Life & Style

“Florals? For Spring? Groundbreaking!”

“By all means, move at a glacial pace. You know how that thrills me.” 

It has been 20 years since these dialogues first appeared on the silver screen. But they still convey the ice-cold sarcasm of Miranda Priestly, played by Meryl Streep in the iconic fashion-drama The Devil Wears Prada.

Centered around the story of a young Andrea ‘Andy’ Sachs (played by Anne Hathaway), the movie became a cultural touchstone and kickstarted the thrill of journalism and fashion in many, including this writer. It begins with a dewey-eyed Andy landing a job as the junior assistant to the editor of Runway, the terrifying Miranda Priestly (played by Meryl Streep). Through the movie, Andy goes through both physical and mental transformations, finally quitting the job and moving on, hopefully to kinder pastures.

From Hermes scarves flying in a New York street to unpublished Harry Potter manuscripts, the movie is a whirlwind of high couture and the demands of the cut-throat industry.  In May this year, millions around the globe will watch the much-awaited sequel, Devil Wears Prada 2, promising the quintessential razor-ship wit and bold fashion statements. 

But more than just glitzy sarcasm, the movie has become a cultural phenomenon, beloved even by people who were born years after its release. Let’s explore why, through the opinions of fans. 

Lasting Legacy

Meryl Streep’s controlled anger and Anne Hathaway’s nervous acting makes the first movie a thrill to watch. Much like a tiger toying with its meal, Miranda often gives Andy impossible tasks, knowing full well that she would not be able to fulfill them.

Why has this duo survived the test of time? 

Anne Hathaway and Meryl Streep in ‘The Devil Wears Prada’
| Photo Credit:
20th Century Studios

“I think the film has lasted because it is largely about a very universal experience, which is entering a world you admire, only to realise it runs on compromise – which many viewers relate to. Fashion was the backdrop, and the real story was about power, ambition, and the unspoken rules of success. Most people have had a ‘Miranda’ at some point in their careers, and many have been an ‘Andy’. Nearly everyone, no matter in what industry they are, recognizes the Miranda – Andy equation, thrill of being chosen, fear of falling short, struggle in maintaining personal boundaries,” says Sudeep, a forty-year old business professional. 

“The idea of having to constantly prove your worth, adjust your personality, sacrifice personal relationships and everyday routines just to be noticed in your job, like Andy, all of that hasn’t changed much since the film came out…,” says Sarada Das, a 22-year-old student.

Everyone wants to be Miranda?

Streep’s portrayal of Miranda has gained adoration, criticism for being too harsh, and solemn acknowledgments by many who have had a boss like her. A leader who doesn’t care. But somehow everyone also wishes they had the same confidence and energy as her. 

A still from ‘The Devil Wears Prada 2’
| Photo Credit:
20th Century Studios

“She (Miranda) doesn’t explain herself unless she chooses to, and that restraint is fascinating. She represents a generation of women who understood that competence alone was never enough, and authority had to be asserted, protected, and constantly defended. Miranda rarely raises her voice, yet she dominates every room and that quiet power is very relatable to anyone who has had to lead in spaces where softness is mistaken for weakness,” says Sudeep about the ‘iciness’ of the character. 

“For me, Miranda represents a particular kind of professional power, someone who has survived for years in a brutal, fast-paced industry and has learned to protect her position by being emotionally distant and highly demanding. The film makes it clear that her behaviour is not accidental but a part of how she maintains control in a system that constantly judges women in leadership,” says Sarada, a student.

Lovable newbie

Anne Hathaway’s character Andy Sachs, is a constantly fumbling and under-confident mess at Runway, scrabbling to make her personal life functional and her professional one fruitful. This under-confidence is something that Andy doesn’t seem to have in the sequel. But the first movie was a portrait of how a newbie navigates working life in the real world. This makes the character a hit, particularly among the younger generation, who still relate to ‘feeling like the kid’ in the ‘big, bad corporate world.’ 

“She certainly represents a woman who accepts a completely demanding and even destructive job in order to gain good references and advance her career. Unfortunately, I think there are many similar situations in today’s working world. Even though Andrea is qualified, she accepts exploitation and goes through a period in which she does everything except actual journalism,” notes Evelyn Modica, a 23-year-old master’s graduate.

The film has a queer icon but it’s not the gay guy

Stanley Tucci, plays Nigel Kipling, the sharp-witted but lovable side-kick to Miranda. He is the obvious queer character, with impeccable fashion sense, and noted for taking the trope of the ‘gay best friend’ and adding depth and emotional maturity to it.

 But, as many queer folk have pointed out, the lasting queer icon of the film is not Kipling but Priestly herself. 

Stanley Tucci and Meryl Streep in ‘The Devil Wears Prada’
| Photo Credit:
20th Century Studios

“Nigel is warm, talented, and deeply sympathetic, but he is also ultimately constrained by the system. Miranda, on the other hand, defines the system. She bends the world to her will, defines taste, and refuses emotional legibility. I feel this kind of unapologetic authority resonates more with queer audiences. Being a queer icon is not just about literal representation but more about power, defiance, and self-definition,” points out Sudeep. 

“I think Miranda becomes a queer icon not because of her sexuality, but because she symbolises autonomy, power and resistance to conventional gender expectations in leadership,” says Lipsa, a 22-year-old student.

Anticipation for the sequel

20th Century Studios has confirmed on social media that the trailer of the sequel has already amassed a record-breaking 222 million views, in the first 24 hours of its release. 

This has placed it among the top-10 most watched movie trailers of all times with everything from Andrea Sachs’ “eyebrows” to Miranda Priestly ‘memory-loss’ being discussed in detail. 

Fans, of all generations, are eagerly awaiting the release of the sequel, putting the filmmakers and the first film back on the Runway for the world to scrutinise.

