Life & Style

Pint of View slakes Bengalurean’s thirst for knowledge


The idea for Pint of View, a new lecture series being held in pubs and bars across India, originated at another event run by the same founders, Cubbon Reads. During one meeting of this silent reading community, conceptualised by Harsh Snehanshu and Shruti Sah in Bengaluru in January 2023, a participant had spoken about Lectures on Tap, a similar series of pub lectures, mushrooming across the US. “He showed me Lectures on Tap videos and told us that he believes that Shruti and I were the perfect people to do something like this in India,” recalls Harsh.

While Shruti and Harsh were intrigued with the idea, they ended up putting it on the back burner for a while, since “we were also building a dating app called Bookmark for readers, and were busy doing events for that,” he says. Then, this year, their friend Meghna Chaudhury, the initiative’s third co-founder, inspired them to pursue the idea with a firm deadline since she was leaving for London for a master’s in mid-September.

Co-founders Harsh Snehanshu, Shruti Sah and Meghna Chaudhury

Co-founders Harsh Snehanshu, Shruti Sah and Meghna Chaudhury
| Photo Credit:
Shoaib Kalsekar

They came up with the name Pint of View using AI and launched the initiative with a talk titled “Bats and Booze” on August 24 at SOCIAL, Indiranagar. For the first time in its history, the smoky, pine-scented recesses of this popular bar played host to these elusive, flying mammals, thanks to an illustrated talk delivered by Bengaluru-based bat researcher and conservationist, Dr. Rohit Chakravarty. “We posted about the first lecture and tickets immediately got sold,” says Harsh, who believes that it did not take long for the tickets to sell out because of the speaker’s popularity.

The success of this event made the initiative’s founders realise that this was something that could be done regularly. “We know a bunch of very cool people in Bengaluru, from social researchers to scientists, astrophysicists, beekeepers and carpet collectors,” says Harsh, who hopes to bring diverse, interdisciplinary experts to these events.

“We select lecturers based on their experience working within a specific niche; one that they can speak on for about 45 minutes, showing us a different perspective on this topic,” adds Shruti.

Such talks also ensure that participants, many of whom are young working professionals, have an opportunity to expand their minds in a fun setting. Meghna agrees. “One of the prime motivations was that we had all left college and didn’t get a chance to interact with academics in that setting anymore,” she says. “ The response we have got so far shows that people crave intellectual stimulation even after graduating.”

Bengaluru-based bat researcher and conservationist, Dr. Rohit Chakravarty

Bengaluru-based bat researcher and conservationist, Dr. Rohit Chakravarty
| Photo Credit:
Shoaib Kalsekar

From the speaker’s perspective, too, having a lecture in a pub or bar, instead of a lecture hall, enables them to reach out to a broader audience, believes Meghna. “They are happy to have this kind of a setting,” she says.

Rohit, who gave the first lecture, agrees. “I’ve done a lot of public lectures in different spaces, but I especially enjoyed this one because of the setting, which was completely different from what I am used to,” he says, adding that he found speaking in a pub way more relaxing than in an educational institution.

Also, he liked how responsive the audience was, going by the questions asked at the end of the session. “Since it was a paid event, people who were genuinely interested came.”

With talks already lined up for the entire month of September and a circulating speaker nomination form that has received nearly 50 entries, the co-founders hope to continue growing this movement, both within Bengaluru and beyond. “In our experience, when we open something to a larger audience and also hand over the reins of organising to the community, it continues to sustain itself for a longer time,” believes Shruti.

In keeping with this idea, the team aims to establish chapters across the country, each headed by local curators who will independently curate and run this event. Already, there are Pint of View chapters in Mumbai, Delhi, Hyderabad and Goa, and its founders hope to expand it to Pune, Kolkata, Gurugram and Chennai very soon.

“It is a for-profit community, unlike Cubbon Reads, so you might take home something, after deducting costs,” says Harsh.

At the Delhi Chapter of the event

At the Delhi Chapter of the event
| Photo Credit:
Anmol Grace

Anmol Grace and Ayushi Misra, the curators of Pint of View, New Delhi, who have finished their first lecture titled “The Lost Art of Looking at Yourself” by boudoir photographer, Mozail, are especially excited by the community-building aspect of the initiative.

“When Harsh said that he wanted to start in Delhi, I was more than happy because I live alone so community has a bigger meaning,” says Ayushi, who thinks the concept, besides being intellectually stimulating, also brings together diverse people.

“People can think differently, challenge each other’s views and build something new, which, for me, was very intriguing,” she says, while Anmol adds, “I think people have the appetite for something new, thoughtful and lighthearted. For me, a space where people can come and interact with renowned professionals in a relaxed and approachable setting is transformational.”

Published – September 11, 2025 09:55 am IST



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Meet the voices behind Chennai’s most famous sounds: voice of the Chennai metro, CSK anthem, and Corporation’s garbage anthem


Chennai is a two-syllable word. In its pause, lies a rise and a fall, a push and a pull. In this pause between ‘Che’ and ‘Nnai’ the city comes alive; it is in this pause that you find its people. You wake up to some of them, celebrate with them, and sometimes even strictly adhere to their instructions. But do you know the people who make Chennai’s soundscape iconic? Come, let’s meet them. 

