Life & Style

In Chennai, a quiet conversation unfolds between cloth and memory. Textile entrepreneur Darshan Mekani Shah’s upcoming exhibition with Silkworm Boutique brings together shibori and kantha — two techniques shaped by time and touch. Featuring silhouettes such as kurtas, kaftans, open jackets, co-ord sets, the collection has a muted palette of beige, brow, rust, grey, maroon and indigo. For Darshan, founder, Weavers Studio, this exhibition reflects a lifelong belief: that textiles carry history within its fold.

When Darshan speaks about textiles, she does not speak about the fabric alone. She talks about migration, memory, loss, recovery, and joy. For over three decades, Weavers Studio has worked insistently to build an ecosystem where craft from the past is not just nostalgia, but living, breathing knowledge. 

“I didn’t come from a background in textiles,” says Darshan. Her family’s story, like many in Bengal, is one rooted in displacement. “We came to India from Rangoon in 1948,” she recalls. Her father was a professional in the jute industry. “Business was never on my mind.” 

Born and raised in Kolkata, Darshan later moved to Mumbai after marriage, where she completed her Law degree and a Management programme. Divorce brought her back to Kolkata, where she started exploring different fields such as management, finance or academics. “I started doing small entrepreneurial projects — organising exhibitions, taking tuitions, doing consultancies.”

Textile travels

It was during these exhibitions that she noticed a gap. “At that time, when I had started working with exhibitions, nothing was happening in terms of textile preservation in Kolkata,” she says. Drawn instinctively to natural dyes and encouraged by her friends from NIFT in Ahmedabad, Darshan began working with textiles on consignment. 

Darshan Shah
| Photo Credit:
SPECIAL ARRANGEMENT

“ If I had leftover dupattas from work I would blockprint them from a tiny workshop on Park Street. Or I would go to Santiniketan and do kantha embroidery on fabrics.” What started as a 200 square feet space later grew into Weavers Studio, guided by her motto — to use as many hands as possible. 

With curiosity in mind, Darshan travelled across the world, learning from the great masters in the textile world. From Toofan Rafai, Sheela Balaji, and KV Chandramouli in India, to Ruby Ghaznavi in Bangladesh and Professor Hiroyuki Shindo in Japan, Darshan immersed herself in block printing, embroidery, indigo, shibori, and natural dyes. “It helped me build my sense and sensibilities,” says Darshan, who also educated herself through books, objects, and travels. “Whenever I travelled, I kept collecting fragments, swatches and samples.” That instinct led her to build an archive of over 1,500 textiles and a library of 3,500 books — all of which can be found in Weavers Studio Resource Centre, founded by her in 2007 as an extension to her retail brand Weavers Studio Kolkata. 

A deeply personal turning point came when her daughter was getting married. “I realised Bengal doesn’t have a wedding sari,” says Darshan. “People wore Benarasis. Elders wore jamdanis. But where was our wedding textile?”

That question led her to Baluchari — Bengal’s narrative silk, originally woven with Malda silk in the Murshidabad district of West Bengal. “We went back to the roots,” she says, “The silk, the iconography, the technique.” Her research expanded Baluchari beyond the mythological scenes from the Mahabharata, Ramayana, Shakuntala. She showcased colonial era Baluchari motives — trains, carriages, peacocks, and hookah, all documented through exhibitions and publications such as Baluchari: Bengal and Beyond. 

Post-2015, Darshan’s work increasingly shifted towards research, documentation, oral histories and not-for-profit initiatives. That scholarship culminated in Textiles from Bengal: A Shared Legacy, Darshan’s landmark exhibition last year in Kolkata, which mapped textile traditions across undivided Bengal. The exhibition stemmed from the simple question, “Once upon a time Bengal clothed the world, so what really happened?,” she says.

From Weavers Studio X Silkworm Boutique exhibition
| Photo Credit:
SPECIAL ARRANGEMENT

For her upcoming exhibition, she draws inspiration from her earlier learnings in Japan and her engagement with Bengal’s embroidery traditions. “I learned shibori first in Japan, and it continues to inspire me,” says Darshan. The exhibit ranges from traditional kantha to experimental interpretations through batik, block print and shibori. “In Bengal, 90% of hand embroidery is kantha — it’s social and fits into women’s lives,” Darshan explains. 

As fashion accelerates and crafts are at risk of dying, Darshan’s work reminds us that knowledge survives only when it is practised, shared and re-imagined. 