The Devil Wears Prada 2 is set to release in theatres on May 1

Attendees of the osplay workshop
| Photo Credit: Special Arrangement

Shalini Bisawajit’s painting
| Photo Credit: Special Arrangement

Crime writer Rajesh Kumar and Dhanalakshmi

In the 1990s, when Rajesh Kumar was in the peak of his career churning out crime stories from his room in the first floor of his Coimbatore home, his wife Dhanalakshmi did the heavy lifting in the ground floor. She took care of their boys and ran the household, even proofreading his stories and keeping track of his deadlines. “He would write like a machine,” recalls the 71-year-old. “He wouldn’t even have time to read his stories after he wrote them,” she adds.

Today, in the quiet of their home in the outskirts of Coimbatore, the couple reminisce their love story, one that started with a traditional bride-seeing custom, 51 years ago. “I instantly knew that she was the one,” recalls the 78-year-old author, adding that he noticed how beautiful her eyes were then, even though they didn’t get to talk during the meeting of the two families. “I’ve always admired her eyes,” he says with a smile.

Rajesh Kumar constantly travelled across the country as part of his father’s textile business in his younger years. “My parents lived with us, so there was always support at home for her and our children,” he says. He would write short letters to her during those trips. “I would tell her I was doing well, and would ask about her and the children,” he says.

Writer Rajesh Kumar and his wife Dhanalakshmi on their wedding day on 17-02-1975.
| Photo Credit:
Special arrangement

When Rajesh Kumar started writing, Dhanalakshmi was his first reader and critic. She still is. “I regularly get feedback that my women characters are dignified. This is because of my wife’s influence,” he says. When he was writing crime series for six to seven publications a month, she maintained a diary with synopses of each series. “I would note down how he ended a particular week’s portion, the name of the lead characters and so on so that there would be no mix up with continuity,” says Dhanalakshmi.

He would often be cooped up in his room, writing, without talking much to her or their children. “We would hardly get time to go out together,” she recalls. But she knew how badly he wanted to succeed, and ensured he wasn’t bogged down by worldly demands. The crime author would get mobbed by fans wherever he went back then. “I would end up standing somewhere nearby, alone,” she chuckles. “It was best that we didn’t step outside.” They did have fun in their own way. “The two of us would go to the cinema at night in my Kinetic Honda,” he says. Night shows meant that they could enjoy the movie and each other’s company without his readers recognising him.

Today, Rajesh Kumar has entered the OTT space and the movie people often visit him for discussions. While he is embracing fame and everything that comes with it, he is deliberately taking it slow for his wife. “I cannot keep travelling to Chennai. I have to be here for her,” he often says.

Dhanalakshmi cannot stand being at home without his company. “I would head to the bank for something and she would call me in 20 minutes, asking me when I will be home,” he says. The other day, she gave him a list for grocery shopping and just as he was about to leave, said that she too wanted to come along. This is what 51 years of companionship does to you.

Tamil scholar and actor G Gnanasambandan and Amutha Sambandan

Madurai-based Tamil scholar, orator, and actor G Gnanasambandan has named his KK Nagar home ‘Amuthagam’, meaning ‘Amutha’s place’. Over the 42 years of their marriage, during which he steadily grew in popularity, writing books, acting in movies and travelling the world for talks and pattimandrams, Amutha has been by his side with her quiet strength.

“I didn’t even have a job then, but she agreed to marry me,” says the 71-year-old Gnanasambandan. He sometimes wonders why Amutha said yes to him. He was in his late 20s and yet to find his feet in Tamil literature when the two got married. She was 19 and went by her gut instinct and the trust she placed in her parents — theirs was an arranged marriage.

Tamil scholar and actor G Gnanasambandan and his wife Amutha Sambandan in Madurai.
| Photo Credit:
ASHOK R

Two children and four grandchildren later, he still remembers the day he first saw her. “I’d gone to her home in Dindigul in a horse-drawn cart with my father,” he recalls. Amutha was washing clothes in front of her home and rushed inside when she spotted her husband-to-be. For their wedding ceremony a few months later, Gnanasambandan had organised a photographer. “But he had just one film roll with him and ended up shooting my relatives in colour and hers in black-and-white,” he laughs. It was the photographer who initiated their first conversation.

“She asked me if I can get him to take photos of her and her parents,” he says. Amutha and Gnanasambandan have fond memories of picnics by the Vaigai with their children followed by a dip in the river. When he started working in the Thiagarajar College in Madurai, he would return home to Sholavandan by bus at around 9pm every day, to see his kids waiting for him by the front steps. “We would have dinner together as songs from the Mouna Ragam cassette played in the background,” he says.

G Gnanasambandan and his wife Amutha Sambandan on their wedding day
| Photo Credit:
Special arrangement

Once their children were a little older, Amutha got the opportunity to pursue her higher education. “I did my MA, BEd and MPhil,” she recalls adding that she too was drawn to Tamil. When Gnanasambandan started getting roles in Tamil films, Amutha would accompany him to film sets whenever she got the chance, and the two of them have travelled abroad together for several overseas events.

Gnanasambandan particularly remembers shooting for Bigil with actors Nayanthara and Vijay, in which he played her father. He had opted out of a talk in the US to be part of the movie and recalls actor Vijay joking to his wife during the shoot that he chose to act in a film with Nayanthara instead of offering a Tamil speech.

Gnanasambandan says that life does not always offer a rosy park for couples to take strolls and romance at. “There is a lot happening. We argue, then make up; one of the kids will have to be rushed to the emergency due to a sudden fall or sickness; we suffer health issues as we age…” he says, adding that in between all of that, love happens.

Air Commodore SK Jayarajan and Stella Jayarajan

SK Jayarajan with Stella on their wedding day
| Photo Credit:
JOTHI RAMALINGAM B

A sprightly Stella Jayarajan, 74, finds her way to the church of St Mary’s, Fort St George, with practised ease. Not surprising for someone who spent 37 years of her professional life working at the nearby multi-storey Namakkal Kavignar Maligai that houses the State Secretariat.