Rahul Nambiar and Ranjith Govind, CSK anthem

Singers Rahul Nambiar and Ranjith Govind

Singers Rahul Nambiar and Ranjith Govind
| Photo Credit:
Prasanna Mahadevan

For years now, the lion’s roar at the Chepauk stadium has been followed by a loyal and foot-thumping rendition of Chennai Super Kings’ (CSK) ancient anthem ‘Idhu Chennai Super Kings’. But back when it was created in 2008 during the first edition of the Indian Premier League (IPL), Ranjith Govind and Rahul Nambiar, two of the four singers on the track, said they had no idea what they were recording for composer Mani Sharma.

“At that point, nobody knew what the IPL was or what it was going to be. We just thought it might be a fun song to clap to at a game. Ever since though, during every four, six and wicket, when the song plays at a CSK game, it is great to see the crowd come together and sing this anthem we recorded ages ago,” says Rahul. Ranjith says that though the two singers have sung hit numbers across various film industries in India and are well known for their work, their contribution to the CSK anthem is hardly known.

“I do not think anyone ever recognises us [and singers Naveen Madhav and Suchitra] from this song but it is always a delight to see it play during the tournament. We once performed this song live some 15 years ago with a whole band and got to watch the match from the performance stand. That was a cool experience,” he says. Ranjith and Rahul say that they are honoured to be a part of one of Chennai’s most cherished celebrations — the moments when CSK plays — and they wouldn’t trade it for anything else.

Devasena ES, Chennai Metro Rail voice

Voice artist Devasena ES

Voice artist Devasena ES
| Photo Credit:
Prasanna Mahadevan

Devasena ES’s first job as a call centre employee was answering the phone and saying “Hello, this is Pizza Corner. How may I help you?”. Is that what prepared her to eventually becoming the announcer for Chennai Metro Rail?

“When I was a call centre executive, people often told me that I had a nice voice. At a time when I switched different careers and eventually landed a job in tech, I was miserable and wanted to move to a different field. That is when I came across an article in The Hindu that said they were offering training for people to be radio jockeys (RJ) and voice-over artists. I didn’t think I was cool enough or cut out to be an RJ but I ended up eventually becoming one!” she says. “I was RJ Deva on a popular radio channel in Chennai for years. But I also continued my voice work on the side. It is when I was asked by the National Film Development Corporation if I would be interested in submitting my voice for the Chennai Metro Rail. That is where it all began,” says Devasena.

The former RJ says she had no idea her voice was used until the moment a friend called her to say that he had recognised the voice inside the metro. “I took the train from Teynampet to a few stations and back to confirm that it was indeed me,” she says. Devasena is used to being behind the scenes and says that the limelight is a fuzzy place for her but is thrilled to have her voice recognised. “At shops, when I ask for things, people often say they’ve heard my voice somewhere. Then it hits them,” she says. Devasena continues to record the names of new stops and lines added to the Chennai Metro Rail network and hopes to be the voice inside the train for many years to come.

Sachin Sundar, Greater Chennai Corporation Garbage anthem

Music Composer Sachin Sundar

Music Composer Sachin Sundar
| Photo Credit:
Prasanna Mahadevan

If we told you that a song on garbage becoming a city-wide pop-culture moment, you would be calling us out for spinning yarn. But Sachin Sundar’s garbage anthem ‘Namma Ooru Samma Joru’ is a shining example of the phenomenon that anything can happen.

This 27-year-old’s song that plays from the speakers of battery operated garbage vehicles, is one that invites bouquets and brickbats alike. “I thought it would get trolled but when I met this sanitary worker who collects waste at home, he told me that people request the number,” Sachin says. Sachin’s father, M Sundar, a sanitary officer with the Greater Chennai Corporation, told his son that senior officials at the local body were looking for a bright and catchy song to encourage better waste management.

“In a couple of hours, I wrote, composed, and sang the song. I had sent it in as a draft but everyone at the Corporation seemed to enjoy it and the first attempt at the song was approved,” he says, chuckling. Sachin says that his father often teases him. “I don’t wake up too early because I work late. My father says, ‘Here you are, sleeping, while Chennai wakes up to your song’.”

Sachin, who is the music director of the film Andha Eazhu Natkal releasing on September 12, says that the producer of the film gave him the opportunity only after listening to the garbage anthem. “I feel proud and socially responsible after having created that sound. I hope we can all play a part in making Chennai a better place,” he says.



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A new sari collection to honour Ahilyabai Holkar’s 300th birth anniversary


As you wander the narrow lanes towards Ahilya Fort in Maheshwar, located around an hour and a half from Indore, countless shops beckon, their displays of “authentic” Maheshwari saris billowing outwards. Yet, beyond this spectacle lies a fascinating interplay between ancient tradition and the demands of a modern market.

Maheshwar, known in ancient times as Mahishmati and even mentioned in the 2nd-Century BC Arthashastra, has been a hub for exquisite textiles for over two millennia. However, it was Ahilyabai Holkar, queen of Indore from 1765 to 1795, who shaped the Maheshwari sari as we know it today. Around 1767, after establishing her capital here, she invited master weavers from regions like Surat and Malwa, including skilled Muslim artisans from Burhanpur. Together, they crafted the distinctive silk-cotton Maheshwari saris, renowned for their reversible borders, elegant stripes, checks, and motifs inspired by the Narmada river’s gentle flow or the majestic Ahilya Fort’s architecture. 