The Silkworm Boutique exhibition in collaboration with Weavers Studio will be from February 6 to 8 at Silkworm Boutique, Nungambakkam, Chennai.

Published – February 05, 2026 03:55 pm IST

Unpopular opinion: Osaka > Tokyo.

Admittedly, Tokyo is fantastic, futuristic, sweeping you up with its quick pace, skyscrapers, neighbourhoods with quirky fashion, pop culture, neon lights, trendy districts like Ginza, Michelin-star restaurants, immersive art exhibitions, bustling nightlife and food scene. The vibe, I thought, was unmatched, till I reached Osaka.

This port city, on the Japanese island of Honshu, has me wrapped around its little finger. I do not know if it is the laid-back charm, the geniality of the locals, their interesting fashion choices (I saw a lot of pinks, from candy floss and neon to raspberry and fuchsia), the perfect weather, the food scene, the shopping, or the fact that I managed to snag a pair of golden Onitsuka Tiger sneakers in my size (which Tokyo failed to source for me). The gamut of experiences here range from traditional tea ceremonies, peaceful shrine visits, and sumo experiences to Mario kart tours, pub crawls, and bar hopping to izakayas. Sensing its potential, luxury hotel chains and bars are investing in real estate in Osaka. The Four Seasons Hotels and Resorts opened its first outpost here in 2024. Gucci unveiled its Gucci Giardino bar last year in the Umeda district, said to be the second-ever after Florence. 

At Four Seasons Osaka, an entire floor is dedicated to the traditional Japanese style of living
| Photo Credit:
Four Seasons Osaka

But my first stop is a dungeon: one that lets me swipe my credit card. Tucked below six interconnected Umeda stations in the area, is a world I never knew or expected. I feel like Harry Potter entering Diagon Alley. I follow the steps that lead to the cavernous belly and enter a bustling underground world commonly known as Umeda Dungeon — a network of shopping malls, stores, and diners. There are alleys that lead to more alleys. Yes, you will get lost and find yourself emerging out of one of the five other stations but wherever you are you will always be ensconced in the comfort of retail therapy. I highly recommend the Lucua complex that houses two buildings brimming with boutiques showcasing local designers and international brands.

Post this, driven by greed to buy more, I find myself entering Don Quijote, the store where chaos meets consumerism. Popularly known as Donki, this is a discount store chain with multiple floors — I gave up counting after three — brimming with cosmetics, skin care, electronics, snacks, costumes, pre-loved bags and no clear instructions on where to find an escalator or steps to move up to the next floor. The long queue from the billing counter spills between the aisles but the staff at the counters are efficient and the queue moves fast. I spend two hours at Donki but in hindsight, I would have liked to spend that time at the Umeda Dungeon.

Osaka Castle
| Photo Credit:
MasterLu

Heaving with bags, as I walk the streets, the traditional-modern fusion becomes more apparent. An example is the Four Seasons Osaka that I check into. While the hotel is glitzy with all the trappings of modern life, an entire floor is dedicated to the traditional Japanese style of living. Titled ‘Gensui’ Modern Ryokan floor, it has rooms with tatami flooring where you walk barefoot, a low bed with a special futon, and a bathroom with a deep square tub, a stool, and Japanese bath bucket. The floor to ceiling windows overlook the Osaka skyline — a contrast to this setting — that dazzles at night with its shiny high rise buildings. The breakfast area on this floor serves Japanese staples in bento boxes, and you can also try your hand at traditional arts like origami, kirigami etc.

The next morning I am up early to explore the city, first from its waterway. A private Four Seasons boat waits for me and steers me around the Dojima river as we pass by the Osaka Castle, parks, gardens and dancing fountains. From this sanctuary of calm, I proceed to the vibrant, in-your-face district of Shinsekai that looks like the love child of Times Square (New York) and specifically Bangkok’s China Town. Exuding a carnival vibe, this place pulses with retro-style shops, old school arcade games, intimate standing bars with inexpensive food and alcohol, whisky bars, game stalls, street food counters with bright boards and installations, and lanterns sporting bold Japanese letters. It resembles a meticulously put-together movie set from the 80’s and I feel like an extra walking through this maze with hordes of others. And here, I meet Billiken — a portly creature with a tuft of conical hair, pointed ears and an impish grin. He is considered to be a symbol of good fortune and is everywhere — on facades of buildings, keychains, T-shirts, you name it. In most spots, he sits with his legs stretched out atop a tiered pedestal with the words Billiken, followed by THINGS-AS-THEY (shortened version of “God of things as they ought to be” as that is what he is believed to be ). Though quite the hero in Osaka, it is said Billiken was created by Florence Pretz, an American illustrator in the early 1900s.

