Life & Style

Actress Malavika Mohanan
| Photo Credit: Johan Sathyadas

A framed picture of a sassy calico cat occupies the pride of place at the newly opened Jin Min Cat World, an interactive learning space in Mysuru that focuses on feline awareness and responsible pet care.

“That is Coco,” says Sharath BS, the founder of Jin Min Cat World, who is offering me a virtual tour of this space that he refers to as a cat museum and an outdoor amusement park, “for the amusement of cats, not humans.”

It was Coco’s death, after she escaped from a window and got into a terrible road accident, back in 2024, that nudged him to begin the museum in the first place. “I wanted more people to gain awareness about cats,” he says, offering me glimpses of signboards and artefacts in the museum that are geared towards doing exactly that.

The musuem has a diverse array of cat artefacts and art
| Photo Credit:
Special Arrangement

In one section of the museum, Egyptian figurines of cats rub shoulders with animated feline characters such as Tom from Tom and Jerry, and Japanese manga character Doraemon, while another part of the museum offers a diverse array of artwork featuring cats.

Sharath also shows me the information section, with large boards offering relevant information about cats, starting from the basics of what exactly a cat is to details on the feline vision, how to read the animal’s body language, when to take your cat to the vet, types of cat fur and even a detailed section devoted to the various cat breeds in the world.

“Like dogs, there are multiple breeds of cats, at least 40-50, but people don’t know about this,” he says, adding, that Jin Min does not promote any particular breed. “I am just giving them awareness that there are so many breeds around the world. I love indie cats and have had them for decades.”

Animated cat characters are also part of the musuem
| Photo Credit:
Special Arrangement

Jin Min Cat World, located on the Nanjangud-Ooty Road, Kille Mohalla, is fairly close to Mysuru’s star attraction, the Palace, and is home to around 20 cats of different breeds, including many indies.

“Our cats are all adopted,” says Sharath, walking out to a huge open space behind the museum, where many of these cats, including a fluffy Ragdoll and a spry, skittish Bengal, are sunning themselves in a narrow catio, pointedly ignoring the various museum visitors who are watching them.

Sharath BS hopes to raise awareness about cats through this musuem
| Photo Credit:
Special Arrangement

This catio, connected to several others through a labyrinth of cat tunnels, eventually leads to a larger 1,000 sq ft enclosed area in the building, filled with cat enrichment objects including cat trees, scratch posts, and shelves, with mandatory items such as food and water bowls and litter trays. “This way, they can go out and come in whenever they like,” he says.

These interconnected catios, made of one-by-one mesh, which Sharath has designed and planned, allow cats to enjoy the outside world while insulating them from external threats.

Sharath, spent many hours trawling the internet to understand how people in other countries build catios, a little-known concept in India. “This way the cat gets some privacy,” he says, pointing out that while anyone is welcome to visit the cat museum, they cannot just go and touch a cat without permission. “We do oblige on request.”

Sharath, who has used his personal savings to create this space, intends to fund day-to-day operations through ticket sales: entry to Jin Min Cat World costs ₹69 for children below 10 and ₹99 for all other visitors. “This will be sufficient for us to maintain salaries, rent, housekeeping expenses, veterinary charges, and food.”

Before adopting cats, it is important to know some basic things about them, says Sharath
| Photo Credit:
Special Arrangement

So far, he adds, the response has been excellent, with many visitors flocking to this space, the first of its kind in India, though Istanbul in Turkey and Shizuoka in Japan already have cat museums.

“Since Mysuru is a tourist city, lakhs of tourists visit,” says Sharath, who believes that since the city draws both these floating tourists and has interested locals, it is an ideal place to educate people and build a larger cat community. “I just want more people to be more aware of cats and their lifestyle. If you want to adopt a cat, you should know these basic things.”

Published – February 09, 2026 12:38 pm IST

As electric ovens and OTGs take over modern kitchens, a small bakery in Madurai continues to work amid heat, fire and instinct. At Sri Muthu Eshwaran Bakery and Sweets, the day begins with the stoking of a masonry oven, where glowing embers replace timers, and the aroma of baking bread fills the narrow street. Without preset controls for crispness or softness, every batch is judged by skill, experience and by a belief that this traditional method imparts a flavour no modern appliance can match.

Standing before the glowing big brick oven, M Sakthivel, one of the owners, deftly places marinated buns, bread and puffs inside using a long-handled shovel. He works without safety gloves, relying on experience honed over decades in the heat. Within minutes of the shaped dough going into the oven, a warm, familiar aroma begins to spread through the bakery.

Speaking about the use of the brick oven, Sakthivel says it requires a distinct skill, developed through experience. The bakery, he notes, has been functioning for 54 years. “My father, K Mariyappan, started it. I learnt by observing and assisting him, and today my brother and I run the shop,” he says.

Hot puffs baked inside the brick oven in a bakery in Madurai.
| Photo Credit:
G. MOORTHY

Every bakery item is made in-house — puffs, bread, macaroons, cookies and cakes —each requiring a different baking time. “For instance, puffs usually take about 20 minutes, but this depends on the outside temperature. If it is cooler outside, they take longer to bake.” He adds that not only the timing, but even the embers have to be adjusted for each product. Explaining the oven’s capacity, he says up to 200 puffs can be baked at the same time in the brick oven.

