Life & Style

Poop is a metadrive of information: Shweta Taneja


Shweta Taneja has always been drawn to the things that exist on the fringes of a society. “The dark spaces that people shove under the carpet or put into the closet have always attracted me,” explains the Bengaluru-based writer, whose latest book, The Big Book of Wild Poop (Juggernaut/Indian Pitta), is yet another exploration of something we do not talk about enough: digestive waste.

“Poop can be disgusting. (But) It is the most natural process in the world,” writes Shweta in the book, pointing out that it happens because we eat. And yes, it is “a metadrive of information”, something she constantly reiterates. For instance, “the wiggling invisible DNA inside the sticky, smelly stuff tells the story of how animals live, think, feel, migrate, communicate and evolve. Analysing this information, ecologists can figure out how to save them.”

Poop can tell us more about wild animals

Poop can tell us more about wild animals
| Photo Credit:
Sunaina Coelho

Like many of her other books, The Big Book of Wild Poop, which came out in January this year, is a collaborative effort between her and the illustrator, Sunaina Coelho, a process she enjoys. “When you work with an artist, for a graphic novel or a visual book, you have to give space for the artist’s vision as well, so there will be more reiterations,” she says, adding that a lot of work went into this book during the editing stage to align the visuals and text. “The reason I adore comics and graphic novels is that there is such a beautiful collaboration and trust between each other’s vision that comes together.”

The book is a collaborative effort between Shweta and her illustrator

The book is a collaborative effort between Shweta and her illustrator
| Photo Credit:
Sunaina Coelho

The book’s overall aesthetic, packed with beautiful illustrations and quirky facts about faecal matter, is certainly a testament to this collaboration, offering a ridiculously fun, detailed read. It may occasionally cause the ick, but mostly makes one laugh out loud, allowing the reader to learn many aspects of biology without it feeling too academic.

Some of the questions addressed in the book include: how often various animals go, why herbivores produce the most amount of waste, are there any social cues encoded in scat and whether there are any benefits of poop besides getting rid of undigested waste (the answer is yes, be it nest building by hornbills, casual snacking by dung beetles, seed dispersal by civets and other animals, or even fighting climate change by blue whales.

It also has a chapter dedicated to how indigenous people in different parts of the country, including Kachchh in Gujarat, Mount Abu in Rajasthan, and the Kendrapara district of Odisha, often use it in traditional medicine.

“I wanted that to be in there because zootherapy is something that indigenous tribes in India still do — using wild animal ingredients in healing.”

In her opinion, introducing this information in a sensitive way will help children learn to respect another culture and not look down on it. “You need to respect indigenous knowledge, something I wanted to highlight in the book,” Shweta says.

The idea for The Big Book of Wild Poop emerged a few years ago, while Shweta was working at the Nature Conservation Foundation. Anita Mani, editor at Indian Pitta Books, approached her, saying there was a book she and WWF-India were planning, and asked if she would like to work on it.

“I said yes, I’ve been wanting to work on something like this for donkey’s years,” she says, with a laugh. “I think it was very serendipitous to find a writer who gets attracted to everything weird and niche and combines it with nature and science.”

Shweta began researching wild poop, scouring the internet for all available information, interviewing scientists, and perusing scientific papers to learn more. “I am a nature wanderer and lover, so I have strong observation. But I needed factual research and ecosystem experts to connect the knowledge and understand it in a larger scope,” says Shweta, who wanted to ensure that, despite it being a factual book on science, “it needs to have that weirdness.”

Poop can offer some surprising benefits

Poop can offer some surprising benefits
| Photo Credit:
Sunaina Coelho

Today’s children, in her view, are exposed to a lot of entertaining digital content, which makes them less likely to adopt a top-down approach to education. Science communication, she believes, needs to change if it wants to actually reach children, with narrative and interactivity being as important as factual details.

Also, “humour hasn’t been explored enough in science books in India. And we know that, no matter the generation, kids love burp and poop jokes,” says Shweta, who has just finished writing a science fiction book for adults and already has “two very nice books on my whiteboard, which I need to decide upon. One is fiction, and the other is non-fiction, so I need to decide what I want to begin with first.”

This is her second science book for children, the first being a more general book on science and scientists (They Made What? They Found What?), which also featured two fictional characters that children still quote, says Shweta, who has written 10 books so far across genres.

These include a three-book series starring a female tantrik detective, Anantya Tantrist, as well as short stories, graphic novels, and novels in genres ranging from mysteries to thrillers, science fiction, and paranormal fiction.

“That kind of hopping will keep happening to me, because I am always looking for the next exciting thing to write. Once you tweak tropes of a certain genre, you are tempted to try out new adventures in another genre,” says the former journalist, who continues to write a technology column for a national daily.

Children love poop jokes, says Shweta

Children love poop jokes, says Shweta
| Photo Credit:
Sunaina Coelho

As a NIFT graduate who started as a fashion and beauty writer, before moving into science, ecology, climate change and philanthropy, she believes that being “part of so many bubbles over the years” has made her a better writer.

“We are in a culture of having people who are experts in only one niche, but I am a kaleidoscope with fractured elements of a lot of different communities in me. This makes me creative.”



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When ‘Ce qui se trame’ traced centuries of textile history between India and France


At Galerie des Gobelins in Paris, the air hangs heavy with the legacy of craftsmanship. It was here, amidst a centuries-old tradition of tapestry excellence, that the textile synergy between India and France found its most iconic stage. Ce qui se trame (Textile Matters) was less an exhibition and more of an immersive spectacle — a sensory odyssey through the soul of two nations, spanning four centuries, that have mutually inspired crafted textile traditions. The title alludes to the weft of the loom and the colloquial expression in French for ‘what’s happening’ — suggesting the creative alchemy occurring behind the scenes.