Billiken
| Photo Credit:
Priyadarshini Paitandy

Peckish by now, I do what I am primarily here to do — grab a variety of highly-recommended kushikatsu (deep-fried meat and veggies on skewers): shiitake mushroom, lotus root, cheese, sausage, chicken thigh. It is hard to stop but please do, as more options await down the alley. Gyoza, takoyaki (wheat balls filled with minced octopus, pickled ginger, green onion and tempura scraps), nikujaga (meat and potato stew), okonomiyaki (a savoury pancake), Japanese jerky and something that resembles a South Indian kozhukattai. The food here is so popular that there are local guides offering much recommended food walks. No wonder, Osaka is called the ‘kitchen of Japan’. Nearby, a vending machine gives me the come-hither look with its display of beautiful dessert. I pick a banana dipped in chocolate. This one even has eyes and a mouth, and looks like a work of art fit for Art Basel. 

I am told Shinsekai was built in 1912, inspired by New York’s Coney Island and Paris. The Paris reference becomes clear once I notice the 108-metre tall Tsutenkaku tower looming ahead. Drawing inspiration from the Eiffel Tower, this was rebuilt in 1956 after a fire engulfed the original landmark. You can take an elevator to its observation deck to get a bird’s eye view of the city.

As evening falls, the neon-lit Dotonburi district beckons. The famous Glico running man billboard overlooks a canal with bright boats. Tourists mill around to snap a picture in front of the famous sign. Nearby, a giant crab plastered across a facade of Kani Doraku restaurant garners attention. Joining the traditional billboards here are LED lit and 3D billboards. The storefronts and facades too are a touch dramatic with 3D effect, life-size octopus, gyoza, and faces of people.  

Traditional Japanese street food
| Photo Credit:
VINCENT_ST_THOMAS

A chill breeze blows from the river and I make my way to the covered Sinsaibashi-suji shopping street where you find high street brands like Uniqlo, Zara, and H&M, lined up with cosmetic shops, and food stalls. Like in Tokyo, the Onitsuka Tiger showroom here is packed with people. Mostly travellers, perhaps here for their holy grail. I queue up too, jostle for space inside and confuse myself with the metallic options. But one cannot take too long to decide because while you do, what you want may just be whisked away to the billing counter, right in front of your eyes!

The spa at the Four Seasons Osaka

I could linger at Sinsaibashi for longer but the idea of sundowners at Bar Bota, on the 37th floor of the Four Seasons hotel, seems inviting. The bar serves cocktails crafted with local botanicals, innovative snacks and stellar views of Osaka gilded by the sun’s orange rays. Post that, I reward myself with a massage. I am transported to the spa on the 36th floor where I let the masseuse work her magic while I look out of the floor-to-ceiling windows. The city lights come on, clouds waft through the late evening sky, and eventually a gentle snore escapes my mouth. Good night, Osaka!

The writer was in Japan at the invitation of Four Seasons Hotels and Resorts

Retro-styled lanterns
| Photo Credit:
Priyadarshini Paitandy

A photo of a traditional room
| Photo Credit:
Four Seasons Osaka

Jiang Nun Chun, Four Season Osaka’s Chinese restaurant on the 37th floor

When I was in school, the school celebrities who were usually the athletes, were defined by their absence. They came in to write exams, disappeared again, and returned months later with medals and accolades we heard about but never saw earned. Their names travelled faster than they did, and we joked about how easy their lives must be to skip school and play games all day. What we never saw was how much of childhood they traded, and how lonely that kind of discipline can be. 

At the recently concluded Track Asia Cup, a UCI Class-2 cycling competition in Chennai, we met four teenage girls who are living a version of the same trade-off. Niraimathi Jesudasan, Jai Jyotshna, Thabitha S and Srimathi Jesudasan move through days split between early-morning training, self-study done in fragments, and long hours spent with coaches, teammates and competition. Much of their time is structured, supervised, and purposeful, leaving little space for anything that does not directly serve the next session on the track. 

