with lehengas, we will also be adding opulent, T-length skirts, sheer long and short capes, dresses, elaborately embroidered shoes and fringe clutches. We will be highlighting each silhouette with a burst of pearl embroidery, along with details in feather and fringes.
What are your thoughts about the designers who are currently doing costumes for films. As someone who began his journey from there, what kind of changes have you seen over the years?
I feel reinventing goes hand in hand with evolution. While I love cinema and will always be grateful for the opportunities my work in films have given me, I am a person who craves change. It is not from lack of interest but what growth would there be if everything was status quo. I love the turn both industries — fashion and film — have taken today. Back in the day, people were not exposed to emerging trends and style sensibilities. Choice of clothing was much simpler and access was minimal. But with the world becoming smaller, the current environment is seeing a fundamental transformation on how we create, consume and communicate fashion. I attribute this to the emerging technological advancements and infusion of modernity with tradition. As a result, we have a cornucopia of differently styled looks and that’s exactly what my label stands for.
People are becoming vocal with their opinions on craftsmanship as well as designs we present through fashion shows, cinema or even the global influencers we dress. Both Indian and international designers have played a significant role in promoting traditional crafts through their spectacular design vision and innovative creations — taking the textile conversation from grassroots to glamour across a wider audience.
You have said in an interview that handloom is already positioned as a brand, why do you think that is? And how can handloom be incorporated in ceremonial wear?
Handloom has taken centre stage in the Indian fashion industry today. The growing impact of social media has enabled consumers to contribute to this conscious effort and share the need for sustaining and reviving our heritage textiles and crafts across a global platform. My designs are a tribute to the quintessential Indian aesthetic as seen through a contemporary lens. The present generation is extremely well-travelled and focussed on ethics and is going back to its roots to opt for more traditional fabrics. While earlier, this was considered very intellectual or ‘artsy’, today sustainability is back to becoming a lifestyle choice. Needless to say, these crafts are finding form in both everyday wardrobes as well as formal and traditional outfits. From saris crafted in handwoven textiles to details by way of hand-embroidery and embellishment techniques, our handlooms and handicrafts have a very versatile and global appeal.
Your vision is to develop cotton couture now. Can you elaborate on it? What advice would you give designers who would want to make a shift towards sustainable fashion?
Our country is in the midst of a sustainable fashion movement. Many fashion brands, retailers and media platforms are waking up to this need of the hour. The direction of my label is representative of a new movement in the world of Indian fashion where the aesthetic mixes the functional with the beautiful; is more comfort-driven and highly wearable. My objective is to innovate while not forgetting the roots of our culture and traditions.
How do you re-interpret your designs and style to appeal to the younger and international audience?
My styles have always been opulent, modern and unapologetically glamorous. The Manish Malhotra aesthetic accentuates the wearer’s personality and this is the foundation of every collection that we create. The younger generation is evolved and aware today. Sharp Western cuts highlight traditional outfits; women are adorning crop tops and off-shoulder cut-out capes and blouses with lehengas and pants to embrace utility and comfort in style. I attribute this to the fact of blending the old with the new. Individuality is in vogue and people are more receptive to dressing according to their personality and fusing trends and global influences in fashion.
The aim of Mijwan Welfare Society is to empower women in India’s rural areas with education and increased employment opportunities. According to you, how important is it to empower women in the present generation?
My work with Mijwan is extremely gratifying — personally and creatively. The cause is close to my heart as I believe that empowered women form the foundation of a progressive society. And this starts with education. On the fashion front, the cluster is a microcosm of what India has to offer to the world. It’s a tremendous collaborative effort to enable these women to earn their livelihood with sheer talent, helping them negotiate their position in a traditional, patriarchal society. This is not an act of charity, we need them as much as they need us. Also, it’s the least we can do for the sustainable revival of the craft.
The society started with 40 women in a single centre in 2010. Today, there are 10 centres with a workforce of 400 women. How do you rate the progress?
This year, I finish nine years of my journey with the Mijwan Welfare Society. In 2010, I adopted the sewing and tailoring centre which today operates with the dual objective of reviving the timeless craft of chikan embroidery as well as empowering local women. Working with Mijwan has made me a teacher, listener and student, all at the same time. It is immensely encouraging to see an effort that started as a passion project with 40 women spearheading it into a movement that has grown tenfold.
To have an education and the right to productively shape one’s life creates the foundation for a progressive society. I am proud to be part of the effort that encourages this vociferously yet eloquently. And the sentiment is the same for all the women who are part of this; their lives have changed for the better and they see the revival of this lost embroidery technique in a new light.
We have a long history of warp and weft design aesthetics. Do you feel India is going through a revival period, bringing back our age old textiles like chikankari embroidery.
India has a rich legacy of culture and textiles and with my label, we work to re-interpret crafts through the language of couture. The art of chikankari originated in the 17th-century courts of the Nawabs yet remains uniquely exquisite and much desired amongst its patrons today. Given the global resonance that the Manish Malhotra label has today, I am delighted to share the versatility of our handlooms and handicrafts for an international consumer base. It has been a great direction for us — one that we are proud to have taken. Bollywood’s favourite designer Manish Malhotra has been known to innovate within his cultural and traditional roots and specialises in soft, flowing fabrics with a feminine allure. Having worked with weavers and karigars for mainstreaming hand-crafted embellishments, he adopted the sewing and tailoring centre at Mijwan, a collaborative effort with Shabana Azmi and Namrata Goyal, who set up a trust to promote the region’s chikankari work. Every year since then, he has been hosting a fashion walk in Mumbai, hoping celebrity endorsement will draw attention to a textile heritage. This year’s edition will feature Ranbir Kapoor and Deepika Padukone as the show stoppers. The designer took time out from his rehearsals to throw some light on his collection.