Ce Qui Se Trame. Histoires Tissées Entre l’Inde et la France at Galerie des Gobelins

Ce Qui Se Trame. Histoires Tissées Entre l’Inde et la France at Galerie des Gobelins

Born of a visionary mandate announced by French President Emmanuel Macron during his 2024  visit to India, the project emerged as a cornerstone of a new, ambitious cultural roadmap. The Institut Français and Mobilier National — which manages over 100,000 pieces of historic and contemporary furniture, carpets, and tapestries — were charged to not only honour but to actively harness the living heritage of two nations bound by a shared devotion to craftsmanship. The month-long exhibition served as a crucible for Indian and French designers to ignite new narratives.

In Le Fil d’Or, visitors discovered brocades and hand-woven silk fabrics

In Le Fil d’Or, visitors discovered brocades and hand-woven silk fabrics
| Photo Credit:
Sophia Taillet

A handwoven triptych, created in the complex technique of samite at the Asha Workshop at Devi Art Foundation. It recreated figurative imagery from frescoes at the Sistine chapel.

A handwoven triptych, created in the complex technique of samite at the Asha Workshop at Devi Art Foundation. It recreated figurative imagery from frescoes at the Sistine chapel.
| Photo Credit:
Sophia Taillet

Two nation exchange

The task of realising the exhibition fell to a formidable creative pairing: Mayank Mansingh Kaul, Delhi’s textile curator, and Christian Louboutin, the globally renowned red-soled luxury shoe designer with a deep love for India. Together, they infused the gallery with meticulous precision and theatrical flair, drawing together a rare assemblage from major museums and private collections across India and France. “This exhibition shows how Indian textiles have evolved through cultural exchanges,” says Kaul, “turning what could have been a project about two national identities into one of a shared culture and aesthetic.”

The exhibition began within L’ Antechambre, a reconstructed 18th-century French apartment. Paying homage to the historic European love for Indian printed cottons, this mise-en-scène was elevated to a maximalist crescendo. The entire interior was seamlessly enveloped in naturally dyed hand-block printed cloth specially commissioned from master embroiderer Jean-François Lesage’s House of Kandadu in Puducherry — even a strategically placed globe was cloaked in the textile, a silent nod to the global trade routes of the past.

Inside L’ Antechambre

Inside L’ Antechambre
| Photo Credit:
Sophia Taillet

The entire interior was enveloped in naturally dyed hand-block printed cloth

The entire interior was enveloped in naturally dyed hand-block printed cloth
| Photo Credit:
Sophia Taillet

Emerging from this heady love affair was the French printed textile, which came to be known as Toile de Jouy. Here, visitors passed through Mughal-inspired niches lined with the fabric and encountered a ‘madder-root-nest’ installation, Travelling Roots, by Lesage Intérieurs, handcrafted and assembled in South India and on loan from the collection of fashion entrepreneur Shon Randhawa. This sequence set a clear tone for honouring the past and present cultural ties, a springboard for French and Indian collaborative craftsmanship.

Travelling Roots by Lesage Intérieurs

Travelling Roots by Lesage Intérieurs
| Photo Credit:
Sophia Taillet

Of lace and brocade

From the vibrant legacy of printed cottons, the exhibition shifted into serene white-on-white chikankari, muslins, and lace-inspired artworks. Highlights included Victoire de Brantes’ Vitraux Brodés (part of Villa Swagatam, the Indo-French cultural residency programme launched in 2023), which explored traditional techniques to create embroidered stained-glass windows, and Gurugram-based artist Sumakshi Singh’s ‘lace’ sculpture: a haunting, ghost-like marvel embroidered onto a sacrificial base that vanishes to leave behind a fragile memory of thread.

Victoire de Brantes’ Vitraux Brodés

Victoire de Brantes’ Vitraux Brodés
| Photo Credit:
Sophia Taillet

“The work responds to the presentation of historical and contemporary expressions of handmade lace,” Kaul explains. “It creates a conversation between what is seen as quintessentially a French medium, and one which has emerged independently out of her own practise through the act of embroidery.” In this moment, the enduring power of delicate fibre was revealed, bridging the gap between centuries-old French lacemaking and the avant-garde frontiers of modern art.

Sumakshi Singh’s ‘lace’ sculpture

Sumakshi Singh’s ‘lace’ sculpture
| Photo Credit:
Sophia Taillet

‘The work responds to the presentation of historical and contemporary expressions of handmade lace’

‘The work responds to the presentation of historical and contemporary expressions of handmade lace’
| Photo Credit:
Sophia Taillet

Next came the opulence of gold brocade — fundamentally transformed by the advent of the Jacquard loom, a revolution that positioned Lyon and Varanasi as dual poles of weaving excellence. The push and pull of the shuttle and the interplay of industrial and aesthetic imaginations were beautifully underlined in Ashta Butail’s installation, 7 Yokings of Felicity. Suspended high above and stretched like a celestial accordion, its silk and metallic yarns projected a rhythmic dance of light across contemporary Mughal-inspired florals and a 19th-century silk panel from the Palace of Versailles.

Ashta Butail’s installation, 7 Yokings of Felicity

Ashta Butail’s installation, 7 Yokings of Felicity
| Photo Credit:
Sophia Taillet

This luxury found a poignant counterpoint in Lakshmi Madhavan’s art grounded in her work with the kasavu weavers of Balaramapuram in Kerala. Creating a spiral of loom shuttles — originally 96 — wrapped with threads and hair, the artist presented the grandeur of the finished textile against the tools of the trade, serving as a sharp reminder of the labouring bodies and the quiet endurance of the weavers.

At Sculpter les corps, the works showed how textiles can become sculptural

At Sculpter les corps, the works showed how textiles can become sculptural
| Photo Credit:
Sophia Taillet

Imaginative collaborations

Ascending the grand staircase, the focus shifted to the sculptural majesty of the sari. Taking centrestage was Raw Mango, the iconic label that has masterfully recalibrated the contemporary sari. Beyond its role as a fashion house, Raw Mango was presented through Kaul’s lens as a vital “image maker by showcasing the sari in fashion and motion in artistic films and photography”.