The Track Asia Cup awards international ranking points towards their Olympic campaigns and features riders from across Asia. Track cycling is raced on steeply banked oval velodromes, where rankings are decided by margins of time and position.

(L-R) Thabitha S, Srimathi J and Jai Jyotshna
| Photo Credit:
Special Arrangement

“We come from a very poor background, all our equipment, shoes, and cycles were given to us by Kanimozhi ma’am (Thoothukkudi MP, Kanimozhi Karunanidhi). The more medals we won, the more she helped us, so we got the confidence to keep going,” says Niraimathi Jesudasan who hails from Thoothukkudi. Niraimathi fared well under the Women Elite – Time Trial category finishing 1km at 1 minute 24 seconds in this tournament. “It is difficult when I compete with seniors, but this is my first year competing in the elite category, and I’m enjoying the difficulties,” says the 19-year-old.  

Her older sister, Srimathi Jesudasan also fared well in two categories; Women Elite – Keirin, and Women Elite – Sprint. “My father was a tailor and we went through a lot during the pandemic. I participated in the Thoothukkudi district championshiop for cycling and won a gold medal after only training for a few months, and the more I trained, the more medals I won. I have around 20 medals in various championships now,” she says. 

“When I lived in Coimbatore, a mud tracked opened near my house, and I only had an MTB bike then. I participated in the club race and came in third without any practice. This motivated my parents to find a coach who can help me hone my skills, and I started training seriously. I then participated in road cycling, and eventually started track when we moved to Chennai,” says 18-year-old Jai Jyotshna A, who came in fifth under the Women Junior – Sprint category at the Asia Cup. “I train from 9am to 11am, then after lunch I study for exams because I’m in 12th class now. I spend all my rest and recovery time studying, and then go back to training,” she says. She is currently in Delhi NCOE camp training for future championships. 

Thabitha Shaffi
| Photo Credit:
Special Arrangement

The gold medal winner in Women Junior – Sprint category, Thabitha Shaffi, is an overall sports enthusiast. A kabbadi player, and athletics enthusiast, she participated in any sporting event she could get her hands on. “I participated in a local cycling race, and came in fourth position and the coach encouraged me to train more and focus on cycling. I was asked to quit kabbadi because of the high risk of injuries, so I quit that and focussed on road and track cycling more. I went to my first national camp in Hyderabad, then to Kerala,” she says. Over the years, the 18-year-old has won several medals including a silver medal at the Khelo India Youth Games held in Bihar in 2025. 

The outdoor cycling track, the SDAT Velodrome in the TNPESU campus, where the championship was hosted, was built with international championship standards in mind. It was renovated to standards during the Khelo India Youth Games in 2023. “The access to sports has been made easy in the last few years. Since the TN Government has put effort into developing the infrastructure, young athletes feel motivated to participate more,” says M Sudhakar, President of Tamil Nadu Cycling Association (TNCA). 

Srimathi Jesudasan
| Photo Credit:
Special Arrangement

For all four of them, there is little sense of arrival. Training resumes the next morning, studies continue in the margins, and competitions come and go. “I started cycling at this very track, and to participate in an international event at the same track is a moment of pride for me. This is the beginning,” says Thabitha. 

Published – February 04, 2026 04:56 pm IST

Saris from Kausheyam
| Photo Credit: SPECIAL ARRANGEMENT

Tara Sutaria in a raw silk bridal lehenga from Kalki Fashion’s Zehn collection

Her spine erect, neck elongated, legs crossed, torso slightly tilted and chin held high, she sits on a plastic chair. Her right arm extends, slightly arched, moving slowly from her head to her waist. It is a ballet move, but Khushcheher Dallas, 52, is simply gesturing for me to take the chair across from her for the interview.

That poise never leaves her, even when she is not on stage. It comes from over 30 years of teaching ballet and years devoted to learning the form. Her first teacher was her mother, the legendary Tushna Dallas, who established The School of Classical Ballet and Western Dance in 1966, widely regarded as the first formal ballet school in Mumbai.

Tushna with students
| Photo Credit:
Special arrangement

From choreographers Shiamak Davar and Ashley Lobo to actors Ayesha Dharker, Perizaad Zorabian and Tara Sutaria, generations have learnt to arabesque at Tushna’s Girgaum studio.

Over the last six decades, the institution has sculpted thousands of bodies, shaped careers, and instilled the discipline that ballet demands. “Tushna was a gentle yet demanding taskmaster,” says James D’Silva, 60, founder of the UK-based Garuda Studio, which helps dancers, performers and athletes recover from physical injuries through bodywork. He has trained several global personalities, including Madonna.