How did you begin your collaboration with Mijwan, a village tucked away in Azamgarh, UP?
When I visited Mijwan in 2010, I was impressed by the fashion show that the girls from the Kaifi Azmi school put up for us. It was a moment of immense pride, as it showed us how far these women have come. My association with Mijwan Welfare Society has resulted in six beautiful collections using chikankari, all of which have been widely appreciated. Traditionally, this craft has been synonymous with easy and everyday fashion. When I started working with Mijwan, I wanted to push the boundaries — both for the label as well as the craft, by translating chikankari into the language of couture. This has been our biggest challenge and greatest achievement. From 40 women when we started in 2010, to over 400 today, the effort keeps getting stronger every year.
How do you intend to give your design narrative new expressions this year?
Following the label’s endeavour to translate traditional craft into effortless couture, this year the Mijwan collection will be more contemporary and glamorous.The craft of chikankari forms the very foundation — it looks as good on a Western silhouette as it does on a lehenga. The collection will relive the vintage charm of a bygone era with sheer lightweight fabrics in pastel hues, showcasing the intricate artistry of chikan embroidery. Along with lehengas, we will also be adding opulent, T-length skirts, sheer long and short capes, dresses, elaborately embroidered shoes and fringe clutches. We will be highlighting each silhouette with a burst of pearl embroidery, along with details in feather and fringes.
What are your thoughts about the designers who are currently doing costumes for films. As someone who began his journey from there, what kind of changes have you seen over the years?
I feel reinventing goes hand in hand with evolution. While I love cinema and will always be grateful for the opportunities my work in films have given me, I am a person who craves change. It is not from lack of interest but what growth would there be if everything was status quo. I love the turn both industries — fashion and film — have taken today. Back in the day, people were not exposed to emerging trends and style sensibilities. Choice of clothing was much simpler and access was minimal. But with the world becoming smaller, the current environment is seeing a fundamental transformation on how we create, consume and communicate fashion. I attribute this to the emerging technological advancements and infusion of modernity with tradition. As a result, we have a cornucopia of differently styled looks and that’s exactly what my label stands for.
People are becoming vocal with their opinions on craftsmanship as well as designs we present through fashion shows, cinema or even the global influencers we dress. Both Indian and international designers have played a significant role in promoting traditional crafts through their spectacular design vision and innovative creations — taking the textile conversation from grassroots to glamour across a wider audience.
You have said in an interview that handloom is already positioned as a brand, why do you think that is? And how can handloom be incorporated in ceremonial wear?
Handloom has taken centre stage in the Indian fashion industry today. The growing impact of social media has enabled consumers to contribute to this conscious effort and share the need for sustaining and reviving our heritage textiles and crafts across a global platform. My designs are a tribute to the quintessential Indian aesthetic as seen through a contemporary lens. The present generation is extremely well-travelled and focussed on ethics and is going back to its roots to opt for more traditional fabrics. While earlier, this was considered very intellectual or ‘artsy’, today sustainability is back to becoming a lifestyle choice. Needless to say, these crafts are finding form in both everyday wardrobes as well as formal and traditional outfits. From saris crafted in handwoven textiles to details by way of hand-embroidery and embellishment techniques, our handlooms and handicrafts have a very versatile and global appeal.
Your vision is to develop cotton couture now. Can you elaborate on it? What advice would you give designers who would want to make a shift towards sustainable fashion?
Our country is in the midst of a sustainable fashion movement. Many fashion brands, retailers and media platforms are waking up to this need of the hour. The direction of my label is representative of a new movement in the world of Indian fashion where the aesthetic mixes the functional with the beautiful; is more comfort-driven and highly wearable. My objective is to innovate while not forgetting the roots of our culture and traditions.
How do you re-interpret your designs and style to appeal to the younger and international audience?
My styles have always been opulent, modern and unapologetically glamorous. The Manish Malhotra aesthetic accentuates the wearer’s personality and this is the foundation of every collection that we create. The younger generation is evolved and aware today. Sharp Western cuts highlight traditional outfits; women are adorning crop tops and off-shoulder cut-out capes and blouses with lehengas and pants to embrace utility and comfort in style. I attribute this to the fact of blending the old with the new. Individuality is in vogue and people are more receptive to dressing according to their personality and fusing trends and global influences in fashion.
The aim of Mijwan Welfare Society is to empower women in India’s rural areas with education and increased employment opportunities. According to you, how important is it to empower women in the present generation?
My work with Mijwan is extremely gratifying — personally and creatively. The cause is close to my heart as I believe that empowered women form the foundation of a progressive society. And this starts with education. On the fashion front, the cluster is a microcosm of what India has to offer to the world. It’s a tremendous collaborative effort to enable these women to earn their livelihood with sheer talent, helping them negotiate their position in a traditional, patriarchal society. This is not an act of charity, we need them as much as they need us. Also, it’s the least we can do for the sustainable revival of the craft.