Air Commodore SK Jayarajan AVSM, VSM (retired), 80, Stella’s husband of 50 years, points to the arbor where they used to lunch on the rare occasions he dropped in at the fort. “Whenever I came down on leave, I dropped by to surprise her at work and we ended up having a quick ‘picnic’ lunch across the road under the trees,” says Jayarajan. Impromptu lunches have been their love language, even in the years when the vagaries of service kept them apart with each pursuing their own professional arc. Unusual for a couple who met as strangers and decided to wing it. 

Jayarajan, who was commissioned in the Indian Air Force in 1968, was introduced to Stella, an Assistant Section Officer, Department of Housing, on a visit home. Each remembers what the other was wearing — she, a yellow cutwork sari that still hangs in her wardrobe, he, a pair of checked double barrel pants. “Fits like a shot,” they say and laugh in unison referring to the ad line for the trousers. The meeting lasted a few minutes; the next time they met was at the altar. 

“I wasn’t keen on being a Forces’ wife,” says Stella. “I was painfully shy; not cut out for the social evenings and dinner nights. Also, the idea of leaving my job didn’t appeal to me. But I trusted that God knows best.” 

Air Commodore SK Jayarajan (retired) with Stella Jayarajan at St Mary’s Church, Fort St George, Chennai
| Photo Credit:
JOTHI RAMALINGAM B

With Jayarajan’s encouragement, Stella managed to walk the tightrope — staying back to work in Madras, where she had the support of her family, availing transfers where she could, and following the drum to wherever Jayarajan was posted. Across India — Delhi, Wellington, Allahabad, Faridabad, Bangalore, Jorhat, Nagpur and Chennai — Stella stepped in to fulfil her duties as a military wife whenever she could, a mother of two, and a working woman.

But it was Shillong that first stole her heart and cemented their marriage. “We moved there after our wedding, and in that period of leave I enrolled to do another degree at the university. His office hours were till 2pm. After classes I would reach the foot of the hill and wave out with my umbrella, and if he could see me from his office window he would quickly come and bear me away in his Vespa scooter for lunch. And it was in the languid afternoons, walking through the woods, collecting pine cones and driftwood [that now dots their home] that we discovered our likes, dislikes and interests. Home chores were shared — being the only South Indians, there was much batter to be ground to meet the demands of bachelor officers with a fondness for idli-dosa-vada. Some evenings were spent wrapping the vessel of batter in a blanket and placing it in front of the fireplace for it to ferment. Dusk came early in the East and we used to come back to hot tea and snacks that I had laid out on the table, and ABBA and Rafi on the two-in-one,” says Stella.

Later, Jayarajan went on to be among Loyola Institute of Business Administration’s first management graduates. “But there was always, always time for a picnic lunch on the weekends,” adds Jayarajan, who retired as the Air-Officer-Commanding, Air Force Station, Devlali. 

Stella admits that the breaks on and off from work resulted in the occasional professional upheaval in terms of benefits but says she would not have had it any other way. “It taught me to slip in and out of roles easily — I could take the bus to work like any working woman and also slip into the role of the unit’s first lady with ease. It taught me gratitude.”

Both agree that they are surprised that the decades have gone by pleasantly well. “I think there were no surprises because we had no expectations. We’ve had good bosses, great friends and family and some crazy adventures. We travel and meet people at least once a week,” says Jayarajan.

Stella, who retired as Additional Secretary to Government, says with a laugh, “We both have a list of qualities that annoys the other. But nothing that big that a picnic lunch can’t fix.” 

Alexander Flood, Australian drummer
| Photo Credit: Special Arrangement

The annual event organised by the Crafts Council of India, the Crafts Bazaar, moves from its erstwhile home, the Co-optex grounds at Egmore, and returns this year at a new venue. A one-stop destination for handcrafted textiles, jewellery, home furnishings, home décor and indigenous arts and crafts, the fair at The Mother Teresa Women’s Complex, Nungambakkam, brings together more than 60 artisans and weavers from across the country. Whether visitors wish to shop or explore India’s rich textile traditions and art forms, the bazaar offers an ideal platform.

Sanji Art
| Photo Credit:
Special Arrangement

Chairperson of CCI, Visalakshi Ramaswamy, says the fair is returning after a gap of two years due to the lack of a suitable venue. “We aim to popularise traditional art, crafts and textiles, and create a direct market for them without middlemen,” she says. “This year, several national award-winning artists and weavers will showcase their latest creations. The native arts of our nation will fascinate visitors, as will the richness of our textile heritage.”

Weaves of Benaras
| Photo Credit:
Special Arrangement

At the bazaar, shoppers can experience a display of creations made from earth, mud, stone, wood, leather, cotton, jute and paper. Art enthusiasts will have the opportunity to meet and interact with several artists present at the venue. National award-winning artists Kalyan Prasad Joshi and Anuj Joshi will present phad paintings from Rajasthan, while Shilp Guru will talk about his pichwai painting. Fifth-generation artist Akshya Kumar Bariki will showcase patachitra paintings from Odisha, and Venkat Raman Singh Shyam will present his Gond art creations from Madhya Pradesh.

water reed products  from Manipur
| Photo Credit:
Special Arrangement

The Crafts Bazaar highlights crafts that celebrate folk, classical, festive and Nature-based traditions. Handcrafted water reed products and black pottery (Longpi pottery) by Pamshangphi Ngasainao from Manipur will be featured. Gobindo Halder will present sholapith craft, an eco-friendly art from West Bengal made from the spongy core of the shola plant, while Mohan Verma will demonstrate the traditional sanji art of Uttar Pradesh.