James trained with Tushna for a year before dancing with international ballet companies and later creating one of his own. “Her solid technique became the foundation of my career,” he adds. She recognised his talent early, took a boy from a Goan village under her wing, nurtured him, and pushed him to achieve more. “She was always happy to hear about what I was doing next. It was almost as if she was vicariously living through me.”

Tushna and Khushcheher

Tushna never became a professional ballet dancer herself. At the time, ballet was a lesser known discipline in India and no one taught the form here. When she turned 16 and her parents agreed to let her study abroad, it was too late; ballerinas typically begin training at four or five. She chose instead to train as a ballet teacher at the London School of Dance and Drama (now the Imperial Society of Teachers of Dancing).

Initially, her trainers were unsure whether a brown girl from India could keep up. She was placed on probation for a few months. “Her white batchmates would ask if she even knew what a fridge was,” recalls Khushcheher. They assumed she came from a backward country. “But soon enough, she was teaching her classmates and helping them study,” she adds.

Tushna graduated at the top of her class — “no small feat,” says Khushcheher. Yet she returned to India. “She could not stay and work abroad because there was pressure to get married,” adds James.

Back home, Tushna brought the same rigour, discipline and passion to Mumbai, opening a school with just four students. At the time, ballet shoes were unavailable in the city; a skilled bus conductor doubled up as a cobbler for her.

Word slowly spread — about her teaching, and about how ballet helped children build focus and discipline. Enrolments grew. “I don’t have an exact count, but thousands of students must have passed through the school,” says Khushcheher. Tushna often taught pro bono. “If someone couldn’t afford the fees but showed potential, she would train them for free. That’s how passionate she was.” She taught and danced until two days before giving birth to her daughter.

In the early years, persuading parents to enrol their children was difficult and the school grew slowly. Yet Tushna would sometimes politely discourage students from joining. “For her, it was never about money or numbers. If she felt someone didn’t have the physical build for ballet — like an arched foot — she would ask them to direct their energy elsewhere,” says Khushcheher.

The challenges

Khushcheher has been teaching since she was 19 and has inherited the same integrity and rigour. “I don’t compromise on technique or discipline either,” she says. California-based dancer Matisse Love, formerly with a Russian ballet company, agrees. “The students’ technique is excellent. They look together, disciplined and in sync.” Matisse, with dancer Harry Peterson, performed at the school’s 60th anniversary celebration at St Andrew’s Auditorium in Bandra in December — a show conceptualised by Khushcheher.

Khushcheher herself trained as a teacher at the Royal Academy of Dance, London, on a scholarship. After completing the course, she returned to Mumbai to continue her mother’s legacy. Challenges remain. Enrolling male students is one. “Earlier, parents hesitated to enrol girls. Now we struggle to get boys. Ballet is still not seen as suitable for them,” she says.

Space is another concern. The studio is rented, limiting structural modifications. “We have to restrict jumps because mats cannot replace a sprung floor, which absorbs shock and prevents injuries,” she explains. Despite this, students perform well in Royal Academy examinations. “But we could do much better — jump higher — with the right floor.”

As Khushcheher works towards that goal, her students continue to train with dedication. Sahana Kamdar and Aryana Mehta, both 18, have studied ballet here for 12 years. Rain or shine, even during board exams, they rarely miss class. “It’s such an integral part of our lives that when we don’t dance, we feel incomplete,” says Kamdar. “It’s also a way to step away from studies and focus on what we love,” adds Aryana, who hopes to become a professional dancer.

Many of Tushna and Khushcheher’s students have gone on to join international companies or open their own studios in Mumbai and beyond. In doing so, they carry forward a legacy that has quietly shaped the city’s dance culture for over six decades.

Published – February 04, 2026 03:21 pm IST

Yamaha EC-06 electric scooter showcasing its modern and minimalist urban design.
| Photo Credit: Special Arrangement

Volkswagen’s SUV strategy for India takes a decisive step forward with the Tayron R-Line, a three-row flagship that combines space, performance and a distinctly premium character. We drove the Tayron R-Line across the sweeping highways and desert stretches around Jaisalmer. These conditions allowed it to showcase its comfort, refinement and dynamic ability in equal measure. With local assembly helping keep pricing competitive, the Tayron arrives as a product with clear and confident intent.