The society started with 40 women in a single centre in 2010. Today, there are 10 centres with a workforce of 400 women. How do you rate the progress?
This year, I finish nine years of my journey with the Mijwan Welfare Society. In 2010, I adopted the sewing and tailoring centre which today operates with the dual objective of reviving the timeless craft of chikan embroidery as well as empowering local women. Working with Mijwan has made me a teacher, listener and student, all at the same time. It is immensely encouraging to see an effort that started as a passion project with 40 women spearheading it into a movement that has grown tenfold.
To have an education and the right to productively shape one’s life creates the foundation for a progressive society. I am proud to be part of the effort that encourages this vociferously yet eloquently. And the sentiment is the same for all the women who are part of this; their lives have changed for the better and they see the revival of this lost embroidery technique in a new light.
We have a long history of warp and weft design aesthetics. Do you feel India is going through a revival period, bringing back our age old textiles like chikankari embroidery.
India has a rich legacy of culture and textiles and with my label, we work to re-interpret crafts through the language of couture. The art of chikankari originated in the 17th-century courts of the Nawabs yet remains uniquely exquisite and much desired amongst its patrons today. Given the global resonance that the Manish Malhotra label has today, I am delighted to share the versatility of our handlooms and handicrafts for an international consumer base. It has been a great direction for us-one that we are proud to have taken.
Writer: Team Viva
Courtesy: The Pioneer
With the increase in chaos in life, tourists have started changing their preferences of holiday destinations, the “middle of nowhere” being one of their favorite yet.
Dharamshala, Mussoorie, Shimla, Darjeeling —all summer retreats with colonial charm, the lively mall roads and the expansive sunrise and sunset points. But then they have become too crowded, too familiar and too difficult to book accommodation at. So what does one do?
And it is here that “the middle of nowhere” — a place that might not have made it to the bucket list of many travellers some years ago — comes in. These are newly-discovered destinations that happen to be close to a popular tourist locale or in between two hubs but are hidden and virgin experiences of unseen hillsides. The selling point, of course, is that unlike the well-known ones, these are usually less followed and thus have more solitude.
Manmeet Ahluwalia, marketing head, Expedia, said, “Indian travellers are going beyond the usual boundaries of budget, time and travel — to experience middle of nowhere spots — a trend that has been on the rise from last year to be precise. These are destinations which are usually known best to the locals. They may not be easy to access and do not provide the comfort of commercialised destinations, but the experience is worth the effort.”
And others in the industry seem to agree. Karan Anand, head, relationships, Cox and Kings, said, “Extending your vacations to a secluded or lesser known tourist spot, which is close to the popular travel destination, is a new trend emerging among domestic travellers. People like to just relax and unwind at such destinations instead of a hectic vacation with a lot of sightseeing. For some people, a visit to these places is just an add-on if they have a couple of extra days in hand. Some travellers purposefully add these destinations in their itineraries as they want to make their trip distinct by visiting a place which is beautiful but not much known. Choice of such extended tourist spots also depends on specific interests of a traveller such as birding, wildlife, adventure activities, rejuvenation and so on.”
Besides, who wants to run into hordes of people after running away from crowds? In popular tourist hubs, due to massive crowds, most people do not enjoy themselves. They have to jostle with crowds at restaurants or for tickets while heading out to popular monuments, taking a boat ride or going for a picnic in the park. You do not want to be overrun by others trying to reserve their places.
Talking about the scope of the middle of nowhere tourism, Aditi Balbir, founder and CEO, V Resorts, said, “With each of the 30 states and union territories in India possessing a unique culture, the scope of the middle of nowhere tourism is massive. Every state has its own language, festivals, cuisines and art forms and celebrating these elements individually gives this form of tourism its diverse scope.”
George Muthoot George, managing director of Muthoot Leisure and Hospitality Services representing Xandari Resorts, said, “Travel is becoming more popular by the day and with people increasingly posting their photographs on social media or blogging about their travels, they prefer to head out for genuine offbeat experiences rather than the usual ones.” He quotes the example of Marari, a quaint fisherman village which falls between the infamous tourist destinations of Kochi and Alleppey, which has seen a spike in footfalls. Your unique experience here happens to be the lifeline of the local community, including a day in the life of a fisherman, coir tour, village bicycle tour and the farm to table story.
Activities in the middle of nowhere locations depend on the place. Balbir mentioned, “Each location has its own unique local heritage and the experiences offered to travellers need to be built around these local elements. For example, since Sat Tal is known for its diverse local bird species, an exclusive bird tour with a local ecologist can be done. Experiences focussed on the local flavours are required to bring these locations into mainstream focus.” Sat Tal is one of the few unspoiled and unpolluted places near Nainital which houses an interconnected group of seven lakes with clean, turquoise-hued water. There is a butterfly museum which has over 2,500 butterfly species and 1,100 species of insects that are found in this region. A natural spring of fresh water arising out of the dense oak forest in the west of Sat Tal is also worth paying a visit.
Those who find Coorg too mainstream, immerse yourself in the wilderness at Kabini with its rich variety of flora and fauna. A budding wildlife destination and an ideal place for nature enthusiasts, it offers activities such as jungle safari, trekking and boating. The lush greenery and imposing waterfalls make this place worth a visit. Add to it, the experience of a coracle ride in Kabini river and you have the makings of a perfect holiday.