A selection of saris from contemporary Indian designers

A selection of saris from contemporary Indian designers
| Photo Credit:
Sophia Taillet

Rahul Mishra’s Becoming Love. Hand-embroidered ‘Mohini’ long dress in noir and Klimt thinking bubble corset frame

Rahul Mishra’s Becoming Love. Hand-embroidered ‘Mohini’ long dress in noir and Klimt thinking bubble corset frame
| Photo Credit:
Sophia Taillet

The scenography then transitioned to a dramatic mock runway. Here, Louboutin’s signature mirrored plinths elevated mannequins draped in archival couture from Dior, Chanel, and Yves Saint Laurent. These were flanked by monumental, embroidered panels by Mumbai-based visual artist Rithika Merchant in collaboration with the Chanakya School of Craft — created by the hands of over 300 embroiderers. Behind them, the iconic Sabyasachi sari, as worn by businesswoman Natasha Poonawalla at the 2022 Met Gala, with a Schiaparelli sculptural bodice, stood as a statuesque moment of cultural fusion.

The iconic Sabyasachi sari with a Schiaparelli sculptural bodice

The iconic Sabyasachi sari with a Schiaparelli sculptural bodice
| Photo Credit:
Sophia Taillet

Elsewhere, the exhibition pivoted to the visceral, celebrating the ‘power of the hand’ through portraits of women garment factory workers by French-Moroccan photographer Leila Alaoui. The dialogue became increasingly radical with fibre works by titans such as sculptor Mrinalini Mukherjee and American artist Sheila Hicks. A solitary Nagaland textile introduced a primal dimension, challenging the viewer to look towards the spiritual connections of the craft.

Leila Alaoui’s portraits

Leila Alaoui’s portraits
| Photo Credit:
Sophia Taillet

Mapping new routes

The finale returned to total immersion: scaffolding draped in shades of indigo denim, a fabric bridging industrial France and India. Evoking an Indian salon and punctuated by flamboyant tapestries of artist Viswanadhan, alongside images of Le Corbusier’s legacy in India, the visitor was absorbed into a series of short films by French artist Elèonore Geissler playfully tracing Indian textile techniques and patterns through stop-motion animation.

Viswanadhan’s tapestry

Viswanadhan’s tapestry
| Photo Credit:
Sophia Taillet

Detail of the Chanakya School of Craft’s Indigo: The Sky Below, a site-specific installation that investigated the material and cultural resonances of indigo

Detail of the Chanakya School of Craft’s Indigo: The Sky Below, a site-specific installation that investigated the material and cultural resonances of indigo
| Photo Credit:
Sophia Taillet

Ultimately, Ce qui se trame imprinted a singular truth: the tapestry of Franco-Indian relations remains profoundly interwoven. While an intriguing tension existed in the curation — Kaul’s effort to subvert Orientalist stereotypes occasionally leaned into a canonical roll-call of blockbuster exports such as muslins, chintzes, Kashmir shawls and brocades — the exhibition succeeded in mapping the way forward for further imaginative Franco-Indian collaborations. Further iterations of this dialogue will soon be announced across major institutions in India.

The writer is an independent curator of textiles based in the U.K.

Published – February 18, 2026 09:40 pm IST



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Artist Raghava KK transforms Dr Shriram Nene’s Ferrari 296 GT3 into a tiger-striped tribute to the family


A race car is already considered a work of art? How, then, do you create art on it? That was both the calling and challenge for Raghava KK, a contemporary Indian artist, as he set out to transform a Ferrari 296 GT3. Bengaluru-based Raghava, who is known for his hand-painted, digital and mixed media art, created a ‘hero backstory’ for Mumbai-based Dr Shriram Nene, a cardiothoracic surgeon and healthcare innovator, his wife, actor Madhuri Dixit Nene and their sons Arin and Ryan, on their Ferrari. 

Raghava who has known the Nene family for over a decade, explains how this machine became his muse, and speed met storytelling, “We had an amazing collaborator in UK-based automotive designer Keith Wood (from Hype Creative, a motorsport graphic design company), who gave me the livery rules. First, we did 2D and 3D renders. Over a white base, I designed the motifs, elements and palette, some hand-painted, and the others digital. The entire artwork was transferred onto a vinyl skin that went over the body of the car.” 

Raghava KK

Raghava KK
| Photo Credit:
SPECIAL ARRANGEMENT

At the centre is Raghava’s signature double-headed tiger, which symbolises the tension between engineering and emotion. When draped across the Ferrari, it becomes an Indian aesthetic in motion. “The double-headed tiger is a motif I created to hold together the contradictions of being human. It embodies a duality. To watch the tiger stretched across a Ferrari built for extreme speed feels like releasing the spirit of India onto the global stage. We also have an inherently Indian ‘Horn OK’ sign near the trunk,” says the artist.

The tiger’s tail finds resonance across the trunk

The tiger’s tail finds resonance across the trunk
| Photo Credit:
SPECIAL ARRANGEMENT

Draped on the sides are images of Albert Einstein and Iron Man, reflecting a fascination with intellect and imagination, while a tulip drifts quietly across the surface, echoing Nature, desire and value. The tiger’s tail finds resonance across the trunk as it drapes over contours. “Also, throughout the artwork, the Nene children appear as part of the narrative, suggesting a future generation who will grow up with an identity that is global, fluid and self-created,” states Raghava. This livery design was born from years of shared conversations — on technology, art and cinema — between the artist and the family.  

Dr Nene’s project Pathfinder is also on the car

Dr Nene’s project Pathfinder is also on the car
| Photo Credit:
SPECIAL ARRANGEMENT

For Dr Nene, this collaboration has been special. He explains how conversations with the artist have translated into elements on the car, “He(Raghava) has Albert Einstein holding a spark plug. He has the boys in their various avatars, and one of my new projects called Pathfinder is featured prominently on the car.” The car also features Dr Nene and his wife, Madhuri Dixit Nene, in spacesuits, with the line, ‘To Infinity and Beyond’. “As a family, it brings us together as a unifying theme, and we race together, so this became our life story in our car,” explains Dr Nene.