Comparing the brick oven with modern electric methods, Sakthivel says, “Though most people are moving towards electric and easy cooking, we are used to this traditional style. It also gives better quality and taste, so we continue to bake this way.”

One of their most popular offerings is the cookie.

“What we now call cookies were known as juice berry biscuits then,” he says. “ Made from dough, sugar, flour, butter, baking powder and flavours of our choice, they were baked for 10 to 15 minutes in our brick oven.”

Speaking about items that demand longer baking, Sakthivel says that bread takes nearly 30 minutes. “The slow baking gives them a soft texture and enhances the flavour,” he adds.

Sakthivel is placing puff dough in the old brick oven in his bakery in Madurai.
| Photo Credit:
G. MOORTHY

The flames in the brick oven are kept burning round the clock, lending warmth to the bakery. At closing time, the embers are reduced and their lingering heat is used to bake the day’s bread into rusks, crisp and golden.

“Once the shop opens, the rusks are ready — hot and crisp — and we then start preparing the macaroons, increasing the heat of the brick oven,” he adds.

Stack of hot baked puffs at Sri Muthu Eshwaran Bakery and Sweets in Madurai.
| Photo Credit:
S. Deiva Abirami

When asked about sales in the early days, he says, “In the evenings, we packed the goods in boxes and carried them on a bicycle through the streets, selling them fresh and warm. It was a simple routine, and each item cost between five and ten paise.”

S Ramasamy, a retired teacher, recalls buying coconut and vegetable puffs from their father’s bicycle in the evenings. “The buns and puffs were warm and fresh. It felt like a small treat every day after coming home from school.” Aarav, a college students came to know about the bakery through a relative, and it has now become his favourite shop

Stack of cream buns at Sri Muthu Eshwaran Bakery and Sweets in Madurai.
| Photo Credit:
S. Deiva Abirami

Fresh cream cakes arranged at Sri Muthu Eshwaran Bakery and Sweets in Madurai.
| Photo Credit:
S. Deiva Abirami

“The taste is unique, and the bakery is very clean. You can really tell the products are made with care.”

Some traditions remain unchanged, offering comfort and authenticity — like the brick oven glowing for 54 years at Sri Muthu Eshwaran Bakery and Sweets.

Located at 2/18, Raja Mill Rd, Madurai Main, Madurai, Poondhotam

Published – February 08, 2026 08:03 pm IST

Actress Malavika Mohanan
| Photo Credit: Johan Sathyadas

Aashit Verma

As Indians, many of us have grown up aspiring for the prestige of owning a fancy car. Yet, ask almost anyone enduring the daily grind on our city roads, and the sentiment is likely universal: dread. The daily commute, whether to work or a weekend outing, has become synonymous with soul-draining congestion and depleting productive hours that could otherwise be spent with family or focused on work. This widespread frustration, born from endless brake-paddle toggling in traffic, is reshaping our urban landscapes.

Indian cities are organically evolving into ‘mini pocket cities,’ where essential amenities such as malls, offices, and high streets are clustering within a 5 km radius of major residential zones. This decentralisation is a direct response to the long commute, inadvertently highlighting an overlooked opportunity in urban mobility.

According to the World Bank’s insightful report ‘Investing for momentum in active mobility’, a significant portion of urban travel in India is short distance: 35% of trips are under 3 km, and 50% are under 10 km. This data reveals a compelling truth: at least 35% of these trips could potentially be offloaded from congested roads if our cities prioritised and properly developed pedestrian infrastructure. Astonishingly, the financial case for footpaths is compelling. The cost of constructing a well-designed footpath, complete with proper width, barricades, and level surfaces, is approximately ₹10 lakh per km. Compare this to an average of ₹10 crore per km for a modern road, and you quickly realise footpaths are roughly 100 times more cost-effective.

While footpaths alone cannot entirely resolve India’s formidable traffic challenges or unlock all economic benefits, they represent a foundational requirement that can no longer be overlooked in the journey towards decongestion. Their impact multiplies exponentially when paired with robust public transport systems such as metro networks and efficient feeder buses, which together can significantly reduce reliance on private vehicles and make urban travel more predictable and manageable.

To truly grasp the potential of walkable cities and how Indian urban planning can strategically leverage its unique evolution, it’s beneficial to examine how international metros encourage and utilise walking. Understanding these diverse contexts can illuminate practical lessons for our ‘mini pocket cities.’

Lessons from global metros

Examining global cities provides valuable context. Across cities worldwide, the share of trips made on foot varies widely, shaped by density, design, and climate. In Hong Kong, where extreme density, integrated skywalks, and a rail-first planning model dominate, walking accounts for an estimated 30%–40% of all trips, while Tokyo follows at around 20%–30%, supported by rail dominance and consistently safe sidewalks. London, with its walkable core and congestion charges, sees roughly 20%–25% of trips made on foot, and Copenhagen records about 15%–20%, reflecting its compact urban form and strong walking and cycling culture. By contrast, Singapore’s walking share remains much lower, at about 5%–8%, largely constrained by its tropical climate.