The Tayron R-Line’s sculpted exterior and 19-inch alloy wheels give it a confident and athletic road presence.
| Photo Credit:
Special Arrangement

From the outset, the Tayron R-Line makes a strong visual impression. Its design strikes a fine balance between sportiness and sophistication, with smooth, flowing lines and well-judged proportions that suit a large three-row SUV. There is evident attention to detail in the sculpted surfaces, giving the vehicle a clean yet muscular stance. The R-Line-specific elements add a sporty edge without being overbearing, while the large 19-inch alloy wheels fill the arches nicely and enhance its planted look. Volkswagen’s IQ.LIGHTS LED headlights deserve special mention; they work intelligently at night, adapting seamlessly to traffic conditions and improving visibility without dazzling oncoming drivers. Overall, the Tayron R-Line manages to look athletic and dynamic, yet retains the premium aura expected of a flagship Volkswagen.

Step inside and the Tayron R-Line continues to impress with its sense of space, quality and technology. The cabin feels airy and inviting, aided by the panoramic sunroof and excellent visibility. Material quality is consistently high, with soft-touch surfaces and precise fit and finish, reinforcing its premium positioning. The front seats are a particular highlight, being eight-way, power adjustable, and well-contoured, they offer excellent lumbar support. The extended thigh support makes long hours behind the wheel genuinely comfortable. Heating and ventilation functions ensure year-round comfort, but the real standout is the massage function. With a wide range of modes and settings, it works extremely well and significantly reduces fatigue on longer journeys.

Volkswagen Tayron R-Line showcased against the desert landscape of Jaisalmer, highlighting its bold and premium SUV design.
| Photo Credit:
Special Arrangement

The steering wheel adds another layer of luxury. It is heated and can be activated via a dedicated button on the wheel itself, a thoughtful feature that enhances comfort in cooler conditions. Technology takes centre stage in the Tayron R-Line, beginning with a crisp 10.25-inch digital information cluster that is clear, customisable and easy to read.

At the heart of the dashboard sits a massive 15-inch touchscreen infotainment system, which, despite its size, operates seamlessly, with quick responses and intuitive menus. Dual wireless charging pads up front allow two devices to be charged simultaneously, while ambient lighting subtly elevates the cabin ambience, particularly after dark.

Audio quality is outstanding, courtesy of the Harman/Kardon sound system. The multiple speaker set-up delivers rich, powerful and well-balanced sound, transforming the cabin into an immersive listening space, whether cruising on the highway or navigating city traffic. It is easily one of the better audio setups offered in a three-row SUV in this segment.

As a three-row SUV, flexibility is one of the Tayron R-Line’s key strengths. The second-row seats can be reclined and manually adjusted forward and backward, allowing occupants to balance legroom between rows or free up additional luggage space as required. The third row is best suited for children or occasional adult use, but with the rear seats folded, the Tayron R-Line offers a large, practical boot that makes it ideal for long road trips or airport runs with heavy luggage.

Powered by a refined 2.0 TSI engine with 4MOTION all-wheel drive, the Tayron R-Line delivers strong performance on varied terrains.
| Photo Credit:
Special Arrangement

Powering the Tayron R-Line is Volkswagen’s proven 2.0-litre TSI petrol engine, paired with a 7-speed DSG automatic transmission and the brand’s 4MOTION all-wheel-drive system, a combination that remains one of the SUV’s biggest strengths. The engine is exceptionally refined, delivering smooth and linear performance, while the DSG shifts quickly and unobtrusively in everyday driving. Acceleration is brisk, and engaging Sport mode sharpens throttle response and gearbox behaviour noticeably, transforming the SUV’s character. Despite its size and three-row layout, the Tayron R-Line builds speed effortlessly, reaches triple-digit speeds with ease and remains impressively efficient for its class.

Ride and handling mark a clear improvement over the Tiguan R-Line. The suspension setup feels more mature and better suited to Indian conditions, delivering a plush ride over broken surfaces while remaining firm and composed at higher speeds. Body roll is well controlled, and even when pushed, the Tayron R-Line feels stable and predictable, ensuring passengers are not jostled around. Braking performance is equally strong ; with disc brakes on all four wheels, the SUV sheds speed confidently and remains stable even during hard stops from higher speeds. .