Against the backdrop of Ahilya Fort

Against the backdrop of Ahilya Fort
| Photo Credit:
Neville Sukhia

To honour Ahilyabai’s 300th birth anniversary (she was born on May 31, 1725), the Rehwa Society, founded in 1978 by Ahilyabai’s descendants, Richard (Shivajirao) and Sally Holkar, is working on a limited edition Maheshwari sari collection called Ahilya 300. Inspired by designs found in Holkar family portraiture as well as paintings by masters such as AX Trinidade and Raja Ravi Varma, the collection looks both backward and forward: backward to the roots of Maheshwari weaving, which in its early form used cotton with real gold zari, later evolving into a silk-cotton blend known as neem resham.

The capsule will feature 14 saris and a shalu (an ornamental dupatta), often worn by brides in Maharashtra and considered a part of traditional attire, each meticulously handwoven using traditional techniques. Older vibrant colours like the chutney green, the satallu or gulbasi pink, haldi yellow and chocolatey red browns have been used along with more contemporary colours in softer hues like biscuity beige or angoori teal blue and mints.

Of particular note is the Chandravati, a limited-edition piece inspired by a sari worn by maharani Chandravati Baisaheb of Indore. This beautiful cotton-silk, or “neem reshmi” piece features 111 lines of booti, handmade in 24-carat gold zari. Each sari takes over 100 hours to weave by the Rehwa Societymaster artisans, and shimmers with 2,109 golden ‘rui phool’ (a popular motif in the Western Deccan region, often used to line sari borders) bootis. What makes this special is that these pieces are being crafted in the very place that witnessed the inception of this art form. The planning for this collection began in March, and weaving commenced in early June, with an estimated completion time of two-and-a-half months. The collection is set to be unveiled on September 20 as an exhibition titled A Tribute in Thread at Gallery 47A in Mumbai’s heritage enclave, Kotachiwadi.

The art of pajni

What sets these saris apart technically is the use of an ultra-fine 80S cotton–silk warp, significantly finer than the more common 40s or 60s yarns found elsewhere. To imbue these delicate threads with remarkable strength, a traditional hand-sizing process known as pajni is employed. This intricate method involves brushing a cotton paste (often derived from rice or jowar) onto the yarn, which is then carefully stretched in the open air and tensioned with wooden sticks. Through this precise technique, a master weaver can transform 11 metres of warp into an impressive 44 metres of durable, supple yarn.

This painstaking process, which is not easily replicated, is key. It ensures that the finished sari drapes beautifully with a silk-like sheen while remaining wonderfully supple and durable, a stark contrast to fabrics made from untreated threads. The result is a lightweight “garbh resham” weave (intricate designs and motifs inspired by the architecture and art of Maheshwar), where the subtle cotton yarn harmonises with the luxurious silk, creating an elegant textile perfect for everyday wear.

The soul of this craft lies in the hands of its artisans. At Rehwa Society, you might encounter Tulsa Bai, a woman whose very presence embodies centuries of tradition. Draped in a simple, faded cotton sari, her frame may be stooped with age, but she moves with a quiet, measured grace. She hails from the Shali community, whose weaving roots stretch back to Burhanpur, a city in Madhya Pradesh – one of the very communities Ahilyabai invited to settle in Maheshwar.

Tulsa Bai at Rehwa Centre

Tulsa Bai at Rehwa Centre

No one can quite pinpoint Tulsa Bai’s exact age; she herself might suggest she is nearing a 100, shrugging off the number with the same ease she dismisses modern shortcuts. “As long as I can remember, I’ve been doing this,” she shares, her voice soft with memory. “It was passed down in my family.”

She visits the centre a few times a week, dedicating her time to teaching pajni. While her memory might occasionally wander, needing a gentle prompt for names or dates, her hands remain unerringly precise. She does not need glasses, even when inspecting the finest threads or assessing the consistency of the rice paste. She is, by all accounts, considered the last known master of pajni in its traditional Maheshwari form. As aRehwa weaver-in-training poignantly noted, “If we don’t learn it now, it might vanish with her.”

The intricate work on the saree

The intricate work on the saree

Yeshwant Holkar, Ahilyabai’s descendant and the current custodian of Ahilya Fort, beautifully articulates the vision behind this new collection. “We wanted this collection to carry not just the visual language of Maheshwari weaving, but the spirit of Ahilyabai herself — her quiet leadership, her inclusiveness, her deep understanding that the act of making something by hand is in itself a form of devotion.”

The special Ahilya sari collection will be exhibited at 47-A Gallery in Khotachiwadi, Mumbai from September 20 to September 28.

Published – September 11, 2025 06:00 am IST



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How pets, art, and strangers shaped Author Prajwal Parajuly’s Chennai home life


Illustration

Illustration
| Photo Credit: Saai

As living arrangements went, this one promised to be far from normal. 

I decided that getting a permanent place in Chennai only made sense. Shuttling between the unparalleled luxury of my Sri City apartment and a different hotel or club room every weekend got old. Renting a little slice of Chennai would mean, more than anything else, circumventing the need to frequently pack and unpack. I cast my net far and fortified myself for a week of flitting from one underwhelming apartment to another. Fortunately, a colleague alerted me to a housing situation she assumed would be uniquely up my alley. Her friend ran Pagir, a community arts organisation, and was looking to let out the flat that housed it. Yes, I wouldn’t have flatmates. No, the space wouldn’t be wholly mine. Yes, yes, no one would use my bathroom but I. No, no, the space — this continued to confound me — wouldn’t be wholly mine. It was a bizarre living arrangement. I couldn’t wait. 