The key takeaway for Indian cities is profound. Unlike many global metros, where density primarily drives walking, in our country, strategic walking paths paired with public transport can drastically reduce reliance on private cars within localised pockets.

This isn’t merely about easing traffic; it holds immense potential for economic revitalization. Imagine business districts such as tech parks, office properties, malls, and shopping streets becoming far more accessible. This increased accessibility can directly translate into significantly higher commercial output and vibrancy across all urban pockets.

Holistic sustainability

Beyond the economic advantages, footpaths champion holistic sustainability. As a zero-carbon mode of transport, they directly contribute to mitigating air pollution and reducing the carbon footprint of our cities. Furthermore, a walkable urban environment has a deep, positive impact on the health and well-being of citizens, encouraging physical activity and fostering a more engaged public realm.

Footpaths unequivocally represent a crucial and cost-effective step to begin tackling what currently appears to be an intractable challenge. By prioritising walkable infrastructure in our town and country planning, we can lay a basic, yet superpowered, foundation for more efficient, sustainable, and economically vibrant Indian cities.

The writer is founder of Hanto Workspace.

Published – February 06, 2026 05:48 pm IST

Sirmaur, one of Himachal Pradesh’s southern districts, can feel like a secret: a calm expanse of cedar trees, undulating hills and old mountain silence. It’s not quite built for attention, but it is this very tranquillity that is putting it on the radar of India’s affluent homebuyers. Familiar to only trekkers and pilgrims till now, this small district with a population of just over 5,00,000 is undergoing a quiet transformation.

As urban India buckles under increasing air pollution, traffic, and long commutes, people are looking for a change — wanting to wake up to bird song and not ringing phones. Young professionals and established executives are investing in the concept of a second home away from bustling city life.

A view of the Terra Grande property. A luxury villa development project in Sirmaur from real estate developer Eldeco Group.

“Younger Indians, especially those who’ve grown up in high-velocity cities, are seeking slow time, clean air, and a sense of belonging that urban life rarely allows,” says Amar Kapoor, CEO of Terra Grande, a luxury villa development project in Sirmaur from real estate developer Eldeco Group. “What’s driving this pivot is a deeper cultural movement: the desire for stillness, intentionality, and a more sustainable way of living.”

At Terra Grande, the villas range from ₹7 crore to ₹10 crore in Phase I. The money alotted to the project by Eldeco Group is ₹300 crore. The property comes with a private infinity pool, sports courts, clubhouse, wellness space and lounges. Other facilities include housekeeping, pool maintenance and property management.

A view of the Terra Grande property. A luxury villa development project in Sirmaur from real estate developer Eldeco Group.

Desire for stillness

Known for their moderate climate and lush valleys, places such as Ooty, Kodaikanal, and Coorg are already second-home favourites. The same goes for northern towns such as Dharamshala, Manali, Mussoorie, and Shimla — attracting tourists and permanent residents alike. What makes Sirmaur different is a lower entry price point.

Sandeep Mangla, managing director of Forteasia Realty Pvt. Ltd, a Faridabad-based real estate development company, believes that the growing pressure of fast-paced metropolitan life is prompting more people to seek a calmer, more nature-connected environment.

A view of the Terra Grande property. A luxury villa development project in Sirmaur from real estate developer Eldeco Group.

This shift is appealing largely to HNIs with annual incomes of ₹1 crore and above. Gunjan Goel, director of Pune-based real estate firm Goel Ganga Developments, shares that the target customer falls within the age group of 28 to 55, while Mangla notes that people between 45 and 60 prefer long-term and peaceful retirement living.

Current trends

Sirmaur’s location is a selling point, too. It is close to Kasauli market, Gilbert Trail trek, a scenic 1.5 km route that offers panoramic views of the hills, and the picturesque Renuka Lake.

A view of the Terra Grande property. A luxury villa development project in Sirmaur from real estate developer Eldeco Group.

Homes here are designed to open into cedar forests and natural slopes, with sustainability features such as energy-efficient systems, rainwater harvesting, and climate-responsive architecture gaining importance. Developers are planning communities with controlled density, no-disturbance zones, and wildlife protection to avoid overbuilding. “This will enable harmonious cohabitation of existing residents and newcomers,” says Goel.

Investment opportunity

The aim is to create a complete lifestyle — extending beyond the home, offering nature trails, bird watching, meditation spaces, and local cultural experiences that match the district’s unhurried rhythm.

“Mountain assets are engineered to accommodate lifestyle, comfort, and investment opportunities,” adds Aman Gupta, director of RPS Group, another Faridabad-based real estate development company.

Actively avoiding cultural disruption, developers are shifting their approach, building homes inspired by Himalayan vernacular architecture. This style usually includes sloped roofs, local stone, and wood, mirroring the region’s identity. The primary intent is to incorporate native flora and safeguard wildlife rather than replace it.

“Initiatives also include responsible design and collaboration that considers and incorporates traditional architectural styles, and local biota,” says Gupta.

A view of the Terra Grande property. A luxury villa development project in Sirmaur from real estate developer Eldeco Group.