Textile lovers will be spoilt for choice, as several national award-winning weavers launch their latest creations. These include Bhujodi weaves from Kutch by Vankar Poonam Arjun, Maheshwari weaves by Anas Ansari, bandini creations by Abdul Bashir Katri, ajrakh textiles from Gujarat by Mushtaq Khatri, Bhagalpur tussars from Bihar by Sushant Ranjan, Benarasi saris from Uttar Pradesh by Sumaiyyia Textiles,

Jewellery made from Adivasi beadwork, brass dhokra craft, patwa jewellery from Rajasthan, recycled materials, glass bangles and crochet will also be available at the stalls. In addition, blue pottery from Rajasthan, ceramic pottery from UP, grass mats from Pattamadai and Veeravanallur in Tamil Nadu, soof embroidery from Gujarat by Hemant Dohat, and Khurja pottery will be displayed.

For home décor enthusiasts, the bazaar will feature soft furnishings, metal, ceramic and wooden wall hangings with motifs inspired by Nature. Crafts Bazaar celebrates the creativity of artisans drawn from all parts of the country, including Shilpa Gurus, State Awardees and winners of many other prestigious honours.

The Crafts Council of India (CCI) is a volunteer-run, not-for-profit NGO working for the sustainable growth and development of India’s crafts and it’s craft artisans.

shola pith craft
| Photo Credit:
Special Arrangement

@The Mother Teresa Women’s Complex, Nungambakkam. February 13 to 17, 10.30am to 7pm. Entry is free. For details, call 98405 41456.

Published – February 05, 2026 01:22 pm IST

A Nutella heart @ Madam Chocolate

For some indulgent treats, Madam Chocolate’s range for V-Day brings hearts and chocolate together. The seasonal collection titled Love x Chocolate comprises a range of limited-edition desserts and bon bons. There is a chocolate truffle heart entremet with layers of dark chocolate ganache and chocolate almond sponge, a chocolate raspberry rose filled with raspberry lava, a teddy bear chocolate made with layered chocolate mousse, and a Nutella heart that comes with layers of chocolate sponge layered with Nutella. They also offer a chocolate box featuring bonbons in flavours of strawberry, caramel, hazelnut, and Belgian truffle, alongside a chocolate teddy. 

Across all Madam Chocolate outlets in the city and online

Loco Lane
| Photo Credit:
SHAMANTH PATIL J

Anti V-Day @ Loco Lane

Want to stay away from the flowers and chocolates and nauseating PDA? Loco Lane has ‘cancelled’ Valentine’s Day and is hosting a day of high-energy games and comedy shows for singles, squads, and large groups. On offer are bowling group challenges, shuffleboard, darts, etc. At the Roast Session, there will be one opening act and one main act that will bring ‘sharp humour, unapologetic takes on love, dating, and modern relationships’; anti-Valentine’s pub quizzes, and more.

Ahead of Valentine’s Day, looking at how a 12th‑century poem continues to evoke the many shades of love

The food menu comprises Cupid’s missed shot potatoes, vodka over Valentine spaghetti, unbothered truffle pide, among others. The cocktail menu features Soft Blocked with vodka, watermelon, kaffir lime; No Feelings Attached, a layered gin and tonic with coffee, vanilla, and apple shrub; Smoke Without Mirrors featuring rosemary-smoked whiskey with grape and vinegar notes; Cold Shoulder with cucumber and tequila.

On February 14 at Residency Road, Ashok Nagar

A dish at Oterra
| Photo Credit:
Special Arrangement

Poolside dinner @ The Oterra Hotel 

Looking at going all out? Here, you have options to dine by the pool, under the stars or indulge in a buffet. Each signature venue will feature live acoustic music, takeaway gifts for every couple, and more. Guests can opt for a dinner buffet at 24@43, or head to Ahara for a  Valentine’s Day four-course curated Indian set menu for couples with a glass of wine. At Alloro, there is an Italian set menu on offer and at East, a pan-Asian menu awaits guests. At the poolside, there is a five-course curated set menu for diners with a bottle of sparkling wine, takeaway gifts and live music.

On February 14 at Electronic City, Bengaluru

A dish at Shiro
| Photo Credit:
Special Arrangement

Limited-edition treats @ Shiro

Inspired by Wong Kar-Wai’s 2000 film In the Mood for Love, this pan-Asian restaurant is offering a limited-edition three-course set menu for Valentine’s week. Kickstart the meal with shareable small plates such as miso caramel macadamia maki, spicy tuna avocado cones, and Vietnamese jumbo prawns. Mains include velvet boursin udon, silky noodles paired with creamy cheese and a choice of prawns or tofu; chilli miso ember grill featuring lamb chops or tenderloin; heart of Thai that has grilled salmon or tofu paired with a smoky, citrus-forward tom yum fried rice, etc. For dessert, there is a raspberry chocolate mousse cake and a sticky toffee pudding.

Until February 15 at UB City

A dessert at Maize and Malt
| Photo Credit:
Don Jose

Special cocktail menu @ Maize and Malt 

Comfort classics and cocktails get a V-Day twist at this craft brewery. Highlights from the beverage section include In Between Us  a floral, smoky gin cocktail, and Heartstrings, a bittersweet vodka and strawberry blend, among others. As for the food, the menu includes appetisers like love in every fold, delicate potstickers; rosy paneer affair, featuring smoky tandoori paneer on toasted sourdough; honey-kissed harissa prawn.

The mains include velvet kofta gnocchi; pasta la romance with butter chicken-filled pasta parcels; hooked on you, a char-grilled fish served with Thai red curry and jasmine rice; to name a few. Dessert includes lavender kisses, a lavender-infused panna cotta paired with poached pear; and the ruby romance mousse made with pink ruby chocolate.