My potential apartment was part of a comfortable two-storied bungalow that I hoped had been built in the 1970s but was barely 30 years old. It boasted a rooftop terrace. The landlady lived downstairs. I’d rent the upstairs. The living room opened up to a balcony the size of my New York apartment. The balcony wall sported a hand-painted illustration of a wise tree. Posters showing off positive reinforcements crowded the living-room walls. It was like I had stepped into a Deepak Chopra book. One of the three bedrooms was massive. Two of the bedrooms had en-suites, and there were windows in the pantry. Everywhere you looked, there were windows. Everywhere you looked, there was light.

The flat was on one of the four Seaward Roads. This particular Seaward Road had several independent homes. The apartment buildings were neither old nor new. The tree-lined street was quaint in a way that harked back to a Doordarshan cliché from the ‘80s. The beach was a five-minute walk away. If you went the opposite direction, you’d encounter mom-and-pop shops, fruit stalls and cute dosa joints. 

The space sang to me. But it wasn’t so straightforward, the landlady cautioned. I’d have to deal with people in the apartment during the day — this was a place for conversations and questions. I’d already read a pamphlet about Pagir helping discover people’s “many different selves through art, play, music, film, movement, silence and talking together.” I was perfectly okay with all that as long as my bedroom and bathroom were out of bounds. I moved into my weekend flat in Chennai one rainy day.

It is, by far, the wisest thing I have done in the city. 

First, there are the non-humans. My landlady has two dogs and a cat, all rescues. Noah, who is part golden retriever and part indie, is mellow, the wise guy of the trio. Kalai, the indie-mix, is still nervous around people. Jackson, the English tabby cat, looks majestic but is less imperious than many cats. Kalai curls up next to me when I nap. Noah sleeps on the floor close to us. Jackson, the cat, doesn’t care if I live or die. Kalai is afraid of my suitcase and often runs away with my flip-flops. I have learned to hide my bag and place my shoes on a pedestal. 

It isn’t just the animals keeping me company, though. There are also noises of thought-provoking provenance at various hours.  One morning, I wake up to the sound of dancing feet. It is decibel-defying melodies another day. I am still confused about the singing conches from a few weekends ago. Sometimes, there’s a knock at my door when I am mid-siesta. A theatrical group inquires if I’d like to partake of their vadas and coffee. 

Friends and family often wonder why I put up with this. Why not just get a place that’s entirely mine? they ask. They have a point. I’ve been known to be uncomfortable having people I know, let alone strangers, over. But there’s something wonderful about an organisation that unironically calls itself a community arts space. I like this little sliver of earnestness in a jaded world. The absurdity of sharing space with people who aren’t flatmates appeals to the whacko in me. I like stepping into the apartment not knowing what might transpire. Will Carnatic music waft from underneath the door? Will I walk into a mural-painting workshop? Or a talk on shore ecosystem? I don’t have the patience to watch five-year-olds learning to finger-paint, but I like that something that gives them so much joy happens in my living quarters. That alone makes the accommodation arrangement worth it. The animals are just an added bonus. 

Prajwal Parajuly is a novelist. Karma and Lola, his new book, is forthcoming in 2026. He teaches Creative Writing at Krea University and oscillates between New York City and Sri City.



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Vivek Karunakaran’s Adayalam creates a cultural dialogue of heritage and design


Photograph from Amar Ramesh’s Dying Art series

Photograph from Amar Ramesh’s Dying Art series
| Photo Credit: Special Arrangement

Who are you, what are you, where are you from? For designer Vivek Karunakaran, these questions go beyond identity. They are the foundation of Adayalam, meaning identity, his new cultural property. Set to debut at the Chettinad Heritage Festival this year, it is envisioned as a travelling showcase that threads together fashion, craft, art, music, and design.

“The whole idea of Adayalam stems from this deep-rooted feeling that it is so important for us to identify talent, support it, and then collaborate to create something more meaningful,” he says. The first edition will bring weavers, musicians, designers, and artists into one space, positioning the showcase as both a dialogue and a platform for exchange. 

Vivek Karunakaran

Vivek Karunakaran
| Photo Credit:
Special Arrangement

For Vivek, Adayalam is also the outcome of years spent navigating how the South of India is perceived within the fashion world. “I remember when I went to Lakme Fashion Week in 2007, how underrepresented I felt about the south of India,” he recalls. “From then on, something struck me — the unwavering spirit of trying to change that ideology, that we are not as invisible as you think we are, and there is so much more to give.”

The Chettinad Heritage Festival, with its focus on architecture, textiles and living traditions, became the natural setting for the debut of Adayalam. Among the highlights is a textile installation created with three weaving families from the region, each contributing saris that carry the memory of their looms and lineage. “Adayalam is not there to just promote who we already know,” Vivek says.

Photograph from Amar Ramesh’s Pillar series

Photograph from Amar Ramesh’s Pillar series
| Photo Credit:
Special Arrangement

Beyond this, Vivek is clear about the kind of conversations Adayalam should spark. In a world where identity is often reduced to curated social media profiles, he wants the platform to go deeper.

Collaboration is central to the project. For the debut, Vivek has brought together artists, musicians, jewellers, and designers whose practices are rooted in cultural identity but open to reinterpretation. He admits that curating such a mix is a process that will evolve over time. “Right now, the spirit is to bring people together and make it happen, rather than to plan every detail. With the right collaborations, the impact can be far greater. That’s something I will learn and refine as Adayalam grows.” 