Along with this, using local workers, partnering with local craftsmen, and featuring the integration of local cultural and environmental traditions are key. “With the installation of energy-efficient building systems, rainwater recycling, and climate-responsive architecture, operating costs and value escalation are reduced,” says Gupta. Mangla adds that today’s design of mountain homes is created to achieve a holistic, multi-sensory, and nature-centred experience.

The mountains are no longer just places to escape to; they are increasingly becoming places where people seek a sense of belonging. As Kapoor puts it, “Luxury isn’t excess; it’s quality of life.”

The writer was in Sirmaur at the invitation of Terra Grande, Eldeco Group.

Published – February 06, 2026 05:33 pm IST

One of the many pluses of the Kochi Muziris Biennale is that it opens new galleries around it and new ways of showcasing art. And At Home with LMSA is one such novel attempt, which takes art outside the conventional white cube space of a gallery which locates art in an isolating, context-less space, and into a home. Neenu Jacob has, literally, thrown open her apartment at Kochu Kadavanthra as an intimate gallery space where she is showing the art works of four Kerala artists. LMSA is a digital art gallery, which works with mid career and emerging artists.  

Neenu Jacob 
| Photo Credit:
SPECIAL ARRANGEMENT

With the comforting noises of a home becoming a background score of sorts, one takes in the works of Sruthi Sivakumar, Surabhi P, Sabitha Kadannappally, and visual artist Sebin Joseph’s works mounted on the walls, the centre table of the living room and the counter top. As of now LMSA works with nine artists including those whose works are on show.

Neenu intends LMSA as a platform which will not only showcase but also facilitate sale of the works of mid-career and emerging artists from South Asia. It is designed based on how she goes about collecting her art, by learning more about the art and the artist. An MBA, Neenu, a strategy and growth executive, has more than 20 years of experience in consumer internet, media and retail. Though Neenu does not have the conventional background in art, she has developed her eye by constantly attending exhibitions and keeping track of the contemporary art scene. 

Sruthi Sivakumar’s works on display
| Photo Credit:
SPECIAL ARRANGEMENT

Art and everyday life co-exist rather than remain distinct, as Neenu’s curatorial note announces. Neenu and her assistant Niharika Kishore, who helps with the curation, go about their work, ready to help if one wants to know more. There is no rush, because it is in a home where there is the luxury of sitting with the art, it is comfortable. This is LMSA’s first such show, moving on Neenu intends to taking to other cities as well, the first of which will be at her home in Bengaluru followed by other cities. Although a digital gallery, Neenu envisions LMSA has more immersive than a listing gallery. The website offers insights into the artists, their take on their works and process.

Surabhi P’s kleinformat sculptures
| Photo Credit:
SPECIAL ARRANGEMENT

About why she put together the show in this format, she says, “When we were thinking about LMSA, and the exhibition, we wanted to make it accessible and we’d like to make it intimate. We have glossed over the fact that a lot of people feel like they can’t go into a gallery unless they know more about art. We are trying to say that you will know more when you engage with art, sit with it. The setting of a home encourages you to be unguarded and keep things real. And this space adds to that reality.” 

The art works that Neenu has put on show have a resonance with Kerala, one of the reasons why she picked them. Another is that she wants shows such as these to serve as an introduction to new artists, while encouraging viewers to look at them from the perspective of collectors.

The painting are on sale. With the Biennale, Neenu hopes that visitors would consider picking up art by Kerala artists, “why pick up designer garments as souvenirs when you can buy art?”

The exhibition timings are from 11am to 6pm, for appointments call 9995556618.

Published – February 06, 2026 03:17 pm IST

It is that time of the year when all roads lead to Delhi’s Broadway at Mandi House roundabout to celebrate the world’s largest theatre festival. In its 25th edition, the Bharat Rang Mahotsav (BRM) is bigger and more diverse than ever before, and Chittaranjan Tripathy, the man-in-charge, is on the move to platform the tagline: ‘samvad sanskritiyon ka’. “The idea is to provide a stage for a democratic exchange of ideas, cultures, and creativity. For the first time, BRM is being held in every State and Union Territory. From Leh to Lakshadweep, we are taking theatre to the remotest parts of the country,” says the Director of the National School of Drama.

Underlining the diversity and inclusivity on display in the 25-day event, Tripathy notes that the festival features 277 productions in 228 Indian and foreign languages and dialects, from Nishi and Tulu to Sindhi and Maithli. “Being a milestone year, we have assimilated Jashn-e-Bachpan, the children’s festival, into the BRM. The Adirang segment focusses on the traditional practices in tribal communities. Puppet theatre and dance dramas, segments which have often been ignored at the festival, have been given their due.”

Feroz Abbas Khan
| Photo Credit:
Special Arrangement 

For Tripathy, the buzzword is to create a “non-elitist” stage that focusses not just on big names and groups but also on folk theatre practitioners from remote centres. “We have representation from marginalised sections like sex workers, transgender people, and performers with physical disabilities,” adds Tripathy.

Regarding the diversity of voices, Tripathy, says that street theatre is an important component of the festival. “Then we have Sanjay Mishra performing Ghasiram Kotwal. From what I have seen, it is a very interesting way to present Vijay Tendulkar’s play at this point in time.”