Until February 14 at 4th Cross Rd, near Whitefield, Krishnarajapuram

A dish at Circa 11
| Photo Credit:
Special Arrangement

Art and more @ Circa 11 

The dining room and cocktail bar has launched All Strings Attached, a ‘site-specific art installation combined with a dining experience’. The multi-course menu features a range of options: a smoked big red tomato paired with fresh cherry tomatoes, bocconcini, and consommé; tonnato layered with capers, pickled onions, and crisp potato chips; a coffee-salt baked disco pumpkin; grilled tiger prawns finished with prawn butter; bucatini in a corn and truffle sauce; or braised lamb agnolotti served with chicken jus and peas. For dessert, choose between a chocolate pavé with mascarpone-stuffed strawberry or a strawberry mousse entremet layered with sablé, sorbet, and strawberry leather.

From February 13 to 15 at 12th Main Road, Indiranagar

A dessert at Radisson Blu Hotel ORR
| Photo Credit:
Special Arrangement

Spoilt for choice @ Radisson Blu Hotel ORR

Here, choose from three very different dining experiences to celebrate your loved one. At Shao, couples are invited to indulge in a seven-course pan-Asian meal with dishes such as spinach tempura togarashi, chilli chicken bao, crispy konjee lamb with tub tim grob, etc. if you are in the mood for Indian, Saffron’s menu spotlights North West Frontier classics such as chenne ki chaat, activated charcoal broccoli ke kebab, murgh dhaniya korma, nalli rogan josh, etc. 

On February 14 at Outer Ring Road, Marathahalli 

A cocktail at Tropika Brewing Co. 
| Photo Credit:
Special Arrangement

Not just brews @ Tropika Brewing Co. 

The specially curated Valentine’s cocktail menu here is ‘designed to stir the senses’. Signature cocktails include Love in Dark, a bold blend of whiskey, red guava; Night Berry Kiss brings together jamun, summer berries, gin, and sparkling wine; Oddly in Love features a floral vodka and rose syrup cocktail topped with bubbles and petals; whereas Chill My Heart is a tropical mix of rum, guava, rose, and lime.

The food menu features a Pink Love Salad featuring roasted beetroot, feta, and pecans; Meat Me Chickri with grilled chicken, strawberries, and citrus. Other highlights include chicken tikka and strawberry salsa bruschetta, prawn cocktail, beetroot makhani with vegetable pulao, pasta rossa, roasted chicken with plum chilli. For dessert, choose from double heart Valentine cupcakes, hugs in mugs with chocolate and berries, etc. 

Until February 15 at Marathahalli

A dish at Kalpaney
| Photo Credit:
Special Arrangement

Vegetarian feast @ Kalpaney

Here, a limited-edition vegetarian tasting menu has been designed to include familiar favourites and new experiences. Highlights include Love at First Roll, a creamy beetroot rice roll with avocado and cheese; Beetroot on My Mind, a spiced beet patty balanced with sweet yoghurt and pomegranate; Choux Made for Two features molten cheese-filled savoury choux; Olive You Forever combines kalamata olives, melanzane, and parmesan shavings; Kulcha Be Mine is a sun-dried tomato and mozzarella tandoor bake. Sweet treats include Berry Much in Love, a raspberry confit and vanilla rose mousse, and more.

On February 14 at At 100 Feet Ring Road, J P Nagar Phase 5

There is a nip in the air as the sun readies for a slow reveal of lush green paddy fields with a tree house in the middle, egrets out for a stroll, an old-world tea shop brimming with early morning customers, and a few elderly women getting ready for the day’s work as a soulful devotional coming from the loudspeaker at the temple gives the perfect background score.

This picture-perfect scene unfolding before me is just another regular day at Pirappamankad, 25 kilometres away from Thiruvananthapuram city. As you soak in the natural beauty of Pirappamankad, you know why this sleepy village in Mudakkal Panchayat is now a sought-after tourism spot in the district, with people flocking here on weekends and holidays.

Morning view at Pirappamankad
| Photo Credit:
SREEJITH R KUMAR

All that Pirappamankad has are vast expanses of paddy fields on either side of a tarred road, the tree house and a check dam. Over the last one year or so, however, that has been enough for the social media-savvy crowd to make a beeline for the spot to shoot videos and make reels/shorts. Its popularity peaked last Onam.

Pirappamankad owes its fame to the people who worked to reclaim paddy fields that had been unattended and overgrown for over two decades. Today this village stands as a fine example for how community farming can bring a change for the better.

Leading from the front is Pirappamankad Padashekhara Samithi, a collective that has been making efforts to revive paddy farming. “People stayed away from cultivation for want of profit. Shortage of labour also hit them hard,” says Sabu VR, a farmer and president of the Padasekhara Samithi.

Members of Pirappamankad Padashekhara Samithi
| Photo Credit:
SREEJITH R KUMAR

The result was that acres of land became breeding grounds for snakes, Sabu says. “Drug peddling was common and anti-social elements had a field day. Someone was murdered near a field a few years ago. We needed a change but it was not easy to return to farming since not everyone was enthused by the idea. It took several meetings and discussions to convince many.”

Sabu adds, “Challenges were many when we started afresh. Most of us didn’t even know the boundaries of our fields.”

The cultivated area has increased from 15 hectares in 2022-23 to 24.5 hectares in 2024-25. The production rose from 4.7 tonnes to 6.7 tonnes, with a sizable quantity being sold to Kerala State Civil Supplies Corporation.

Of the 100-plus individuals who are cultivating here, a majority are those who have leased the plots to individuals, organisations, educational institutions and cooperative societies. At least eight schools are carrying out farming here. They use the produce for noon meals or sell it on their campuses.

“The best part is people have joined hands irrespective of their political and religious differences,” Sabu adds. And this has been made possible through Pirappamankad Souhrida Sangham, a collective whose members are from different spheres of society. “When cultivation was restarted, we realised that the Samithi alone won’t be able to carry out all activities related to farming. So we brought together people from all walks of life – politicians, cultural activists, retired hands, religious leaders etc to join the cause and thus the Sangham was formed,” says Ratheesh Raveendran, chairman of the Sangham, which has over 600 members.