That spirit also extends to music and photography. At Chettinad, Vivek will present a collaboration between Carnatic vocalist Sandeep Narayan and contemporary composer Bjorn Surrao, creating a performance that bridges classical tradition and modern soundscapes. There will also be a collaboration with photographer Amar Ramesh, who will be displaying fine art prints of his works on culture and identity. “We are reimagining the genres of what each of us do, but to create something that is very different and beautiful,” he says. It is the kind of convergence he hopes Adayalam will continue to foster across art forms, from food and textiles to design and performance.

Photograph from Amar Ramesh’s Mogappu series

Photograph from Amar Ramesh’s Mogappu series
| Photo Credit:
Special Arrangement

Even as the format will shift across cities, the intention is clear: to move beyond surface-level showcases and create real opportunities for communities. “At the end of the day, if this does not translate into a transaction, it is a worthless exercise,” Vivek says. “We want to tell beautiful stories, but also help these people build their businesses.”

As the showcase opens in Chettinad and prepares to travel beyond — Vivek says he hopes to evoke a sense of rootedness that makes people want to be part of the journey.

The 4th Chettinad Heritage & Cultural Festival is scheduled to take place from September 12 to 16.



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In Chennai, Swiss luxury watch boutique TimeVallée opens third outlet in the country


A view of the TimeVallée boutique in Chennai

A view of the TimeVallée boutique in Chennai
| Photo Credit: Dhruv Mehta

How do you make the experience of buying a luxury watch, an immersive and memorable one? Through its third boutique in India and first in Chennai in collaboration with Art of Time, Swiss luxury watch multi-brand retail outlet TimeVallée aims to do just that. 

At Chamiers Road, spread over three levels, the boutique houses eight brands – Baume & Mercier, Bulgari, Cartier, IWC Schaffhausen, Jaeger-LeCoultre, Panerai, Piaget, and Roger Dubuis. 

“Purchasing a watch is a big commitment, and people often want to celebrate rewarding themselves as well as getting something that they can pass on to the next generation. We want to deliver emotion through this journey, and this is how our stores are conceptualised as well,”  says Hélène Maslin, deputy CEO, TimeVallée. 

At the Chennai outlet, customers are welcomed on the first level and then go on to the second level to see all the eight watch maisons on display. “We do not want this experience to feel intimidating. Every brand is properly showcased so that the customer can know more about the history and DNA of the brand,” she says. The third level has a Time Cafe which Hélène says is instrumental in rounding off the purchasing experience for the customers as a memorable one. 

While TimeVallée’s first luxury watch boutique in India opened last year in Mumbai, they have since launched a boutique in Bengaluru as well. “Indian customers are increasingly willing to buy watches and we can see a good demand. Since they largely buy abroad, the idea was to be a part of this journey closer home,” she adds.  A fourth boutique in India will open in Hyderabad next year, and commenting on their expansion plans, Helene says she wants it to be sustainable, exclusive, and select. 

For Bharat Kapoor and Gaurav Bhatia, directors of Art of Time, which retails luxury watches across the country, Chennai has always been on the radar.  

The Cartier watch display

The Cartier watch display
| Photo Credit:
Dhruv Mehta

“As far as limited editions go, Chennai is a new market for us but we are excited to see where this takes us. In Mumbai for instance, we have done three different limited editions which includes a Lord Ganesha edition with Roger Dubuis and a Panerai edition with a Hindi calendar.  We would like to bring limited editions like these to Chennai as well,  depending on how the market responds,” says Gaurav. 

India has also seen a steady increase in awareness with regard to luxury watches, its history and heritage, and how coveted pieces are spotted on celebrities, discussed and dissected on social media. “In the last 10 years, there has been a massive shift. We have seen an increase in the number of young professionals that visit our stores and have become clients over time. For women as well. There has been a significant shift from jewellery to watches as a big purchase and this is another big evolution in our client base,” Bharat explains. 

In the coming months, the space, Bharat and Gaurav say, will play host to interesting events for customers and Chennai’s thriving community of watch enthusiasts.

 “We have hosted watch-making workshops for small groups where participants get to work on movements guided by a watchmaker who comes in from another country, and are given a certificate at the end of the experience. Looking beyond experiences with watches, we are also looking at fun engagements with supercars, or even restaurant pop-ups with the community here,” Gaurav adds. 

TimeVallée by Art of Time is at 117, Chamiers road, RA Puram, and is open from 11am to 8 pm. 



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Kolkata’s yellow taxis return as moving art to celebrate 40 years of Sharad Shamman


Kolkata’s yellow taxis are tricksters of time. Less vehicles, more peddlers of time, every dent on their body, every frayed seat cover is an archive ferrying memories from one end of the city to the other. 

Once, Kolkata’s streets moved to the stubborn rhythm of its yellow Ambassador taxis. Today, as these icons slip into memory, they are being summoned back as vessels of history. The year 2025 marks 40 years of the Asian Paints Sharad Shamman, an award that, since 1985, has honoured the most inventive Durga Puja pandals in the city. To mark the milestone, Asian Paints has launched Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy.