An alumnus of the 1996 batch, Tripathy describes himself as a man who can accommodate different generations and points of view. He notes that stalwarts take time to emerge and that one should be patient with young talent.

In a “world brimming with information,” Tripathy says, NSD students still retain their focus because of the spiritual atmosphere that the Gurukul-like space provides. “Yoga is part of the routine as it aligns the body and soul of the young artistes.”

Juhi Babbar Soni in Ek Lamha Zindagi
| Photo Credit:
Special Arrangement 

Active as an actor-director, Tripathy reminds cinema still has a screenplay at its core. “Theatre cannot shut its door to other forms. It is Bharat Muni’s four pillars, Angika (gestural), vachika (verbal), aharya (costumes), and sattvika (emotional), mentioned in the Natyashastra, that form the basis of all performances, be it OTT, cinema, or reels. As an institution, we have to spread our reach to different platforms where theatre is practised.”

On the cards

Hind 1957

After the spectacular stage adaptation of Mughal-e-Azam that kept the capital in a thrall, this Friday, Feroz Abbas Khan is returning to “a more intimate space” with Hind 1957, an adaptation of August Wilson’s Pulitzer-winning drama Fences. With Sachin Khedekar in the lead, Khan says, “it is centred around a Muslim family grappling with the post-Partition image of the community.”

Looking back, Khan recalls that Salesman Ramlal was the first play that he staged at the festival with Satish Kaushik as the lead. “It was one of the most exhilarating experiences. Satish entered as a tired old man unable to comprehend the world collapsing around him, and the audience erupted with a huge applause.”

Juhi Babbar Soni in Ek Lamha Zindagi
| Photo Credit:
Special Arrangement 

Ek Lamha Zindagi

Interestingly, in its 25th show this Saturday, Ek Lamha Zindagi – A Love Story: 1938-1979, the personal becomes universal as Juhi Babbar Soni brings to life the intense relationship between Sajjad and Razia Zaheer, her maternal grandfather and grandmother. Set against the backdrop of the Freedom Movement, it follows the struggles of Sajjad, a pillar of the Progressive Writers’ Movement and a vanguard of the Communist Party of India, and Razia, who balanced family duties with her love of literature and emerged as a strong feminist voice in Urdu literature.

Inspired by her mother Nadira Babbar’s Mere Maa Ke Haath, the solo play has become a rage in the last year because of Juhi’s malleability as a performer and the writing’s depth.

“I decided to do a dramatic reading, but once I started, I began performing the text. Every bit of it resonated with me. The performance was a hit, but it left me restless.” With ample research material available in the family’s collections, she told her husband, Anup Soni, that she would develop it further and perform at the Prithvi Theatre within a fortnight. “With changes, it was no longer a daughter looking at her mother and father’s journey. It suddenly evolved into the universal love story of Razia and Sajjad. I reached out to Makrand Deshpande, who had directed Mere Maa Ke Haath, to help me decide what to keep. After four days of rehearsal, we performed, and God has been kind since.”

Chittranjan Tripathy addressing young actors
| Photo Credit:
Special Arrangement 

Juhi has fond memories of NSD, where she has performed since 1999, including Yahudi Ki Ladki under her mother’s direction. “Though I have not studied at NSD, I feel I have done a full-time course because my father, mother, and husband are from the prestigious institution. This is a new high because this time I have also compiled and co-directed the play.”

Kaumudi

Playwright-director Abhijeet Majumdar, whose much-loved Kaumudi starring Kumud Mishra will be staged on February 10, remembers that, as a teenager, Abhimanch would guarantee an air-conditioned experience for a ticket of Rs 10. “My earliest memories of BRM were watching the mercurial Asif Ali Haider Khan (recently seen in Dhurandhar as Babu Dakait) perform. One night, he was a sage in Anamnath Ka Potha, and the following day, he played a transgender person in Waman Kendre’s Jaane-Man. I did not recognise that he was the same actor I had watched the previous night until the curtain call. That’s the magic of theatre that stayed with me.”

With caste discrimination making headlines, Kaumudi, which presents the story of The Mahabharata from a Dalit perspective through an allegorical dialogue between the ghost of Eklavya and Abhimanyu, has become relevant all over again. “For me, The Mahabharata is a myth that represented the social realities of its times. The experience of caste discrimination has been constant for Dalits for centuries. It is for the system and others that it becomes latent and surfaces at times.” Over the years, he says, people have their own versions of The Mahabharata and its characters suited to their milieu.

Swang: Jas Ki Tas
| Photo Credit:
Special Arrangement 

Majumdar believes institutions like NSD should help preserve the distinction between culture and art. “Culture is about celebrating systems, rituals, and traditions, while art is about critiquing them. If art starts celebrating everything, it ceases to perform its purpose. There is a difference between celebrating Kalidas and staging Aashad Ka Ek Din that questions him.”

Playwright and senior theatre critic Anil Goel, whose latest creation Ek Thi Ladki Urf Ve Kuchh Pal, a story of unrequited love spanning three generations in which the suspension of civil liberties during the Emergency plays the villain, was released during the festival, cautions against falling for quantity over quality to protect the legacy and integrity of the festival.