Sabu VR, farmer and president of Pirappamankad Padasekhara Samithi
| Photo Credit:
SREEJITH R KUMAR

The Sangham was to organise cultural activities and draw people’s attention to Pirappamankad. The first activity was the construction of the tree house. Initially made of wood, it was later converted into a structure made of iron, thatched with coconut fronds. “We spread word about the tree house through social media and that clicked. That was followed by a series of activities based around the paddy field,” says Ratheesh.

Among them was vayal imbam (planting 101 oleander plants on the roadside), vayal nadatham (morning walk through the field), vayal sadya (grand feast by the field), vayal Iftar (breaking the Ramzan fast on the premises of Sree Bhoothanathan Kavu temple located near the field), putting up a 36-foot-tall Santa during Christmas and many more activities. The Chettulsavam (bullock race) held in December 2024 with participation from across Kerala was a major event.

Check dam at Pirappamankad
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SREEJITH R KUMAR

“Recently we opened membership for Vayal Sena, an initiative to provide employment opportunities for labourers. This will ensure that there are enough hands to work on the fields,” Sabu says.

Another centre of attraction here is the checkdam built over Mamam river from which the water is used to irrigate the fields. A viewpoint has been built for a glimpse of the dam, which was built in 1894. Visitors are fascinated by the engineering behind the dam.

“We were not prepared for the huge crowd that turned up during Onam,” Sabu says. “A flower field with marigold and other flowers was a huge draw. But more has to be done in terms of the infrastructure for which we need support from the administration. The Panchayat has been supportive so far.”

Funds have been earmarked to build a paddy procurement centre, an office for the Samithi, and a toilet among other things, says Sabu. “We have also proposed for a Gramavandi, a KSRTC (Kerala State Road Transport Corporation) service for people to explore the area.”

Paddy field and the tree house at Pirappamankad 
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SREEJITH R KUMAR

According to Ratheesh, there are plans for a children’s park and open gym. Street lamps have already been installed. “We were particular about having no overhead electric lines while installing the lamps and that has been ensured,” Sabu says.

They also hope to popularise the vazhiyambalam, the road-side resting place of yore built in stone, which is a few kilometres away from the paddy field.

The current crop will be harvested by the end of March. Till then they expect a steady stream of visitors. Meanwhile, plans are on to expand the cultivation.

How to reach

On Thiruvananthapuram-Attingal route, take a right from Pathinettam Mile Junction. Or follow Google map by typing Pirappamankad Padashekharam.

Published – February 11, 2026 10:09 am IST

An arresting narrative of everything, something, and nothing (not necessarily in that same order) invites viewers at Mumbai’s Institute of Contemporary Indian Art (ICIA) Gallery into a fascinatingly off-kilter series of 10 artworks by contemporary artist Suryakant Lokhande. The solo exhibition, titled #EveryDayIsCheatDay, by AstaGuru Auction House and ICIA, contextualises the thematic undertone of Samuel Beckett’s absurdist play Waiting for Godot through a visual grammar that is striking, nostalgic, colourful, and animated.

Dunking The Diamond; 48 x 36 in (122 x 91.4 cm); High-gloss oil on canvas 2024
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Using Disney characters — from Uncle Scrooge to Mickey Mouse — Suryakant stages an illusion of allure that pulls viewers back to the 6pm Disney Hour, a dopamine-rich television staple of millennial childhood. What initially appears almost therapeutic — a reminder of good times — slowly mutates into a guilty pleasure (think screen time stretching past homework and sleep deadlines), before metamorphosing into a garish carousel of desire and aspiration. The works evoke ticketed rollercoaster rides at Disneyland, privileges contingent on travel visas and a solid bank balance. An inner dialogue unfolds as the viewer engages with the aesthetics on display.

Field Observation; 60 x 60 in (152.4 x 152.4 cm); High-gloss oil on canvas 2024
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In one artwork, Uncle Scrooge and his three grandnephews — Huey, Dewey, and Louie — are shown measuring wealth. In another, they are clad in safari suits, navigating jungles inhabited by elephants and tigers. Elsewhere, a treasure chest appears with Donald Duck, Mickey Mouse, and Goofy at the forefront.

The Treasure Chest; 48 x 60 in (122 x 152.4 cm) High-gloss oil on canvas 2024
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Suryakant draws from Beckett’s existential pause and transposes it into the era of scrolling, consumption, and dopamine. “Godot, representative of a belief system or superior knowledge, has been replaced by the algorithm. Waiting is no longer still or boring; it is noisy, colourful, and endlessly entertaining. Disney characters represent global childhood nostalgia and mass-produced fantasy. I use cartoon-like figures not to reference specific characters but to evoke a shared visual memory. They become symbolic figures — innocent on the surface, yet placed within scenarios of indulgence and absurdity, reflecting how fantasy and consumption merge today,” he says of the works produced between 2022 and 2025, during a period of close observation of everyday indulgence, repetition, and contemporary social behaviour.

Detached from their original narratives, these cartoon characters function as cultural masks. Abundance in Suryakant’s works is not presented as achievement but as atmosphere — of excess, indulgence, tragedy, and comedy. The figures remain perpetually engaged — collecting, posing, resting, celebrating — yet their actions feel suspended in repetition, recalling Albert Camus’s The Myth of Sisyphus, in which meaning and consciousness emerge as Sisyphus descends the hill to retrieve his rock.

Rooftop Reverie; 60 x 48 in (152.4 x 122 cm) High-gloss oil on canvas 2024
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In Suryakant’s works, this looping theatricality suggests a quiet tension between activity and stasis, spectacle and emptiness. Rather than offering overt critique, the artist mirrors the logic of contemporary consumption back to the viewer through exaggeration and visual excess.