For Ferrari, this kind of artist collaboration was a first, and from initial responses, a success. “From Benedetto Vigna, CEO, Ferrari, to everyone we’ve shown this to, they have been blown away by what this brings together. On the track, the car looks magnificent,” says Dr Nene.

(From left) Raghava, Madhuri, and Dr Nene

(From left) Raghava, Madhuri, and Dr Nene
| Photo Credit:
SPECIAL ARRANGEMENT

For Raghava, creating a livery design on a race car was not the same as creating on canvas or screen. The technical specifications of the machine, the position of various elements had to closely tie in with how the car would look stationary and zipping past others on the track. The art had to encapsulate storytelling. “In India, we have everything that makes us a beautiful collage, so in this design, there’s juxtaposition and harmony of imagination and precision, like an expressive emotional collage,” says the artist.

Expressing how art is an amalgam and echoing Raghava’s sentiments, Dr Nene concludes, “I think art should be equal parts science, motivation, beauty, as well as speed and technology. And this car, kind of, brings it together.”

Published – February 18, 2026 05:03 pm IST



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Sanjay Garg’s Raw Mango to debut at the London Fashion Week


(Left) Sanjay Garg, and a model dons a Raw Mango sari from a past collection

(Left) Sanjay Garg, and a model dons a Raw Mango sari from a past collection
| Photo Credit: Special Arrangement

Sanjay Garg has always been one to weave a story through his work with craft and community. On February 23, the designer will take Raw Mango, a brand that has championed India’s craft and culture to the London Fashion Week, with a narrative to share about his deeply personal connection to flowers. 

The Fall/ Winter collection, It’s Not About The Flowers, aims to celebrate the brand’s arrival in its own vernacular. 

Sanjay traces his connection with flowers. “Flowers have always been a part of Raw Mango’s visuals, its stores, and our every day. I have been to every single flower market in India, and my curiosity also led me to consider working on a book on flowers and garlands,” Sanjay says. “For me, my fascination with flowers is much more than it being used as decor. It is not just beautifying the garment,  it becomes the body and silhouette,” he adds. 

Spanning nearly 18 years, Raw Mango is renowned for its work with Indian textiles and craft, and spotlighting the sari. Earlier this year, Sanjay also opened the brand’s seventh store in the country, in Kolkata

Raw Mango’s debut collection at the  London Fashion Week, a release says, will celebrate the brand’s arrival in its own vernacular. “I think the world, and us, are coming to terms with the fact that we have a unique product offering and a unique story to tell. What I am going to showcase to the world is my India, and what I find beautiful,” Sanjay adds.  



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Earth Bound Festival Hyderabad: A day-long celebration of sustainability, wellness and community


Dakta Dub and Harsha Maheshwari aka Komet

Dakta Dub and Harsha Maheshwari aka Komet
| Photo Credit: Special Arrangement

Community spirit takes centre stage at Earth Bound, a day-long festival in Hyderabad that brings together sustainability, wellness, art and music. The 15-hour event, to be held at Phoenix Arena from 6am to 10pm, will see over 30 community-led initiatives come together for workshops, talks and stalls, making it a vibrant, people-driven gathering.

From a consciously curated flea market and vegan food to handmade creations, movement practices, sound sessions and music inspired by Jamaica, the festival spans art, wellness and soulful rhythm. “Earth Bound stands out for being a 100% cruelty-free and zero-waste event,” says co-organiser Harsha Maheshwari.

First edition

Core members  of the group

Core members of the group
| Photo Credit:
Special Arrangement

With sustainability at its core, organisers including Monkey Sound System, Plantarium, Viswa Sustainable Foundation, Tree Huggers Club, Limitless Greenz and others bring their expertise to create an immersive yet mindful experience. The first edition of this monthly festival, scheduled to run until May, is pet-friendly and offers both indoor and outdoor sessions for all ages, including children. Given the rising temperatures, outdoor spaces will be covered. “We also have wellness and fitness teachers leading breathwork sessions designed to keep the body cool, even in warmer conditions,” says Harsha.

The programme includes sessions on the four phases of menstruation, marathon preparation and thematic performances addressing environmental crises, alongside workshops on beatboxing, nutrition, making bio-enzymes, waste awareness and sculpting. There are also talks on mental health, sustainability and inclusivity by Mobbera Foundation, myth-busting sessions by Friends of Snakes Society, and activities such as hula hooping and sessions on reducing children’s screen time.

Community-led initiatives

Music session

Music session
| Photo Credit:
Special Arrangement

Curated as a large-format, collaborative event, Earth Bound places emphasis on community-led initiatives. “We didn’t want the festival to revolve around a single theme,” explains Harsha. “Organising a cruelty-free, zero-waste event with no-harm guidelines for animals and plants can be exhausting for one community. When multiple communities come together, each contributes their strengths, which strengthens the festival’s overall impact.”

Earth Bound at Phoenix Arena from 6 am onwards; Entry free; workshops are ticketed; More details from @Earthbound on social media



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Healthy living in focus – The Hindu


Products displayed at one of the stalls at the fair last  year edition in 2025.

Products displayed at one of the stalls at the fair last year edition in 2025.
| Photo Credit: Akhila Easwaran

The Redwood Foundation will host the 11th edition of the Organic Fair with a renewed focus on promoting healthy lifestyle and mindful living. The initiative aims to create awareness about homemade, sustainable, eco-friendly and organic choices in everyday life, says Madhura Visveswaran, founder, Redwood Montessori School.

“To encourage young entrepreneurs, the students of Redwood Montessori School, Sri Sankara Senior Secondary School, Adyar, and KSN Senior Secondary School, Thiruvanmiyur, will present their handmade eco-friendly candles and soaps, baskets and other utility products,” says Madhura.

Madhura says that this year she has invited NGOs such as Naam Foundation and Hastha, who will showcase their handcrafted products at the fair. “To encourage children to shop for fresh organic vegetables and fruits, we have My Harvest Farms and Sembak Farm, who will set up a market place at the fair,” she says.