There is an evident shift towards these locations amongst tourists. “As the popular destinations have become too commercial over the past decade, they no longer offer ‘getaways’ or ‘breaks’ that today’s travellers seek. This is why people are opting for fresher locations. It is the same reason that even for accommodation options, people don’t just look for hotels but for alternate options such as homestays, camps, eco-resorts and more.”
The Northeast, which is now opening up to mainline tourists too, has many such jewels. For example, nature lovers of an aquatic nature need to visit Tamdil Lake, which is around 85 km from Aizawl, a natural pond deep in the forest that’s as emerald still as it can get anywhere in the northern Himalayas. Then there are the Siju Caves in Meghalaya, situated 132 km from Tura, and located in the Garo hills. This cave is one of the longest in the Indian sub-continent. Certainly, an exciting place for tourists seeking adventure, especially since most of the cave is still unexplored and has several passages similar to that of a maze.
For those whose hearts still beat for the hills of Uttrakhand, there is Jilling which is an hour away from the popular summer retreat of Nainital. Relatively unknown, the place has expansive tea estates which are perfect for those seeking to be wrapped in greenery. For those who want to delve deep into the forest, travel no further than Dangamal, a tiny village in Odisha, about 138 km from Bhubhaneswar where one can explore virgin mangroves that are home to Indian saltwater crocodiles.
Salt pans in Gujarat, which make for a surreal visual against the blue sky on the horizon with bursts of mirage, is a natural wonder that has drawn the thinking traveller for the last few years. Due to its proximity to Pakistan, the Indian Army has a base at Rann and all travellers must have valid ID proofs which are checked by the Army official at the entry point. The best time to visit the place is from January to March. One can indulge in activities like camping, trekking, safaris or simply sightsee.
Want to venture further afield? Ditch Sydney or Melbourne in Australia and explore the charms of Cape York, which comprises an array of the middle of nowhere destinations such as the historic town of Cooktown, remote Savannah and rainforest clad national parks — really the last frontier of Australia. From the Coral Sea to Great Barrier Reef, this remote part of Australia is captivating with flourishing wildlife, cultural experiences, characters, and adventure.
Another option is the Faroe Islands in North Atlantic, close to Scotland. The Faroe Islands are located at one of the most remote places in Northern Europe. Watch a a jaw-dropping waterfall as it cascades down the tiny cliff-top village. The unique landscape and location with pristine air and picturesque surroundings are a treat for photographers.
Mayuri Ghosh, general manager, sales, Lords Hotels and Resorts, sums it up best. “Social media also plays a major factor here, a picture against an exotic background or perfectly captured panoramas is a fad today. The millennial wants to experiment with everything. From global cuisines and local tastes to unorthodox holidays and adventurous recreations, the millennial is moving away from the traditional beliefs. Work hard but enjoy twice as hard is the motto and if enjoying means doing something and going somewhere where no one goes, then today’s intrepid traveller will do it.”
Writer: Team Viva
Courtesy: The Pioneer
Opening up to Kritika Dua, exceptional fashion designer, Ritu Beri, talked about the potential of young designers, growth in the fashion industry, and adaptation of handloom used to produce magnificent designs.
Khadi has been a prominent part of the collections of veteran designer Ritu Beri’s for the last two to three years. Be it conceptualising and designing Vichar Vastra, her first khadi line for KVIC to her latest, A Miscellany in Khadi, her spring/summer 2018 collection that presents the organic fabric in an avant-garde avatar. The collection has indo-western ensembles, a range encompassing both evening wear with a dose of glamour and casual wear which are fuss free, easy to wear and yet stylish. At Ritu Beri Couture, in the serene lanes of Sainik Farm the sheer variety is mind blowing.
There was a red short hemline anarkali with beaded embroidery on the border and paired with a salwar in the same hue. An interesting combination of fuschia pink and parrot green straight kurti with golden embroidery around the neckline along with a sharara was seen. Though some might find the bright combination a bit jarring. The evening wear section had anarkalis (some with slits) with pajami and sharara and a range of colours to opt from — pink, blue, white and shades of red. The casual wear was demure — Indo-western shirt style kurtis with side split and embellished with Indian motifs and flower patchwork in white, maroon, yellow, orange and black. Some even had a sailor vibe to it with patches containing Buoy Yacht in a cool blue shade. What weaved these two segments together was the presence of pockets which we loved! The designer herself was seen sporting the Indo-western shirt style kurti with a side split and a patchwork of her label near the collar which she beautifully paired with wide-legged jeans with frayed hems and accessorize it with pearl earrings and necklace.
How can Indian designers model a concept towards tradition?
India needs to model a concept towards tradition and still be able to cater to what the world demands. Our talented craftsmen, designers and artisans should stop aping the west and develop corporate houses, establish strong brand identities by focusing on niche aspects of Indian culture. A case in point is that of several Japanese designers who have established successful international brand names while respecting the spirit of the Japanese culture in their design. This has enabled them to carve out a niche for themselves in the competitive international world.
India is a real treasure trove of talent, creativity, ideas, passion design, artisans, and craftsmen. It is all about being who we are but definitely respecting the influences of a global presence
When and how did you decide to create an exclusive khadi collection?