“I primarily use industrial enamel paint on canvas, sometimes combined with metallic pigments and mixed media. The shiny, polished surface mimics the artificial gloss of advertising and luxury culture. The visual language relies on bright colours, repetition, cartoon imagery, and exaggerated surfaces. These elements mirror the language of advertising and entertainment, where desire is amplified and constantly repeated. The compositions appear playful but are structured to suggest overload, stagnation, and saturation,” he adds.

Staging Power; 48 x 36 in (152.4 x 122 cm) High-gloss oil on canvas 2024
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#EveryDayIsCheatDay ultimately presents modern life as a stage on which pleasure is endlessly rehearsed — abundant, performative, and quietly unresolved. The artworks prove that meaning in the absurd is not elusive; it merely refuses to perform for philistines.

Artworks, priced upwards of ₹3 lakh, will be on display at the ICIA Gallery from February 9 to 14.

Published – February 10, 2026 09:55 pm IST

At Jaipur’s Diggi palace, the high ceiling of the durbar room, the serene lawns and the calm poolside play quiet witness to all the hustle; of fashion choreographers dispensing instructions, models awaiting their turn, or lounging on the seats being readied for the evening’s shows, and designers darting between the ramp and the green rooms.

JJ Valaya’s collection for India Men’s Weekend
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For the Fashion Design Council of India (FDCI), this is the fourth year of bringing designers from across the country who are pushing boundaries and expanding the vocabulary of menswear as a part of House of Glenfiddich presents FDCI India Men’s Weekend. JJ Valaya, Ashish N Soni, Abraham and Thakore, Rajesh Pratap Singh, Inca, Mr Ajay Kumar, Son Of A Noble Snob, Vivek Karunakaran, Dhruv Vaish, Sahil Aneja, Antar Agni, Felix Bendish and more were a part of the line up this year; a mix of celebrated designers and emerging talent. 

Nitin Bal Chauhan’s line inspired by the tale of Gugga from Chamba
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This year, the drama extended beyond flowy silhouettes, power shoulders and glittering embellishments, as the ramp became a stage for performance art, storytelling, and impeccably curated music. If Nitin Bal Chauhan’s collection which drew inspiration from the folk tale of Gugga from the Chamba region had models in masks walk to roars and drum beats, Varun Dagar brought his fluid moves to ‘Zombie’ by The Cranberries at Rajesh Pratap Singh’s sombre, reflective show. 

Relaxed shirts, wraparound dhotis, soft jackets and more in earthy tones made up Ashish N Soni’s contemporary menswear showcase
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Sunil Sethi, president, FDCI, emphasises on their commitment to present diverse contemporary menswear from 23 established and emerging designers. “I am just lucky that men’s fashion is all over the country, with designers from across cities being able to showcase here, as well as different choreographers working on the shows,” he says.

We bring you the highlights from the shows, and meet the designers for the low-down on what you should be adding to your closet this year. 

Countrymade by Sushant Abrol

‘Nostalgic Utility’ is how Sushant Abrol describes Foundry, his latest collection. A card describing his intriguing and inventive collection comes with Foundry Object No.01, a metal motif from a jerry can that holds fuel for military jeeps, that Sushant wants us to hold, remove and rotate. 

From Foundry, by Sushant Abrol
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“A foundry is a place where you melt metal, reshape and remould it. For us, this object symbolises the brand’s journey wherein it fuels the everyday expeditions you take in life,” he says. 

Taking cues from workwear and adding tactile elements to make the clothes more interactive; to touch and discover, Foundry has chore jackets, truckers, bomber jackets, and soft blazers. The denims come with hickory stripes crafted using the brand’s signature French knots, embroidery on jackets that represents metal melting, and ikat used to represent a heat map of temperatures in a foundry through ochres, reds and blues. “We come from a land of rich cultural heritage and at the same time, as a brand, I feel it is my responsibility to reprogramme these crafts,” says Sushant. The foundry’s aesthetic extends to the accessories as well, and models walk by holding metal tool boxes and welder’s masks.

Foundry represents the journey of Sushant Abrol’s Countrymade, and stands for Nostalgic Utility
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On the ramp, the colours travel; from blues to ochres, reds and whites, and then greens before finally ending with browns and ash. “The heat has simmered down and the outcome isn’t about the object that has been made in a foundry, but the journey itself,” Sushant adds. 

Abraham & Thakore

The designer duo’s collection, Sartorial Sarongs, makes a literal splash, opening with two models emerging from a swimming pool. The robes they wear soon give way to lungis and mundus, an everyday garment across the country, re-imagined in a classy black and white colour palette with circular motifs, pinstripes, line prints, quirky paperclip motifs as well as a nod to Jaipur with Hawa Mahal featuring on the garments as well. A rolled up newspaper in the hand, is a casual accessory here on the ramp.

Saratorial Sarongs puts a spin on the everyday lungis and mundus
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“Lungis and mundus can be a very elegant substitute for trouser dressing. I also like the political implication of it because it sort of questions colonial attitudes and how we have been indoctrinated to believe there is only one correct way to dress,” says David Abraham. 

With drawstrings, belt loops and pockets, the sarong here is for all occasions, and the collection features jazzed up versions as well. Parties and weddings this year are hopefully going to see quite a bit of the sequinned mundus in black, and a showstopping gold, crushed silk shirt and mundu set.  

Vivek Karunakaran

The unmistakable beats of ‘Kannodu Kanbadhellam’ from Jeans makes the audience sit up even before Vivek Karunakaran’s showcase begins. For the designer, Thangam, his latest collection is a continuation of Idam, his last collection which he considers a celebration and a movement. “We fearlessly represented who we are and our roots. If Idam was a book, Thangam is now one of its chapters,” he says. 