Each of the 40 cars artistically embody the cultural pulse of decades gone by. Currently, 22 out of the 40 taxis are plying in Kolkata like any other yellow taxi and are not restricted to any specific route. The remaining 18 will be on the streets by September 10, and by September 11, all 40 taxis will be traversing the length and breadth of the city.

Taxis part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy

Taxis part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy
| Photo Credit:
Special Arrangement

The taxi project builds on an idea first tested in 2023, when a tram bogie was transformed into a moving gallery showcasing Durga Puja’s artistry. That tram stitched together alpona, cane craft, augmented reality, and museum style storytelling into a living work of art. The taxis shift this gesture from rails to roads, from the vanishing tramline to the receding yellow cab. 

Amit Syngle, MD and CEO, Asian Paints, explains why the taxi was selected. He says, “Whether it is families going on the pandal trail, artists carrying their straw and clay from Kumartuli, or judges finding their way through the city, the taxi was integral to Kolkata. Everyone commuted via the yellow taxi. Forty taxis become living props that move through the city and represent each decade. Each decade had its own characteristic and nuance, and each was a period of cultural transition .”

A taxi part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy

A taxi part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy
| Photo Credit:
Special Arrangement

At a recent celebratory event at the JW Marriott Hotel in Kolkata, four of the taxis were unveiled. Curated by artists from the city, the bodies of the vehicles came alive with references to Kolkata’s rock-band years, the era of simple, traditional pujas, their evolution into environmentally conscious themes, and finally, the age of digital iconography and social media informed celebrations.

Adding to this rich tapestry are the interiors, upholstered in floral, antique, regal, and vintage textiles from fashion designer Sabyasachi Mukherjee’s Paris X Calcutta collection (a line of wallpapers and textiles for Nilaya by Asian Paints in 2024).Hiranbagh recalls Mughal gardens, Jamshed Jamavar, the prized Kashmiri shawls sold in Bengali homes, Chowringhee, the city’s floral boulevard, Galecha, the Persian carpets of rajbari interiors, India Paradise, the flora of Company School art, and The Company Paisley, the colonial era paisley adaptations.

A taxi part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy

A taxi part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy
| Photo Credit:
Special Arrangement

The four decades

The first decade (1985–1995) was rendered by artist Bikramjit Paul. The art on the body of the taxi illustrates an elderly artist carving the face of Ma Durga, and the rickshaw finds a place on the illustration as do dhakis (traditional drummers). The artwork also spotlights a woman creating an alpona or floor painting and the first advertised poster of the Sharad Shaman from the 1985 edition of the Anandabazar Patrika

The second decade (1995–2005), in Meenakshi Sengupta’s vision blends social commentary, history, and philosophy. Floral designs of LED lights from Chandannagar are drawn on the roof of the vehicle, an image of Ma Durga in a red and white sari, breaking away from her traditional look sits on the bonnet, a panorama displaying the tram, Kolkata’s staple roll shops, balloon sellers, emblematic of the simpler fanfare of Pujo in the early 2000s are drawn out on the body of the ambassador. 

Taxis part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy

Taxis part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy
| Photo Credit:
Special Arrangement

The third decade (2005–2015), illustrated by Sayan Mukherjee, grew bolder with a depiction of Ma Durga with rebellious locks of hair dominating the roof of the taxi, that highlights themes like women empowerment and breaking the mould of Ma’s older, more traditional, depictions. The introduction of the Sharad Shamman award for Shreshtha Pratima Shilpi (best idol maker) is portrayed on the bonnet, while an illustration of NRIs being welcomed is embodied on the sides of the vehicle

The fourth decade (2015–2024), interpreted by Srishti Guptaroy, unfolded in the digital age. Pandals found a digital home on Instagram, and UNESCO’s 2021 recognition of Durga Puja as Intangible Cultural Heritage sealed its global status.

The ambassador embodying these changes is quirky and features motifs like a pandal hopper clicking a selfie, a lady wearing a Virtual Reality (VR) headset to view Durga Puja pandals, etc.

A taxi part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy

A taxi part of Cholte Cholte 40, a project that reimagines the taxi as a moving chronicle of the city’s legacy
| Photo Credit:
Special Arrangement

Cities forget, cities reinvent. But Kolkata, obstinate as ever, finds ways to remember. And so the yellow taxi, battered, dying, returns as the city’s timekeeper. In its fading roar lies the pulse of Puja, in its yellow hide the map of 40. It goes on – clattering, rattling, remembering until the last taxi disappears, and even then, it will live on.

Published – September 10, 2025 03:53 pm IST



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Theatre, art, and culture take centrestage at Kohinoor Theatre Carnival in Hyderabad


A still from the play ‘Alphi 12 Missing’

A still from the play ‘Alphi 12 Missing
| Photo Credit: Special Arrangement

“We may not have the Kohinoor diamond, but our true treasures lie in the arts, music, dance and culture,” says Hyderabad-based theatre personality Ajay Mankanpalli, the mind behind the Kohinoor Theatre Carnival. Set to run in Hyderabad from September 15 to 17 , this multilingual festival aims to spotlight theatre and its allied arts.

Ajay Mankanpalli

Ajay Mankanpalli
| Photo Credit:
Special Arrangement

The three-day cultural showcase brings together theatre personalities from across India, presenting a mix of productions. Alongside the performances, the festival offers an lineup of talks and workshops, from body movement, dappu , mime, and storytelling to traditional martial arts like kalari and karrasaamu, set and stage design, lighting, script writing, tribal folk performances, and even an art exhibition.