The fair will feature a wide range of organic and natural products, along with eco-friendly (non-organic) alternatives and homemade items prepared without preservatives.

Visitors can shop for chutney powders, homemade jams and pickles, kombucha, honey, cheese, wooden toys, products for babies and clothing, wire baskets, baked goodies, healthy snack options, baskets, children’s clothing and live food counters. The event is open to all and entry is free.

@ Redwood Montessori School, Teynampet, February 21, 3.30pm to 6.30pm. For details, call 9789821794.



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Chennai pickleball boom: From midnight games to thriving WhatsApp communities


The game brought them close. Pickleball WhatsApp groups brought them closer.

Vikram Chandrasekar, co-owner, Baseline, Chennai’s latest pickleball facility, says that when he was going through a rough patch, his pickleball community was his support system. Little acts of kindness like bringing him food, or just confiding in them made a difference. “At 50, it’s hard to make friends, but I made some really great ones through pickleball,” says Vikram.

“The sport is very social, so the idea was to see if we could build something that could fit into people’s lives. Not just a court rental space, but somewhere families could come and hang. That’s why we decided to have the Gobbelin cafe and a co-working space,” Vikram says, adding that hospitality and community can co-exist around sport as an anchor. “People come here, set up their laptops to work. They take a break in between, play a game or two and get back to work.”

The courts at Baseline, Gandhi Nagar

The courts at Baseline, Gandhi Nagar
| Photo Credit:
Special Arrangement

Baseline, in Gandhi Nagar, follows a membership model, different from the pay as you play concept that most courts offer. It comprises three tournament grade courts, a store for equipment, and a viewing deck/ fitness area on the first floor. A group of women are at play, the oldest of whom is 73 years. There is a little lawn on the outside where the court’s guard dog, Bouncer, lazes in the afternoon sun. “I want to use this space to host community events like Sunday markets, pickleball mixers, brunch,” says Vikram.

Rallying around

At Serv, T Nagar, three 28-year-olds are at the helm of things. Best friends and now business partners — Varun Prashant, Siddharth Sekhar, and Manav Subramanian — initially planned to start a cloud kitchen.

Then, they discovered pickleball. From six people booking on the day of launch in December 2025, they saw the numbers rise to 43 bookings a day, in no time. By end of the month, Serv will launch Bold cafe in partnership with restaurateur Sandesh Reddy, thereby incorporating both the passion of the founders: food and sport.

A game in progress at Serv, T Nagar

A game in progress at Serv, T Nagar
| Photo Credit:
VELANKANNI RAJ B

“Our vision was to have a premium facility with a community-first approach. A place where people come together for either sports, recovery or wellness. The recovery room will have an ice bath, sauna, a stretching area, and massage guns. At Bold, you can have a clean nutritious meal after a game and wrap up your day. This is a social wellness brand and we wish to take it across the State,” says Varun. There are four pickleball courts here and one padel court. “We are open till midnight and once the cafe comes up we will try to keep the facility open till 2am,” says Varun. They also plan to host events for the community. Think: singles events, mixed doubles tournaments, yoga day, live music. 

“Our customers are recurring ones. Certain groups come everyday. People come with their kids and families. This has become a hangout,” says Siddharth, pleased with the development.

The bulk of the players at Serv are in the 20-40 age bracket. These include novices, intermediates, and professionals. Those who want to improve their game play with the expert groups, or play a leisure game with other groups. They find people of the same level of skill.

The reason that pickleball is so popular, Manav believes is because the entry barrier is low. “It’s less technical than other racket sports, easier to pick up. A lot of people want to be part of a larger community. Pickleball fits in well. It’s a new sport so no one really has a massive advantage of having played for a longer period. As a group you move together to an intermediate stage. That learning curve brings people together,” says Manav.

Dink, bond, laugh

People get together for a snack after a game at Winkin ALM, Injambakkam

People get together for a snack after a game at Winkin ALM, Injambakkam
| Photo Credit:
Johan Sathyadas

To build this community further, many courts are planned with cafes and coworking spaces attached. The growing list includes Pickle & Chill and Crafe in Anna Nagar, Serv in T Nagar, Baseline in Gandhi Nagar, Madras Blend & Brews in Purusaiwalkam… Shamugaraj Thangaraj, perhaps one of the earliest to start this trend with Egco-Winkin in Anna Nagar last March, almost feels like a proud parent as he watches different people from different walks come together to play, forming bonds that continue well beyond the courts.

“Pickleball made me social,” says Hasnain Kapadia, a self-confessed introvert. “Once I started playing at Winkin, my circle of friends grew,” he says. Evenings spent playing video games at home have been replaced with competitive matches and dinner with fellow picklers. There is even a trip to Bengaluru in the works, where the group plans to play, eat, and chill.

Different age groups play together at Winkin, Injambakkam

Different age groups play together at Winkin, Injambakkam
| Photo Credit:
Johan Sathyadas

Chennai is now criss-crossed by Pickleball WhatsApp groups, where members decide when to play, and where to meet afterwards — for a meal, a movie, or even a weekend getaway. It has never been easier to make friends in a city often described as reserved.

With easily 40 to 100 people in these groups, there is always someone to pick up the paddle and rally with. “It’s great for building contacts, and in my case, it also helped with my business as I met potential clients here,” adds Shanmugaraj, who co-owns Winkin courts across the city including at Injambakkam and Anna Nagar. The next one is coming up in Neelankarai where Cafe Trotter will brew coffee. “We want to set up courts in every area. The idea is, if you are part of Winkin, you should be able to play anywhere,” he says.

In the last 11 months, Winkin Anna Nagar has managed to get a sizeable number of players, a steady growth from the 100 who came in the first two months. According to their database, atleast 1,700 people have played atleast twice at their Anna Nagar court. They have also launched three tournaments. “The last tournament happened at the Injambakkam court and had 100 participants. People also turned up to support the competitors. It felt like a huge family event,” smiles Shanmugaraj.