Every designer needs a playground to project one’s state of creativity and realise a hyperbolic dream. I indulge in Khadi, which is a luxurious fabric handwoven with hand-spun yarns. A truly organic fabric, I launched my brand 25 years ago with Khadi and have been rigorously using it since last 2-3 years. As Khadi is made with pure cotton or silk yarns, it soothes the skin as it is skin friendly, making it the choice for me.
Khadi production doesn’t leave behind any harmful waste — it is thus the most eco-friendly fabric ever. Khadi is ‘green’, ‘sustainable’, ‘eco-friendly’, ‘zero waste’, ‘biodegradable’, ‘zero carbon footprint’. Embrace Khadi today, has been my motto as a contribution to our planet!
What are the common myths about khadi that need to be debunked?
khadi is only for the summers: Khadi is called an air-conditioned fabric as it is cool in summers and warm in winters.
khadi is old fashioned and only for politicians: Khadi creates a perfect harmony between tradition and modernity. A versatile fabric, it can be used for both western and Indian ensembles.
khadi is high-maintenance: Khadi can easily be hand washed and is durable. Just use a mild detergent to wash and air dry.
khadi is only cotton: Khadi also comes in silk and wool blends and the difference between them is apparent in the texture.
khadi is coarse and crushes easily: Khadi can be very fine, super soft and comfortable. It is considered a luxurious fabric, globally. It crushes not more than any other cotton fabric and looks remarkably fresh almost all day.
khadi was made by mahatma gandhi: Khadi and its existence dates back to 12th century. Gandhi ji advocated the use of the fabric to bring a sense of self-reliance and freedom in the country.
khadi is very expensive: Khadi comes in different varieties and many price ranges. It can be very affordable or expensive — depending on the quality. There is something for every pocket.
khadi is only for day wear: Khadi can create a statement even at night, if tastefully designed and accessorised.
Among all the aspiring young designers, who according to you, has the potential to make it big?
This elegant fabric, Khadi, has found its place in the kitty of designers like Rahul Mishra, Neeru Kumar, Wendell Rodricks and many others who have been experimenting with the fabric in many ways. They have been showcasing beautiful and versatile collections in Khadi over years, thus making it more approachable.
Why should more people be encouraged to adopt handloom and more designers should be encouraged to experiment with it?
To opt for Khadi, therefore, is to emphasise one’s commitment to the spirit of India over appearance, form, character and even over clothing.
Prime Minister Narendra Modi has made a fervent appeal to every Indian to buy khadi and promote the khadi culture, globally. He propagates the concept of khadi as a philosophy, he quoted Mahatma Gandhi who said, “Khadi kewal vastra nahi, ek vichar hai.” (Khadi is not a mere fabric but a serious thought, a concept.)
Khadi, for me, is an effective and powerful symbol of the futility of ‘western imitation’ and there is a need for a revival of local textiles. This gets me back to the idea of ‘khadi’ as more than just a mere cloth. The plus points of Khadi have never been projected well. We are trying to spread awareness of its benefits through recently conceived campaigns.
What are you passionate about apart from fashion?
I am inspired by life in general! I believe that every new day comes with new ideas, aspirations, and dreams.I am a dreamer I enjoy the impossible situation, I put all my effort to bring challenges to reality. My work is greatly influenced by my personal state of mind. I love to explore new possibilities and work in an inspired mode while mostly designing to satisfy myself.
My passion and my dreams drove me to become an entrepreneur. I see myself only as a creative person. As a creative person in business, I follow my own unique creative ways of nurturing my ambition.
Between 1990 and today, what are the big changes you’ve witnessed in the fashion scene in India, and what are the changes you are glad to have happened?
The Indian fashion industry has undergone a tremendous metamorphosis since I joined in 1990. When I started, fashion was only a diversion for the small elite. It was not considered serious business. “Ritual dressing”, was the order of the day, one dressed up for a wedding or a festival.
The Indian fashion scene is seeing interesting times. The economy is opening up and we are making a mark in the international scenario.
The purchasing power of the Indian consumers has indeed escalated, boosted by a healthy economic growth. For them, wants have now become necessities. The marketing pitch is further enhanced by imagery, events, packaging which helps in identification of a real brand.
Today people are more conscious about what they wear. They want to look their best at all times, which is fantastic for us designers.
Our designers are constantly showcasing in various fashion capitals of the world. Indian fashion is spotted on the fashionable ramps of the world and is a huge source of inspiration globally.
The Indian fashion industry is now considered a serious industry even though it is only over 25 years old; we have achieved a lot in this short time.The future and the growth of the fashion industry depends on its outreach and professionalism of the industry and both of which are happening.
What is that one style rule that you vouch for?
Retaining the traditional element of our culture, my collections generally has a modern twist reflecting a global version of the Indian exoticism. My style is intrinsically feminine — romantic with flamboyance. For me, it’s about enhancing a woman’s individuality and persona.
The silhouettes I design are usually a mix of our rich traditional costumes with an exclusive and contemporary look. I enjoy designing clothes that are grand. I design for the fabulous and glamorous woman, the Rock n Roll Woman! My mantra, from the very beginning, is essentially an eclectic blend of East and West.
You have travelled around the world, is there any particular country that scores high on the fashion quotient for you?