Silks and understated opulence from Vivek Karunakaran’s Thangam
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True to its name, Thangam shimmers as models step onto the runway wearing veshtis, waistcoats, flowy pants and bandhgalas in Kanjeevarams, raw silks, tussars and organza. “The gold here is quiet and not in-your-face, we have played around with the element as well and it is crushed, textured and in organic lines,” Vivek says. Not limiting the colour palette here to creams and an organza gold, Vivek has the models don rich jewel-toned reds and pinks, subtle maroons and blacks. While flowy pants in gold match up effortlessly with a kurta and a soft blazer, panchakachams and angavastharams pair just as well with bandhgala-style open jackets, all on the ramp as strains of ‘Ponmagal vandhal’ play.

Vivek Karunakaran, at the showcase
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Vivek also shares a personal connection to the collection — his mother’s name is Thangam. “For me, it was important to move away from viewing gold simply as ornamentation and instead see it as a language of love. For generations, gold has been treasured and passed down, holding deep emotional significance within families,” he adds.

Inca

“I work with craft on a very basic level. My attempt is to make it a part of your daily life and not reserve it for special occasions,” says Amit Hansraj of Inca. 

Flowy silhouettes from Amit Hansraj’s Inca
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In flowy pants, dhotis, short kurtas, jackets and shirts, Amit’s collection at the India Men’s Weekend with bandhani and shibori influences popped on the runway in glossy browns, buttery ochres and bright blues. “My collection traces the journey of a dot, as it expands and shifts in shape. We start with the minute bandhani dots, and slowly branch out into bolder shibori prints; much like how you put an ink blot on a drop of water,” Amit explains. 

Flowy dhoties come paired with short, sharply tailored kurtas and shirts layered on with jackets. The accessories here; chunky necklaces and a blue fringe bag with shibori work also makes heads turn.  “I design a bunch of separates and put it all together, so it looks interesting, cohesive and unique in its own way,” Amit says. 

Siddartha Tytler

Siddartha Tytler’s Miraas spotlights a reimagining of the Parsi gara threadwork
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The runway is illuminated in stripes of light for Siddartha Tytler’s showcase and in the spotlight is Parsi gara thread work, reimagined in his collection Miraas. “It is such a beautiful culture and tradition, with such intricate and beautiful work which you do not see very often now. We have modernised and attempted to bring it back in the open,” the designer says. 

Sharply tailored black-and-white kurtas and achkans in silk organza and raw silk feature intricate threadwork, elevated with mirror work and appliqué that glints under the lights as models take over the runway to a remix of Britney Spears’ ‘Toxic’. The show’s brisk pace does not detract from the details; the striking thread work executed by a team of artisans in-house who will also be working on future collections, is exquisitely detailed. 

“A general rule is, if you want to get noticed, come to me,” Siddartha laughs.

Nikita Mhaisalkar 

Nikita Mhaisalkar did not have to look further than her hometown of Sidhpur in Gujarat, with its Victorian havelis, pastel colours and migratory birds for inspiration for her newest collection, Nostalgia. “Not many people know about the town’s beautiful havelis, which do not look like a part of India. I wanted to work around this aesthetic, the vibe, and its pastel colours,” she says. 

Nikita Mhaisalkar’s collection inspired by her hometown of Sidhpur
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Fluid and yet sharp, well-cut garments that Nikita describes as “very French, very Victorian and very smooth”, with couture embroidery inspired by the motifs and carvings from the havelis make up Nostalgia. Models strut down the runway in the evening light, with suit sets, flowy shirts and pants and feathery neckties in pastels accentuated with cameo brooches, which Nikita has an interesting sourcing story for as well.

Confectionery pastels make up Nikita’s collection
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“I met someone in Sidhpur who collects these brooches which are extremely old. They were kind enough to lend it to me for the show,” she says. She brings Sidhpur’s whimsy to her showstopper outfit, a sharply-tailored pinstripe suit in forest green worn with a feathered necktie and a collection of brooches.  

Til by Ankur Verma

In beige, earthy greens and browns and pops of bright orange, Til by Ankur Verma’s latest collection Breathe plays around with handwork and textures while keeping the brand’s zero-waste, sustainable philosophy in the forefront. 

Textures and intricate work define Ankur Verma’s collection, Breathe
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A textured, drop-shoulder jacket in beige, the first garment in the showcase on the runway, is a piece so rich in texture that you wish you could examine it closer to admire the craft that has gone in. This piece, Ankur says, has been completely made of upcycled material. 

“My brand is inspired by skin textures and I wanted to do something creative. From wrinkles, freckles and moles, everything takes shape here on the garment through applique work, embroidery, and raffla work,” Ankur says. 

From Breathe, by Ankur Verma’s Til
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Relaxed fits, soft long jackets, hoodies, capes, shrugs and kurtas feature in the collection, versatile pieces which Ankur says can be styled separately, layered, worn over denims, or with scarves and stoles added as one wishes. 

Son Of A Noble Snob

Mani Shanker Singh of Son Of A Noble Snob says he loves challenging norms. “Why should a summer palette only have certain colours?” he asks. His collection Contra, fuses military, sport and grunge, in silk, Chanderis and linens, with Japanese influences and also features hand embroidery like his previous collections. 

Military, grunge and sport come together for Contra
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With camouflage print kurtas, epaulettes, sharp collars and front pockets, as well as flowy pants in greens, browns, charcoal and black taking over the ramp, Mani says that his focus is on modern, hip global aesthetics, but while retaining a bit of Indianness at the same time. 

From Contra, by Son Of A Noble Snob
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“I feel like so many cultures and trends are getting blurred, and coming together. Contra as well, wants to bring this all together and make it seamless. With everything happening in the world, I think as an artist and a fashion designer, it is our responsibility to do this,” Mani says.