Shanmugaraj Thangaraj

Shanmugaraj Thangaraj
| Photo Credit:
Johan Sathyadas

When 23-year-old Sanu Raghav moved from Coimbatore to Chennai for work, he said it was difficult to make friends. “Chennai wasn’t completely new to me, but starting fresh as a working professional is very different from being a student. Social circles are already formed. There was definitely a sense of loneliness,” he says. 

Soon, Sanu took up pickleball. “Once I started playing regularly, conversations happened naturally. There was no pressure, just people meeting over a shared interest. I formed genuine friendships,” he says. “There’s a feeling of belonging, of being accepted for who you are. Over time, it genuinely began to feel like a second family.”

Baseline

Baseline
| Photo Credit:
Special Arrangement



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Dhruv Kapoor’s new hybrid Mary Jane shoes are for everyone


Think back to what you wore to school. Crisp shirts, starched pinafores, bright white socks, and of course, a pair of smart, shiny black Mary Jane shoes. The shoe carries unmistakable girlhood nostalgia, and over the last few years, has made a noticeable return to everyone’s closets; in a spectrum of colours, bolder prints and with shinier buckles. 

A limited-edition merchandise collaboration between Johnnie Walker Blonde Non-Alcoholic Lemonade and New Delhi-based designer Dhruv Kapoor now has Mary Janes take the spotlight, with the vision of celebrating individual style and self-expression. 

“For me, working on the collaboration was about freedom of expression and progress. That is how we work on design as a brand as well,” says Dhruv, of their shared beliefs.  

This time around, the Mary Janes are not just for the girls. Made of handcrafted leather in blue with a pop of yellow on the insoles, the hybrid shoes are a reflection of Dhruv’s design language, which champions modern dressing, androgynous silhouettes and gender-fluid dressing.  

“Mary Janes were traditionally associated or rigid towards being a feminine shoe. And that’s a memory or a familiarity that we all remember from school because I remember every girl in class had Mary Janes which was a part of the uniform. I wanted to pick up something that has that rigid association and reperceive it,” Dhruv says. “We picked up the women’s uniform shoe, and the men’s shoe or what I wore; a traditional Oxford or a brogue, and the collaborative result was this,” he adds. 

The shoes come in an electric blue padded backpack, which comes with colourful detachable charms and enamel pins. “ I did not want somebody to just get the shoes and discard the packaging, so we thought about how we can add more value to the packaging and promote prolonged use. We wanted to make this cooler, younger and a little more ‘everyday’, and the charms and pins are something the users can choose from the mix we are offering, or even use some of their own to personalise the bag,” Dhruv says. 

The shoes come packaged inside a padded backpack

The shoes come packaged inside a padded backpack
| Photo Credit:
Special Arrangement

Over the years, Dhruv’s eponymous brand with its contemporary design language that has trailed its focus on gender-fluid designs has been worn by a bevy of celebrities including Alia Bhatt, Ranveer Singh, Sonam Kapoor, Karan Johar and more. Sonam was recently spotted in a customised white jacket and skirt co-ord set from the designer, making waves for her maternity fashion. “A full circle moment.,” Dhruv says, given how Sonam took the brand into the spotlight over a decade ago by wearing one of his creations. 

2025 had been a momentous year for the designer, with the launch of Kapoor 2.0, a new youth-driven expressive reimagining of everyday essentials which went live on the brand’s e-commerce platform. Now a regular at Milan Fashion Week, Dhruv also presented his Spring/Summer 2026 Co-ed runway show, Foundations & Futures and 2026 began with the designer opening his first flagship store in New Delhi. Conceiving this space and seeing it come to life is something that has the designer excited, as he describes working on it at length. 

“For me it was more about expanding the experience of the brand. We have not had a direct presence or an experience that is directly curated and controlled by the brand before this. The flagship store for me was to share the values of the brand. Now, these are not really tangible but my team and I sat down with the architects to make this come through,” Dhruv says. 

Dhruv Kapoor

Dhruv Kapoor
| Photo Credit:
Special Arrangement

The space, he says, is one that is meant to make you pause. “The brand always shifts at a point of union between two polar concepts, whether it’s restraint and expression, or softness and structure. So the space ideally borrows from these elements, and that’s how it’s built,” he says. There are rough, raw marble accents or monoliths fused with a seamless floor to ceiling micro concrete and Dhruv’s obsession with energy flow; all of which comes together in the space. A monolith in the centre holds affirmations which keep changing, a gentle reminder for the customers and perusers who make their way around the store at their own pace. 

“You are free to pause and to go at your own pace and connect with the brand in whichever format you like. It is about easing out, and making the whole experience a calm one. We wanted this to be more powerful than simply buying and selling,” Dhruv says. The curation at the store, the designer says, is of a much wider range with many different kinds of textiles and menswear, which customers in the past only had access to through his online store. 

New collection

At the end of the month, Dhruv reveals that a new collection is on its way. “I started thinking about it when I was coming back from Milan after my show. I was waiting to board the flight and was observing the people around; how they respond when you put them in a space of transit or a minimal space, how the body language changes and the existence of a common shared language amongst everybody which is just with expressions,” he says, of what set off the spark. 

“Somebody is running to catch their flight, someone with a lot of time is at ease, and another person is surrounded by chaos because their kids are with them. These are some characters we have infused into the collection, in a more refined way so that it looks cohesive,” Dhruv adds. 

We circle back to Mary Janes; who does Dhruv see wearing these new shoes? “Just off my head, Saif Ali Khan. The shoes are comfortable and laidback, something you can spend your day in. Alia Bhatt is going to love it as well. When we were building it, it was never gendered or even specifically for someone; we never put the audience into a box,” Dhruv says. 

“If you know the person is playful enough to experiment or is wanting to express themselves a certain way free of rigidity, they are definitely going to pounce at something like this,” he adds. 

The shoes are priced at ₹22,500 and are available on dhruvkapoor.com

Published – February 18, 2026 03:23 pm IST



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How to explore Theyyam season in north Kerala


Starting late October, when the Theyyam season begins, the sacred groves of northern Malabar stir to life.