Creativity on stage

Kohinoor Theatre Carnival will be held at Ravindra Bharathi, September 15 to 18; 10 am to 10 pm. More details on their social media pages. Tickets: bookmyshow

Ajay points out that cultural exchanges remain largely confined to Hyderabad. “States like Kerala, Maharashtra, and Karnataka host thriving theatre festivals that enrich their local culture. While the National School of Drama organises Rang Mahotsav in Hyderabad, it rarely features theatre practitioners from the city,” he observes.

A still from the play ‘Salumaragala Thayi Thimmakka’

A still from the play ‘Salumaragala Thayi Thimmakka’
| Photo Credit:
Special Arrangement

With limited opportunities to participate in theatre festivals across states, Ajay believes local creativity is often curtailed. “The idea of KTC is to celebrate, create, and collaborate,” he says. “Exchanging ideas and stories broadens our perspectives. Watching varied presentations and their production styles offers insights into different creative approaches, adaptations, and storytelling.”

This year’s carnival features seven productions, including Salumaragala Thayi Thimmakka (Karnataka), Dusro Na Koi (Madhya Pradesh), Alphi 12 Missing (Kerala), and Rukmini (West Bengal), a biopic on Rukmini Devi Arundale. Bhagyashree Take’s Salma Deewani adds a Deccani flavour, while Rameshwaram Kaakulu and Bharat’s Natyashastra by P. Basheer and Ram Mohan Holagundi represent Telangana and Andhra Pradesh.

A still from the play ‘Dusro Na Koi’

A still from the play ‘Dusro Na Koi’
| Photo Credit:
Special Arrangement

Visitors can also explore an art exhibition that showcases diverse styles and expressions. For Ajay, the festival is a long-cherished dream. “My wings were not big then,” he recalls of his youth, when he was new to the field with little means. Today, with years of experience as a theatre actor, director, film performer and writer, he sees the carnival as his way of giving back to the art that shaped him.

Ajay has invested much of his own resources into the festival, with support from other stakeholders. The initiative is also backed by the Telangana government’s Culture Department and the Telangana Sangeeta Nataka Akademi.



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From looms to labels: Kochi’s fashion boom


Way back in 2018, in the aftermath of the floods in Kochi, a group of stakeholders in the fashion industry got together for the sake of the weavers of Chendamangalam. It was Onam, most of the stock was soiled by flooding waters there was no avenue for sale. Almost eight years to the date, Kochi-based designer Shalini James, of the designer label Mantra, put out an impassioned plea on Facebook asking for help selling the saleable stock. Other designers from Kochi joined in the endeavour, pulling their weight, forming groups/collectives to help, while putting the Kerala handloom on the fashion map of India. The rewards of which the industry continues to reap.

This coming together for a cause is one of the high points of the Kochi fashion industry’s work in the past 25 years. Everyone involved agrees. “It was a moment when all of us came together, setting for a cause, which was way more important than anything else. In retrospect, that drew attention to the Kerala handloom, which has been good for it, and to some extent, the weavers too.”

The other event, not in chronological order, of importance was the Kochi Muziris Biennale, which, alongside art, brought in, with international tourists, the domestic traveller who was also looking to shop for designer goods. With Fort Kochi as the locus, fashion also spread its wings. It made Fort Kochi an address for city designers to retail to. Designers from other cities began retailing from Kochi.

The business of fashion has evolved the most in the past 25 years, with different players coming in. What was largely boutique-bespoke tailoring, with a couple of exceptions, became ‘designer’. With or without degrees in fashion design, with access to Bengaluru’s Chickpet, Commercial Street, and other cloth markets, Kochi saw a burgeoning number of ‘designer boutiques’.

Fashion, in the context of Kochi, is not one-dimensional, and it is serious business. There is more to fashion than garments; it is also accessories, jewellery, lifestyle goods like home decor, too. Kochi-born and bred labels today exert a pan-Indian influence across segments.

Some of the country’s top actors, celebs, and A-listers have at one time or the other worn threads by a Kochi designer. And we are not talking just about women, even the men.

Artist Anjali Ashok and her House of Urmi range of garments 

Artist Anjali Ashok and her House of Urmi range of garments 

For instance, designer (garments, accessories and jewellery) labels from in and around Kochi, such as Rouka by Sreejith Jeevan, Inkpikle, Mantra by Shalini James, Jebsispar, Annahmol, House of Urmi, Trumpet by Vanessa Meister and Salt Studio, swimwear label Cocopalm, all came to establish themselves in the period spanning the past 25 years. The city’s fashion scene has been growing concurrently with the city, and is a reflection of how Kochi has developed in the past 25 years. There has been an explosion of options and players, be it the cheaper, affordable fast fashion, multibrand stores, to designer studios.

Prannah sari

Prannah sari

The bridal/wedding sector too has grown exponentially, with an explosion of designers in the segment; gone are the days of trousseau shopping in stores. The go-to option for most brides and grooms today is the specialised designers. Labels such as Pranaah, Label M, Briella, Pallavi Namdev, Kim, and Thunnal are among those which have established themselves in Kochi. Apart from designers and labels that have made Kochi home and continue to be inspired by this city by the sea, it is also a viable market for those from outside the State to retail here or make regular rounds of the city with exhibitions.

An inside view of Paris De Boutique in Kochi.

An inside view of Paris De Boutique in Kochi.