Goel, who is on the festival’s selection jury, says there is a rise in devised plays that lack focus and adds that his study shows that theatre is losing writing talent to OTT even in remote areas. “After the demise of doyens like Habib Tanveer, Bansi Kaul, KN Panicker, and now Ratan Thiyam, there is a rupture in the intellectual tradition of different forms of theatre and the new generation is taking time to fill those big shoes,” observes Goel.

Bharat Rang Mahotsav is on till February 20

Just days before she turned her attention to a new flagship in Beverly Hills, Anita Dongre was in Vadodara, at the historic Laxmi Vilas Palace, preparing for the second edition of Rewild, her Fashion for Good fundraiser that brings together craft, conservation and community. Against the palace’s Indo-Saracenic backdrop, models walked in contemporary silhouettes rooted in Indian textile traditions, as musicians and conservationists gathered for a January evening that reframed the fashion show as a vehicle for stewardship. (The funds are reserved for nature and wildlife conservation.) It was a reminder that even as the brand expands outwards, its centre of gravity remains firmly grounded at home.

That same sensibility now finds architectural expression on Wilshire Boulevard in Beverly Hills, where a vertical garden rises from the ground, designed by MAD Architects. Dongre’s newest flagship store here opened with pomp and fanfare, courtesy Los Angeles locals and friends of the brand, including actor Poorna Jagannathan and actor-producer Mindy Kaling, as co-hosts.

The store on Wilshire Boulevard in Beverly Hills
| Photo Credit:
Arturo and Lauren

(L-R) Poorna Jaganathan, Radhika Shetty, Mindy Kaling, Anita Dongre and Jay Shetty at the store launch

Inside, a pichwai wall painted and embroidered by craftspeople in Rajasthan glows against handwoven furnishings and embroidered lampshades. The space, about 3,000 sq.ft., carries the House’s signature language: contemporary silhouettes framed by centuries-old craft.

The pichwai wall
| Photo Credit:
Arturo and Lauren

The store marks Dongre’s fourth international location, following flagships in Mumbai, New York’s Soho, and the Dubai Mall. It is also a first for an Indian designer in Beverly Hills, an address she describes as “the next step for the brand to cover this side of the world”. “We were one of the first designers to open in the U.S.,” she says over a call on the eve of the launch. “We started with New York and there was always a desire that after a year or two, we would have the second store in L.A. Then COVID-19 happened and things slowed down. It took us about three years to find a location that we were happy with.”

Taking on the West Coast

The L.A. flagship is led by her son, Yash, who oversees international operations. “This store is retailing our bridal wear, which will be targeted largely to the South Asian diaspora,” he explains. “Other than that, we have a lot of occasion wear, resort wear, and red carpet looks.” Including the collection from the Rewild fundraiser. “With these lines, we are hoping to target a much wider audience, do red carpet activations and really make it an international store.”

Anita Dongre with her son Yash

The choice of location is strategic. “When we thought of L.A., it was clear it would always be Beverly Hills,” Yash says. “We want to be in global retail luxury hotspots.” The decision also stems from consumer insight. “We had a lot of clients coming from California to the New York store,” he notes. He points out that the South Asian diaspora on the West Coast “came to settle in the U.S. one generation earlier than the East Coast”, making it an older, more established market with long-term buying power.

Unlike several Indian designers who have entered the American market through department stores such as Bergdorf Goodman or Saks Fifth Avenue, Dongre has opted for direct-to-consumer flagships. “We wanted to control the overall retail experience,” Yash says. “We didn’t want to franchise or do a partnership with anybody.” His mother adds: “The investment is huge but it’s worth it. This works if you’re doing it for the long term.”

At the store launch in Beverly Hills

The Beverly Hills opening also reflects a larger shift in how South Asian luxury brands are positioning themselves in the West. As retail strategist Liza Amlani, co-founder of the Retail Strategy Group, points out, “We’re seeing an emergence of South Asian designers in the western world, especially in North America where the spending power sits.” L.A., she notes, is home to a large and affluent South Asian community, as well as Persian, Arab, and mixed-heritage consumers drawn to culture-driven design. “Californians feel strongly about sustainability, circularity, clean beauty, and now we’re seeing that mindset translate into fashion. Anita’s brand aligns beautifully with that,” Amlani says.

An installation from The Great Elephant Migration at Dongre’s Beverly Hills address
| Photo Credit:
Arturo and Lauren

Experiencing the brand

Dongre’s work beyond retail is equally aligned with the values of a global luxury consumer increasingly attentive to provenance, purpose and impact. For instance, pieces created by women artisans from SEWA Gujarat were integral to the Rewild collection, reinforcing the brand’s long-standing commitment to sustaining livelihoods and evolving traditional skills.

Model in a design from the Rewild collection

Across the U.S., the luxury retail sector has been recalibrating post-pandemic. Customers are still spending, but they are doing so differently — toggling between full-price luxury, resale and off-price channels. “Consumers want to experience the brand, not just buy it,” Amlani observes. “We’re also seeing increased spending in resale and off-price categories [Nordstrom Rack, Fashionphile], meaning shoppers are mixing aspiration with access.” It explains why brands and their physical stores today must offer an experience, not just inventory, and why a flagship like Dongre’s fits that shift.