Mine is a story of a young Indian fashion designer who dreamt and aspired to conquer the huge global fashion world in Paris. My obsession with Paris and the desire to go beyond the usual is what ventured me on this crazy journey. The city represents the French Capital’s illustrious past. It also stands for the grandest there is in the world of luxury.
For me, it all began with Francois Lesage. Even before I knew him, if a genie popped out and offered me one wish, it would be to hear stories of fashion from the past, in Lesage’s words.
One basic fashion trend you swear by?
Embroideries are a passion for me. I believe that they enlighten clothes immensely. My style is intrinsically feminine, romantic with a flamboyant twist. Being an Indian designer, embroideries have always been an integral part of my collections and they have influenced my collections every season.
Writer: Kritika Dua
Courtesy: The Pioneer
Preferring Goa over Delhi, designer Malini Ramani opens up to Kritika Dua regarding her administration for tribal elements and her travel-friendly and comfortable collection.
Designer Malini Ramani has come a long way from her dramatic debut in 2000 on the Indian fashion scene with her Rockstar meets Indian Princess collection to being synonymous with new-age tribal wear. Dip-dyed drapes, tribal influences, regal capes, sequins, mirror work on black outfits and an abundance of gold were the standout elements of her latest collection, The High Priestess, inspired by the meandering course of a woman’s journey. One of the striking looks was a model sporting the horns of a ram on her head, which reminded us of Maleficent. Talking about the same, Ramani revealed, “An American hair stylist friend visited me a month back. She came over to my office and saw my mood board with The High Priestess looks. After which she designed the headgear all by herself and went back and said, ‘I have a surprise for you. I am making something for your show and will send it to you soon’. And it arrived two days before the show, I had no idea what it will be like but found it super wild which really worked out for the show. It was a powerful headgear, enchanting and magical just like the high priestess.”
She informed us that it was a conscious call to fuse the tribal elements. “My brand, my look, and style are actually quite tribal, gypsy and nomadic. So, that’s just my style and how I dress which reflected in what I wanted to do with this collection.” The designer divulged details about the colour palette, an interplay of brown, white and blue in the first segment and play of black and white along with mirror work in the second segment. “I had actually tried to experiment with various colours. My mood board had myriad hues. I love black and white and I am wearing these shades right now too. I also love tie-dye, browns and muted colours. Even if I make a plan to do something else, the sheer love for it keeps dragging me back to that.”
Ramani’s fascination with kaftan silhouette dates long back. “I think kaftans are chic, elegant and sophisticated piece of clothing. It can be worn by any age group, my mother and I both wear the kaftan. Africans, Moroccans, French — every nation wears the kaftan. It can be worn during the day or at night, can be casual or dressy, one can go to a wedding in it or go to sleep wearing it. It’s flexible, loose, flowy and sexy at the same time. I just like it.” She believes that her latest collection is travel-friendly. “You can pack all these items in a suitcase and none of them will get crushed. You can wear all of them while travelling. You can put on a cape if you are feeling cold in a plane or wear jumpsuits and dress it up in the evening or even wear these outfits for lunch or dinner. The one-piece saris are a great choice especially for destination weddings.” Although these one-piece saris were presented in black and white for the Amazon AW’18 collection, the buyers can opt from an array of colour options. She added that while she is travelling, she comes across certain people, even at airports which at times inspires elements in her creations.
Recalling her time spent in Delhi, Ramani said, “I have lived here for most of my life, even though I did not plan that. Currently, I am here on a visa as I live in New York mostly. Delhi was much more fun and empty with hardly any traffic earlier. I was younger and all over the place. Now my fond memories are related to the people that I know and the experiences I had with them. I have completed 18 years in the fashion business. I have many good memories related to that too.” When asked about her favourite hangout spots in the city, she quipped, “My house! As you get older, it’s not about hanging out at certain places and more about the people you are hanging out with and mood you are in. I have created my own cocoon where I like to be in and that’s actually my house.”
When asked how has this influenced her worldview and fashion sensibilities. Ramani replied, “I see women on the streets still dressed in saris, anywhere I go around there are colours. The city is not on top of my inspiration list, that is New York as I visit it a lot. I am born there and live there. When you look around, you are assaulted with distinct styles, colours, madness and creativity on every corner.”
She is not interested in partying now and has a valid reason for it — she has grown up. Ramani also spoke about her studio in Goa. “The business is quite seasonal and only for three months it is good. I prefer Goa over Delhi as it has clean, pleasant weather, fresh air, relaxed and laid-back attitude. Everyone is in a cheerful mood there. It’s easy to get to places and there is no pollution.” On what keeps her going, she said, “It’s creativity and passion. I am passionate about several things — yoga, food, my work and my dog. I am on a spiritual journey and that’s what keeps me going. Also, to see new things and go on adventures. I love sharing and giving, inspiring people and being inspired.”
On her forthcoming projects, “I am working on Yogalini, my kundalini yoga line. I am going to Dubai soon for an exhibition and many trunk shows and pop-ups are in line which I do once a year. So, I am packed with that.”
Writer: Kritika Dua
Courtesy: The Pioneer
The youngest member of the fashion design council of India, Samant Chauhan unfolded the beauty of darkness in the fashion week. The collection was twisted with the concept of shadow to explore the play of monochromes. After getting inspiration from the painter Jonathan, who lost his ability to see colors, Samant Chauhan decided to put some efforts in doing something different that has not been introduced by any of the designers ever.