Apart from designers, even shops such as Seematti, Jayalakshmi, Milan, alongside bespoke tailoring stores such as Paris De Boutique and their designer label Anil and Jamal Luxe Couture have shifted gears to keep up with the city’s changing, evolving sartorial style.

The past 25 years have seen unprecedented growth in the fashion industry, especially in the past five years. Its growth can be attributed to the inherent and historically cosmopolitan nature of the city, which absorbs and embraces influences, making it a welcome space to inhabit.

Published – September 10, 2025 03:03 pm IST



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At Aatrupaduthal in Kumbakonam, travel through Sangam-era Tamilakam with dinner


The time was the Sangam era. The people of ancient Tamilakam ate what the land offered. Food was mainly grilled and flavoured with ingredients found locally. However, as centuries passed, trade routes opened, and foreign flavours tiptoed into the pantry, ancient traditions slipped out the back door, making space for pillowy idlis and fiery Chettinad gravies. But could they redefine Tamil cuisine?  

Curious to discover what his ancestors feasted on, Harish Venkatasubramaniam, resort manager, Mjantra Koodam by CGH Earth in Kumbakonam, turned to the verses of Sangam literature, the oldest surviving body of South Indian text. With Chef Maruthavanan Kumarasamy translating those findings into edible stories, Aatrupaduthal was born. Set beside the river, this dinner experience takes guests on a culinary journey across the five landscapes of Sangam-era Tamilakam.

Culinary Excavation

“When I joined CGH Earth, I was tasked with defining Tamil cuisine,” says Harish, recalling how it began. Coming from a family of Tamil scholars, he instinctively turned to Sangam literature, the collection of ancient Tamil poems once recited at literary gatherings.

A view of the restaurant

A view of the restaurant
| Photo Credit:
Special Arrangement

Penned in old Tamil, the Sangam verses demanded scholarly help for Harish to crack their culinary clues. “It took me more than a year to understand that aambi means mushroom, and kurumpuzhil refers to quail,” he says.

According to Sangam texts, ancient Tamilakam, which included present-day Tamil Nadu, parts of Kerala and Karnataka, was imagined as five ecological landscapes. Kurinji meant the mountains, Mullai, the forests, Marutham, the agricultural plains, Neithal, the coastlines, and Palai the arid stretches. For Harish, it was non-negotiable that each of these terrains find representation on the plate.

To turn these cryptic verses into something edible, Harish teamed up with Chef Maruthavanan, whose past work on Cholanadu cuisine had already shown his knack for weaving history into meals at the same resort. “Food wasn’t the central theme in Sangam literature but love and war were,” Harish explains. “So we had to read between the lines, pick up on mentions of dishes, textures, cooking styles, or what the meal tasted like to develop our dishes.”

They ruled out later imports like chilli and tomato, and leaned on ingredients that were native, like gooseberry, pepper, ginger, shallots, and tamarind. “That’s why we say it’s reimagined,” Harish adds, reflecting on the impossibility of recreating exact recipes and the need to rely on historical context and taste cues woven into the verses.

Sangam Era on a plate

The meal starts with a zesty lemon-pepper salad from Kurinji, made with groundnuts, bottle gourd, and coconut. The mutton liver starter on the meat menu comes with a unique foxtail millet masala. The combination of mushroom, yam, and seeraga samba rice is comforting.

The Mullai region offers a protein-rich adai served with horse gram and garlic sauce. For diners who opt for the meat menu, a smoky charcoal-grilled mutton dish leads the way, followed by a country chicken curry where the meat is marinated and cooked in a garlic-fennel gravy.

Mutton rice as a part of the Marutham course

Mutton rice as a part of the Marutham course
| Photo Credit:
Special Arrangement

Marutham, introduces a vegetarian starter of stone-grilled country vegetables with the sweetness of liquorice. The dal-and-rice pancake, shallow-fried and served with butter jaggery mix, feels more like a dessert masquerading as a starter. For seafood lovers, a highlight is the grilled crab, a special from the Uzhathiyar WHO ARE THEY women.

As expected, the seafood menu leans heavily on Neithal, the coastal belt. There is squid grilled with local spices, mackerel seasoned in the style of the Thondinagara Neithal women, and tiger prawns stone-grilled with lemon and ginger. Main courses include murrel fish cooked with seeraga samba rice, anchovies in a coconut-based gravy, and angel prawns in a bold pepper-cumin sauce. The only appearance from Neithal on the vegetarian menu is the country vegetables, grilled and flavoured with carom seeds.

Palai might contribute the least to the menu but leaves the biggest impression. The sesame-flavoured quail, fried in ghee, stands out as the star of the course. Following closely is a tender mutton curry, carrying the warming spice of ginger.

A dessert plate

A dessert plate
| Photo Credit:
Special Arrangement

Desserts draw their gentle sweetness from jaggery and liquorice. Whether in kodo millet milk halwa, pongal made of black urad dal, steamed moong dal preparation or the foxtail millet payasam, each calls back an era before refined sugar entered the kitchen.

Aatrupaduthal is located inside Mantra Koodam, CGH Earth, Kumbakonam, and is open from 7.30pm to 9.30 pm. The vegetarian meal costs ₹2,000 plus taxes, the meat option is ₹2,500 plus taxes and the seafood meal is at ₹3,000 plus taxes. For reservations, call 7530083613.

Published – September 10, 2025 01:05 pm IST



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