In these groves and ancestral family homes of Kannur and Kasaragod, Theyyam performances are an annual ritual. Performers in elaborate crimson gear blend movements of Kalaripayattu and dramatic fire rituals.

Up until the season ends in May, the entire region of northern Malabar opens up — sharing its beliefs, heritage and storied legends with the world. Anyone – irrespective of caste, religion or nationality — can watch the performances and partake of the offerings at these shrines. It is this shared sense of community and connection with the land that travellers are increasingly seeking today.

Tours, trails and packages tailor-made for curious travellers are increasingly available, offering a deeper cultural understanding of the region, its lore and its people.   

Veeranmaar theyyam, Thulurvanam, Kasaragod

Veeranmaar theyyam, Thulurvanam, Kasaragod
| Photo Credit:
THULASI KAKKAT

Kskethrapaalakaneeshwaran theyyam at Mannampurathu kaavu, Nileshwram, Kasaragod

Kskethrapaalakaneeshwaran theyyam at Mannampurathu kaavu, Nileshwram, Kasaragod
| Photo Credit:
THULASI KAKKAT

The Kerala Tourism website issues a Theyyam calendar every year, which lists locations of the temples, dates of the performances and details of the contact persons. Tour companies, mostly led by people from the northern Malabar region, offer a bouquet of curated Theyyam experiences for travellers.  

Since Theyyam ceremonies don’t follow fixed schedules, the packages are flexible and subject to changes in timing, venues and availablility of local guides. Theyyam being a ritualistic art form, travellers are expected to respect local customs and traditions, which now include restrictions on photography.

Theyyam trails by Polika

Kasaragod-based Polika began work on an independent Theyyam calendar in 2022, connecting temples and artistes across locations. Manoj Kumar, founder of Polika, says he has curated a database of over 300 Theyyam locations.

Polika’s Theyyam calendar is a detailed listing of Theyyam performances across Kannur and Kasaragod. Local guides who have expertise in the region and the rituals associated with Theyyam lead the tours. Polika’s Theyyam Trails include accommodation at homestays, local cuisine, and handpicked local experiences. Led by seasoned guides, well aware of the rituals, these trails offer an insight into the history of Theyyam and its socio-cultural relevance. “Currently 70 percent of our tourists are domestic,” says Manoj.

The Theyyam trails are available during off-season as well. “During Karkidakam, when performances do not take place, we organise interactions with Theyyam artistes, who provide a deeper introduction to the myths and oral traditions. These sessions allow guests to engage directly with the performers and observe their elaborate costumes and ritual accoutrements up close,” he adds. The off-season trail also includes a visit to a pottery village in Nileshwaram, where artisans collaborate with Theyyam artistes to paint clay pots with intricate mukhathezhuthu (sacred face painting) motifs.

The day trail with a storyteller is priced at ₹3,500 and night trail at ₹4,500 for up to four people. Larger packages start from ₹6,500 per night for two persons, which includes breakfast.

@polika.life on instagram , www.polika.net

Neeliyar Bhagavathi, Neeliyarkottam in  Kannur

Neeliyar Bhagavathi, Neeliyarkottam in Kannur
| Photo Credit:
THULASI KAKKAT

Ekathra Experiences’ Theyyam ecosystem

The Theyyam tour is one of the most prominent among the 11 theme-based travel packages offered by Ekathra Experiences, a conservation-oriented travel company based in Kozhikode. “While the Theyyam is, to the traveller, a grand visual display, it has multiple layers to it. Our tours guide travellers through the entire Theyyam landscape,” says Sreejith Payyadakath, founder of Ekathra Experiences. “Beyond the visual aspect, the social context of Theyyam is interesting to the traveller. Traditionally performed by members of marginalised communities, Theyyam inverts established caste hierarchies. The performer becomes the deity that everyone worships,” Sreejith explains. The sustainability aspect is another factor that sets it apart, he adds. “Many of the sacred groves exist today because of Theyyams. They have been protected for generations, not by environmental laws, but stories, rituals and taboos.”

Ekathra’s packages are for two days and one night, which include visits to sacred groves, exploring bell metal workshops, where the ornaments, weapons and anklets of Theyyam artistes are made. Interactions with artistes, community elders, local food and visits to the historical Bekal Fort in Kasaragod, St. Angelo Fort in Kannur and Folklore Museum at Chirakkal are also part of the package.

The Theyyam experience is priced at approximately ₹7,500 per person, for a group of four participants. This includes accommodation with breakfast, transportation, local guides, all curated experiences, and applicable taxes. To ensure an intimate and meaningful engagement, smaller groups are recommended, with a maximum of eight participants.

ekathraexperiences.com, @ekathraexperiences on instagram

Gulikan theyyam, Kasaragod

Gulikan theyyam, Kasaragod
| Photo Credit:
THULASI KAKKAT

Biennale and Theyyam

WeGoBond, a Delhi-based travel company that organises women-only tours, recently conducted a six-night-seven-day package to Kochi and Kannur to explore the Kochi Muziris Biennale and Theyyam. “Our customers are women between 40 to 70 years of age, who are well-travelled and are now looking for deeper, more cultural and immersive experiences,” says Shibani Vig, founder of WeGoBond. “The interest in this holiday was one of the best we have seen. We took effort to explain the unique socio-cultural aspects of Theyyam,” Shibani adds.

Story time with Theyyam Tours

Thalassery-based Theyyam Tours was founded as a passion project in 2018 by Amogh PC. An ardent Theyyam enthusiast, he has been returning to his hometown every Theyyam season, even while pursuing his MTech in Computer Science Engineering from IIT, Hyderabad. “I never miss Theyyam season,” says Amogh, who is currently doing his research at the National University of Singapore. While interacting with tourists who came to watch Theyyam, he realised that even though they were spellbound by the colours and the stunts, few understood the stories behind the Theyyam or the significance of the costumes, gestures and rituals. “I enjoyed narrating the stories behind the Theyyam forms, and answering people’s questions,” he says.