“The collection is a departure from the quintessential us,” said Chauhan. He is proud to call himself colorblind. Using a background screen where pixels moved with the rhythm of the music and made the audience sit on the edge in anticipation. While the intense score of the Swan Lake played in the background, a model sashayed in wearing a high neck gown made out of the black net with glass and zari embroidery. The colours, as well as the embroidery, paid homage to individuals who are colorblind. Said the designer, “Colour blindness is not brain damage or a limiting condition. It is a lens of resilience from which we courageously leave the comfort of colour.”
The gowns were flowy with sharp cuts and loose ends. The backs had intricate designs using sheer, stripes and cuts in the center. The motifs used were floral in nature. The accessories were bedazzled clutches which complimented the evening gowns. There was an impressive play with grey, black and white. The parted hair in the middle with a looped ponytail gave a sharp look to a rather intense collection. The most eccentric of the lot — a gown designed like the habit of nuns paired with a jacket.
The arrival of menswear was applauded by the women in the front row. The heavy beard and the royal mustache added an element of the aristocracy to the collection. With geometric designs on the beige jacket and an all-black look, the men’s’ wear collection stood out in terms of making a more lasting impact. The clothes were paired with pointed shoes and duffel bags. The highlight of the event was when all the models walked out wearing black glass as a tribute to the colour blind. Another thing which made the show differently was that it played out in the reverse format where the couture creations walked out first followed by diffusion and then the pret line.
Writer: Ramya Palisetty
Courtesy: The Pioneer
What went on in the heads of the masters before they developed their individual grammar and style! What was the mad tousle of ideas playing on? Well the Christie’s preview of South Asian Modem and Contemporary Art showcased some rare early works of auction favorites and some who were gradually climbing up the stakes.
The auction will be taking place in New York in March but a preview coincided with the India Art Pair to enhance our image as a South Asian hub of creativity. according to Nishad Avari, Specialist and Head of Sales. “We expect all of these to be picked up as more names from India find their niche; he told us. The sale includes over 70 lots and is expected to realize in excess of $10 million featuring modern masterpieces by celebrated artists Syed Haider Raza, Tyeb Mehta and Vasudeo S. Gaitonde alongside works by contemporary artists. Leading the sale is a masterpiece by Syed Haider Raza, Tapovan, painted in 1972 (estimate on request).
This large-scale canvas is one of the most significant works in the artist’s oeuvre. It belongs to a key period in Raza’s career when he began to integrate vital elements of his cultural heritage into his paintings. Tapovan, meaning forest of meditation, is a triumph of Raza’s mastery of landscape, his expressionistic use of color and his spiritual and symbolic engagement with nature.
The painting invokes a deep sense of the nature and the night by fusing abstract. symbolic forms into a powerful and mystic expression of the mood and atmosphere of the Indian nightscape. Rooted in Raza’s childhood’ memories of growing up in small and densely forested villages. the painting is an evocative expression of the rich and strong sensory life inherent in the deep. pervasive darkness of the Indian night and foreshadows his later geometric abstractions.
Another high-light is Vasudeo S.Gaitonde, Untitled,painted in 1980 (estimate: $2.200.000- 2.800.000). A testament to his technique. this painting showcases Gaitonde’s scrupulous manipulation and mixture of different opacities of paint on canvas, exemplifying his skill at multi-layered paintings. filled with complexity. straddling the duality between density and weightlessness. between form and formlessness. producing tension between the translucent surface and almost primordial background. Also featured is Tyeb Mehta, Two Figures, painted in $1.200.000 – 1.800.000). Here the artist perfectly balances the interplay between figure, gesture, color, space and structure. This serves as a wonderful transition between Mehta’s diagonal works and his later variations on the theme of the Mother Goddess.
Depicting a fragmented body, Two Figures gradually reveals different layers of inspiration and obsession, charting the trajectory of the artists iconography and imagery. “It has been extremely exciting to see the auction come together to include significant works by the top artists in the field. Raza’s seminal Tapovan is a work at the apex of his artistic career; Gaitonde’s Untitled of 1980 superbly demonstrates the artist’s richly layered surfaces; and Mehta’s Two Figures is a significant example of the artist’s iconography and imagery.
The sale also presents a comprehensive selection spanning modern masters interspersed with an excellent selection of works by contemporary artists;’ added Avari. The auction additionally includes important works by Maqbool Fida Hussain. F N Souza. Akbar Padamsee, Jehangir Sabavala, Bhupen Khakhar and Gaganendranath Tagore, along with a well curated selection of contemporary works by artists such as Subodh Gupta and Ranjani Shettar, both of whom have exhibitions opening at international museums in 2018. All works included in the sale will be on view at Christie’s New York beginning March 16.
Courtesy: The Pioneer
This luxury Middle Eastern Syrian wooden box is a beautiful mosaic work (intarsia) designed to showcase an illusion of depth.This amazing storage box is completely hand- made and has been inlaid with differing wooden chips. Their cotton hand-made crochet table cloths are a great accessory.