Second edition of Rewild at Laxmi Vilas Palace

Geography and community matter

In cities like Toronto, New York and now Los Angeles, South Asian visibility has grown rapidly across media and fashion — from Diwali parties hosted by personalities such as Lilly Singh to designer pop-ups, jewellery launches and red-carpet appearances by actors like Priyanka Chopra and Deepika Padukone. “In my lifetime, I never thought I’d see so many South Asian designers, musicians and actors shaping culture in North America,” Amlani says. It’s this growing confidence that creates demand for brands like Dongre’s to build physical spaces of their own.

Dongre’s launch partners for the store, actors Kaling and Jagannathan, reflect the connection and proximity to Hollywood. “Poorna has been a brand friend for many years,” Dongre says. “She’s amazing with fashion. I just picked up the phone and said, ‘Poorna, I’m opening’, and she said, ‘I’m calling my friends’.”

(L-R) Richa Moorjani, Mindy Kaling and Poorna Jaganathan

As an Indian woman now living in London, I understand the resonance. I wore a blue Anita Dongre lehenga for my wedding — one of those striking pieces that make an impact and yet say I’m Indian. I’ve since worn it with a white shirt for several Diwali parties in London. For many women like me, her work fits the space between heritage and modern life, while embodying culture, community and legacy.

Self-funded growth

The L.A. flagship is one step towards the brand’s thoughtful expansion. “Honestly, I believe in a two-year plan,” says Dongre. “In the next two years, there will be no more stores. We’re just going to focus on this one.”

Her flagship joins a growing constellation of Indian names entering or expanding in global retail: Sabyasachi with his jewellery salon at Bergdorf Goodman and standalone New York store, Gaurav Gupta and Rahul Mishra’s couture shows in Paris, Anamika Khanna’s collections at Saks Fifth Avenue, each presenting a version of Indian craft recalibrated for global taste. But unlike many of these, Dongre’s strategy remains mostly self-funded (while the business was previously backed by General Atlantic, her expansion today is increasingly founder-led).

Inside Dongre’s L.A. store
| Photo Credit:
Arturo and Lauren

For international designers, the U.S. remains the ultimate testing ground for scale. “A customer in New York shops differently from one in California or the Midwest,” says Amlani. “No other country offers that kind of cross-section.” In essence, if you win in the U.S., you can win anywhere. And for a brand like Anita Dongre that’s historically been local-proud and global-curious, outward expansion comes with inward balance.

The writer is an independent journalist based in London, writing on fashion, luxury and lifestyle.

In 2024, Akhila Banoth remembers chancing upon a photo, on Instagram, of a sari with a unique design: rock band Linkin Park’s typography and a stylised photo of its members emblazoned across the pallu by Oikkyo Calcutta. “I saved it for the future and maybe, I did manifest a Linkin Park concert in India after all,” she laughs. Once news broke last year that the rock band would be performing at Lollapalooza Mumbai, 2026 the 36-year old operations manager knew just what her outfit for the concert would be. 

For the country’s most fashionable and the many more who are eager to experiment and jazz it up, India’s growing roster of concerts and its thriving music festival circuit have become an ideal playground to put one’s best sartorial foot forward. 

Akhila drapes her Linkin Park sari
| Photo Credit:
Special Arrangement

A music lover who has always been interested in fashion, Akhila says that she does not miss out on the opportunity to dress up for concerts, and consciously puts together outfits depending on the vibe of the gig; be it techno, or jazz or even an Indian music concert. 

At Lollapalooza Mumbai, Akhila paired her sari with a corset blouse and added a nose ring for an Indian touch. “I love fusion fashion, boho styles and I love when people mix western and Indian wear. I styled my sari as well keeping in mind the music festival vibe and went with a corset blouse. So many people came and spoke to me at the festival about my sari,” she says. 

The opportunities to dress up for music in India, are immense, given the concert boom that is well and truly underway. The #ThrowBack2025 year-end report released by BookMyShow records a 17% growth in live entertainment consumption and read that there were 34,806 live events including concerts across the country last year. With concerts happening across the country, the number of people travelling to catch these experiences live saw an increase of about 18% in comparison to the previous year as well. BookMyShow reported a ₹641 crore economic impact spanning hospitality, transport, tourism and retail from Coldplay’s Music Of The Spheres tour concert in Ahmedabad, alone.  

What the ‘concert baddies’ say

In December last year, when South African singer Tyla performed in Mumbai, a video of concert-goers, particularly impeccably styled women, dubbed ‘concert baddies’, went viral on Instagram. The comments, many not from the country, were a mix of admiration and surprise, along the lines of, “Didn’t know baddies like this existed in India.”

Subiksha Shivakumar, model and content creator who was also featured in the viral video feels that the shock and surprise in these comments felt racist. “We have been fashionable, and dressing like this for so long. I think it took a group of people who do not know anything about India for our own people to really start appreciating ourselves and our style more, and experimenting more,” she says. 