Kandanar Kelan in Kannur

Kandanar Kelan in Kannur
| Photo Credit:
THULASI KAKKAT

What started as a side hustle soon grew into a travel company. “Having grown up surrounded by this tradition, we feel deeply connected to the communities and temples where Theyyam lives on. We tied up with autorickshaw drivers who network as local tourist guides and started an informal network.”

The experiment paid off and it was registered as a company in 2025, comprising Amogh, his brother Agin and their teammate Adithya. The two-day two-night package includes accommodation in a traditional Kerala Tharavad. During the day, the tourists would get an experience of Thalassery as well. The packages on offer are Divine Fiery Theyyams (from ₹9,999), Weekend Theyyam Experience (from ₹8,999) and Weekday Theyyam (from ₹8,499).

@theyyamtours, www.theyyamtours.com

Chamundi theyyam, Nileshwram, Kasaragod

Chamundi theyyam, Nileshwram, Kasaragod
| Photo Credit:
THULASI KAKKAT



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Jeep Meridian Track Edition: What’s new in the updated seven-seater SUV?


Powered by a 2.0-litre MultiJet II diesel with available 4WD, the Meridian balances comfort with go-anywhere capability

Powered by a 2.0-litre MultiJet II diesel with available 4WD, the Meridian balances comfort with go-anywhere capability
| Photo Credit: Special Arrangement

On the outside, the Track Edition adopts darker detailing to distinguish it from the standard Meridian. Piano black accents feature on the grille, badges and exterior mouldings, while the grille itself features a dark espresso finish with neutral grey highlights. The SUV also gains a Track Edition hood decal and dedicated badging, along with 18-inch diamond-cut alloy wheels. These updates are cosmetic rather than structural, but they lend the Meridian a more premium and purposeful visual identity.

The most significant update is inside the cabin, where Jeep has introduced a 140 mm sliding second row. This enhancement improves access to the third row while offering greater flexibility in adjusting legroom and cargo space, a key usability consideration in three-row SUVs. For a vehicle positioned as a premium seven-seater, this is a meaningful functional change rather than a purely aesthetic update.

Interior materials and finishes have also been updated. The Track Edition features dual-tone upholstery with suede inserts, complemented by contrast stitching and quilting on the seats and bolsters. Piano black trim elements are used across the dashboard and centre console, paired with dark espresso accents on key surfaces. The steering wheel is leather-wrapped with detailed stitching, and Track Edition branding appears on cabin appliqués and floor mats. The overall approach is evolutionary, but it elevates the perceived quality of the interior compared to the standard variant.

A 10.1-inch infotainment system and 10.25-inch digital cluster anchor the Meridian’s tech-forward dashboard

A 10.1-inch infotainment system and 10.25-inch digital cluster anchor the Meridian’s tech-forward dashboard
| Photo Credit:
Special Arrangement

Mechanically, the Track Edition remains unchanged from the existing Meridian. It continues to be powered by Jeep’s 2.0-litre MultiJet II diesel engine, which produces 170 hp and 350 Nm of torque. The engine is paired with a nine-speed automatic transmission, and both two-wheel-drive and four-wheel-drive configurations are available. The 4WD version retains Jeep’s Selec-Terrain system, allowing drivers to adjust traction settings for different driving conditions. There are no changes to suspension, steering or drivetrain hardware, keeping the Track Edition aligned with the Meridian’s current on-road and off-road character.

The feature list closely mirrors the higher trims of the Meridian range. Highlights include a 10.1-inch infotainment system with wireless Apple CarPlay and Android Auto, a 10.25-inch digital instrument cluster, and a premium Alpine audio system. Comfort features include electrically adjustable ventilated front seats with memory, a dual-pane panoramic sunroof, and multiple USB ports for all three rows. Driver assistance is handled by Level 2 ADAS with a suite of active safety functions, adding to the Meridian’s technology offering in the premium three-row segment.

The Jeep Meridian Track Edition stands out with piano black accents, espresso-finish grille detailing and exclusive badging

The Jeep Meridian Track Edition stands out with piano black accents, espresso-finish grille detailing and exclusive badging
| Photo Credit:
Special Arrangement

Jeep is also offering the Track Edition with its “Jeep Confidence 7” ownership programme, which bundles extended warranty coverage, maintenance packages, roadside assistance, assured buyback and priority service for up to seven years. While not unique to the Track Edition, the programme is intended to improve ownership predictability and address concerns around long-term costs and resale value in the premium SUV category.

From a product standpoint, the Meridian Track Edition represents a focussed update rather than a comprehensive evolution. The sliding second row is the standout addition, as it directly affects everyday usability, while the revised materials and darker exterior detailing refresh the Meridian’s appearance without altering its underlying design language. With no changes to the powertrain or chassis, the driving experience is expected to remain consistent with the current Meridian, which balances road comfort with moderate off-road capability in a monocoque SUV format.

Dual-tone upholstery with suede inserts and contrast stitching elevates the cabin’s premium feel

Dual-tone upholstery with suede inserts and contrast stitching elevates the cabin’s premium feel
| Photo Credit:
Special Arrangement

In a segment that is seeing frequent updates and new entrants, the Track Edition serves as a mid-cycle enhancement that keeps the Meridian visually and functionally competitive. It adds tangible cabin flexibility and incremental premium touches, rather than introducing new hardware or performance upgrades.

Pricing (ex-showroom, India):

Jeep Meridian Track AT – ₹35,95,000

Jeep Meridian Track AT 4×4 – ₹37,82,000

Dedicated Track Edition decals and 18-inch diamond-cut alloy wheels add a sportier visual edge.

Dedicated Track Edition decals and 18-inch diamond-cut alloy wheels add a sportier visual edge.
| Photo Credit:
Special Arrangement

Motorscribes, in association with The Hindu, brings you the latest in cars and bikes. Follow them on Instagram on @motorscribes



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