Ugandans exhibited their traditional wooden statues and paintings for the first time in the mela. Handmade alocha fabric bags from Tajikistan. The place is famous for entire dynasties of national craftsmen who pass their ancient arts from generation to generation. The Saharanpur collection has a variety of teak wood, sheesham, deodar, ebony, redwood, rosewood, red cedar, sal and many others. This time they have worked with traditional Kashmir designs.
Indians are by now used to Turkish lamps and ceramics. This time, they have got artistic variants and lanterns with traditional designs. Glazed pottery with white background and blue and green patterns has been developed in Khurja, Chunar and Rampur in Uttar Pradesh. Erkebu from Kyrgyzstan incorporates traditional designs, colors and cutting edge techniques in her felt doll pieces to capture everyday folk expressions and customs of rural areas.
Photos: Pankaj Kumar
Fresh from the success of Padmaavat, Deepika Padukone has turned muse for designer, Sabyasachi Mukherjee. She teamed up with the ace designer for #SabyasachiForNilaya – a range of designer wallpapers from the designer, at Nilaya by a paint major. These were inspired from makhmal/velvet representing wealth. Sabyasachi released the wallpaper collection, that featured Deepika online. And while the wallpapers were beautiful and it was Deepika that stole the show away in three different looks from Sabyasachi’s official account on Instagram.
Look 1: If you grew up in Bengal at the time I was growing up, sometime between late seventies and early eighties, you would know that the consumer was the designer. I spent hours watching my mother and her friends stretching organdy saris over hand frames and hand painting exotic blooms on them. More often than not, they would match the blooms in their sarees to the real blooms on their hair. Talk about style! This is my homage to them. My mother and all her Bengal art school friends. What they lacked in terms of resources, they always over-compensated with imagination. That is the true art of dressing well and good housekeeping.
Look 2: In 2002, I rented my first apartment. And moved in there with my tailors and pattern makers. It was all under a thousand square feet. It would become my home, my factory and my atelier. I hand- painted the walls in ‘Bengal Red’ with motifs of flora and fauna inspired by the tree of life. The horses back then did look like rabbits and one inspired by the tree of life. The horses back then did look like rabbits and one dexterously hand-painted by The Sabyasachi Art Foundation.
Look 3: The homes of North Calcutta always fascinate me. Through winding lanes and decrepit alleys, one often stumbles upon ‘Paradise lost: Humble tea stalls, crumbling book binding factories and dingy mustard oil presseries make way for forlorn palaces and music rooms of erstwhile ‘zamindars’ A lesson in sheer hedonistic maximalism.
Osler and Baccarat chandeliers, completely engulfed in a shroud of cobwebs occasionally twinkling in the late afternoon sunlight, Devonshire china holding on for dear life on creaky cabinets, jostling for space amidst hand-painted tin and an occasional Lifebuoy soap perched precariously on a silver salver.Works of great European and Bengali masters co-existing in communal harmony with a calendar from a local pharmaceutical company, a withering taxidermy and Fuji-colour rendered black and white family portraits. As a parakeet and a cockatoo chirp in unison from the courtyard, my fingers swipe the dust from the walls to unveil yet another.
Prime Minister of India Shri Narendra Modi opened the Investor Assam 2018 summit with a message to link Assam with rest of the world for the rapid development. A day ahead of the first ever Global Investor’s Summit, Bhutan’s Minister of Foreign Affairs Lyonpo Damcho Dorji on Friday said that Drukair will soon have direct flight connecting Bhutan, India and Singapore. The Minister said this at Guwahati on Friday on the occasion of inauguration of the Royal Bhutanese Consulate at Guwahati and added while the decision was already taken at political level, the details are being worked out.
The Consulate was inaugurated jointly by the Bhutan’s Minister of Foreign Affairs and Assam Chief Minister Sarbananda Sonowal. “The inauguration of Bhutanese Consulate in Guwahati marks the collective commitment and unique desire of both Assam and Bhutan to strengthen socio, economic and cultural ties between the two entities. Bhutan is keenly looking forward to deepen the bilateral relations and carry forward the mutual interests and people to people ties between India and Bhutan;’ said the Minister.
Bhutan’s decision of introducing direct Drukair flight between India, Bhutan and Singapore has been taken to take the bilateral relations to a next stage;’ he said.”Opening of the Consulate General’s Office will not only benefit Bhutanese and North Eastern tourists, pilgrims and students and businessmen but also strengthen friendship between people from Assam and neighbouring States and Bhutan: said Sonowal.
“I am particularly happy that Bhutan has opened its Consulate in Guwahati this year which commemorates the Golden Jubilee of establishment of formal diplomatic relations between India and Bhutan. We look forward to jointly celebrate our friendship with series of activities in India and Bhutan;’ Sonowal said.
Sonowal also thanked Bhutanese Prime Minister Tshering Tobgay for accepting India’s invitation to attend the maiden Global Investors’ Summit Advantage Assam’, scheduled to get underway from Saturday and said that the Bhutanese Prime Minister’s yet another visit to the state after Namami Brahmaputra shows the importance of bilateral relations both Bhutan and Assam attach to their respective neighbours.
He also said that India and Bhutan share exemplary bilateral relations which are unique and special. He also said that the deep-rooted relation is evident from the fact that Prime Minister Narendra Modi chose Bhutan to be his first foreign country visit after he assumed office in May 2014.
Courtesy: The Pioneer
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