The minute her tickets are booked for a concert, Subiksha says she begins to think about what to wear. While comfort takes precedence for her while putting together a look, given the amount of walking involved, she says there needs to be a big statement piece. “It should say something, and have some kind of an expression. Musicians express themselves creatively through their music, and concerts are a place for people who will appreciate expression of art, and for me that is fashion,” she says. 

Actor, model and musician Jason Arland
| Photo Credit:
Ullas Srivastava

Mumbai-based actor, model and musician Jason Arland also makes a case for incorporating Indian touches to concert outfits, reflecting on how many looks from the Tyla concert had statement Indian jewellery, something he says elevates any outfit. “I wore an intricately embroidered shawl belonging to my mother to the last concert I attended, and was asked if I was going to a sangeet or to celebrate a festival. Why can’t I celebrate my culture, clothing and craftsmanship at a music festival as well? It feels like there has to be an occasion to wear our own traditional clothes because we are so westernised in so many ways,” he says.

“I do not take being called a ‘concert baddie’ as a compliment. Indians have always been the ‘baddies’,” he says.

For inspiration, Jason says he most often does not have to look beyond home. “Our mothers, fathers and grandparents have some of the best closets. And I do not believe in incorporating their clothes and jewellery into my concert wardrobe simply owing to nostalgia, but I do it because it is timeless. The last outfit I wore, where I styled my mother’s shawl for a concert, felt so personal. It wasn’t just about dressing up; I was being myself,” he says. 

‘Concert baddie’ or not, the path to the final concert look, of DIY-ing outfits, trawling through thrift stores, and even some last minute chaotic purchases thrown in, is an experience concert lovers say they have come to immensely enjoy.

DIY, thrift and more

When we speak to Sabista Khan, a marketing strategist from Pune, she is ready with her outfit for the evening; for Himesh Reshammiya’s Cap Mania Tour. “I start planning my outfit the minute my tickets are booked for a concert,” she says. For the Cap Mania tour, she has a glittery dress as an ode to his repertoire of party songs, and a cap, of course. “The first thing I do is to reach out to my favourite thrift store when I start putting together my concert wardrobe. I approach this in two ways; if it is an independent artiste, I let the genre influence my wardrobe and for a music festival, I put together a look that reflects my personal style,” she says. 

For a Halloween concert headlined by Punjabi singer Talwiinder last year, Sabista chose a black mesh dress. When Coldplay came to India, she embraced colour, painting her nails in a spectrum of fluorescent shades to echo the bouncing balls that light up the concert venue. In anticipation of attending Taylor Swift’s Eras Tour a couple of years ago, she went a step further, designing a dress from scratch, an aesthetic she describes as her favourite album Folklore meeting Bridgerton. 

Sabista Khan at a concert
| Photo Credit:
Special Arrangement

“I personally sourced the fabric for this Victorian outfit, with layers in a light beige and made a headband with dried rose petals and acrylic pearls. Even though I did not get to go to the concert, I loved the process so much and seeing my vision come together,” she says. 

Deepshika Kale, a Bengaluru-based graphic designer, says spending time on planning for and curating a concert look largely boils down to expression. “There is also a lot of inspiration on Pinterest for festival outfits. I also take Mumbai’s humidity into consideration while putting together these looks of course, and being able to comfortably jump around and even partake in mosh pits,” she laughs. 

It however isn’t always about elaborate outfits as well. Despite having a summery outfit planned for Lollapalooza last year in Mumbai, Deepshika says that once she found out fans like her were planning to wear red and black to listen to Louis Tomlinson, she made a chaotic, last minute dash to shop at Bandra and picked up the first outfit she spotted in the colour scheme; a football jersey. “You dress not only for yourself and the artiste, but to feel at one with the community that is attending. As One Direction fans, for many of us, it was a dream come true to see Louis in India and it felt nice to wear those colours and share the joy,” she says. 

Whether DIY-ing, or consciously rewearing and curating looks from their own wardrobes, or putting together outfits last minute, there is a very tangible impact that these live events have on fashion. While several brands including Levis and H&M have partnered with music festivals for merch and limited-edition drops, quick commerce fashion sites have started to curate looks as well, making it easy for shoppers. 

Ahead of the Lollapalooza weekend in January, Mumbai-based quick commerce fashion platform Zilo, which promises deliveries of clothing, shoes and jewellery from a host of brands in 60 minutes or less saw a 37% spike in orders in comparison to the normal weekend buying trends of shirts and dresses, and instead saw demand for concert specific styles such as jorts, tube tops, Korean pants, and cargo pants. “We also saw a surge in searches for last-minute concert essentials like stockings and sling bags, and while we did not stock Linkin Park T-shirts, this was searched nearly four times more than all other keywords,” says Padmakumar Pal, co-founder and CEO. 

Live events, Padmakumar says, helps them create buzz within the platform and customers, he says, make a beeline for their app when they put together their outfits last-minute. “We also recently got stylist Anaita Shroff Adajania on board to curate looks that people can shop, and this is also something concert-goers can also refer to,” Padmakumar says. 

With John Mayer all set to perform in Mumbai on February 11, millenials and a section of the GenZ who have discovered his music are most definitely working on their outfits. What will it be; a t-shirt featuring the man himself? Recreating outfits from his music vidoes? or just a sparkly dress to dance in with comfortable sneakers?