Luxurious and tech-rich cabin of the Volkswagen Tayron R-Line featuring a 15-inch touchscreen and digital cockpit.
| Photo Credit:
Special Arrangement

The inclusion of 4MOTION all-wheel drive adds genuine versatility. While it is not intended as a hardcore off-roader, the system allows the Tayron R-Line to handle loose surfaces, gravel tracks and mild off-road conditions with confidence, expanding its usability beyond smooth tarmac.

Safety is another major strength. The Tayron R-Line feels solidly built and is equipped with a comprehensive safety suite that includes nine airbags, Level 2 ADAS and a full range of active and passive safety systems. These technologies work smoothly in the background, enhancing driver confidence without feeling intrusive.

In conclusion, the Volkswagen Tayron R-Line feels like a carefully engineered, well-rounded three-row SUV. It combines flexible space, strong and refined performance, excellent ride comfort and confident handling. Add to that a premium, feature-loaded cabin with a panoramic sunroof and an exceptional Harman/Kardon audio system, top-notch safety credentials and the promise of a lucrative price thanks to local assembly, and the Tayron R-Line stands out as one of the most compelling three-row SUVs set to launch in India.

Comfortable front seats with heating, ventilation and massage functions enhance long-distance driving comfort.
| Photo Credit:
Special Arrangement

Expected price: INR 45-50 lakh

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

Published – February 04, 2026 02:33 pm IST

In the early 1970s, we drank at permit rooms. A Permit Room (as bars were known back in the day), was a licensed, designated area within or attached to a hotel or liquor shop, where patrons were permitted to consume liquor on-premises, legally carrying with them a ‘permit’, issued by the authorities concerned.

The only watering holes, these Government-regulated bars were tucked inside a few hotels. And as the name suggests, patrons actually needed a Government-issued permit to order a drink.

Now, in a city sparkling with modern cocktail menus and trendy lounge bars, some of these bars remain unchanged, offering a quiet space for loyal regulars, with familiar menus and staff. Three of these are vegetarian, offering rasam vada and peanuts with your whiskies.

We visit four of the oldest hotels in Chennai to try their iconic bars.

The Permit Room on Cathedral Road, Hotel Maris

Sometimes the universe aligns with human effort, altering destinies. Such was the story of Mariapillai, a landlord-farmer from Manachanallur in Tiruchi. His life took an extraordinary turn when he moved from being a labour contractor to becoming the owner of a tea estate — a gesture of trust from the British planters who recognised his integrity. His success set the stage for the next generation. In 1975, his son Rengaswamy Pillai purchased a one-acre plot on Cathedral Road and built a hotel there, naming it Hotel Maris in honour of his father.

“My grandfather had the privilege of booking the first room,” recalls Rengaswamy’s son, Anand Rangaswamy, who now runs the establishment. “A few years later, in 1979, we opened our bar, then known as a permit room. My grandfather, a cognac connoisseur, inaugurated The Permit Room with the first drink, which was Honey Bee Brandy because, Cognac was a rarity in bars like ours those days. We retained the name but added ‘on Cathedral Road’ for better identification.” The hotel, true to its heritage, continues to operate as a vegetarian property.

At The Permit Room in Hotel Maris
| Photo Credit:
Johan Sathyadas

The Permit Room is elegantly designed with an L-shaped layout that seats around 80 guests. Its straight-backed chairs and four-seater tables suit both hurried business meetings during the day and relaxed evening gatherings. Soft lighting and subdued  instrumental music create a calm atmosphere, perfect for conversation — a quality appreciated by its regular clientele, many of whom are business travellers or neighbourhood patrons aged between 40 and 75.

The bar’s snack menu is intentionally light, keeping the age group in mind: boiled groundnuts, sundal, murukku, cornflakes, and peanuts. The highlight, however, is the popular rasam vada, a favourite among guests. “We take pride in the range of liquor we stock and keep our pricing competitive,” says Anand. While draught beer is not served due to inconsistent supply, the bar offers a generous variety of spirits. Cocktails are minimal, but a Bloody Mary is always an option.

The bar’s snack menu, especially its rasam vadai is popular among regulars
| Photo Credit:
Johan Sathyadas

A simple raise of the hand is all it takes for a waiter to refresh a drink — a small gesture that captures the warmth and understated charm of The Permit Room on Cathedral Road.

Our favourites: Yamazaki Single Malt whisky with rasam vada and onion pakoda

Ramba bar at Hotel Palmgrove

Hotel Palmgrove, in fact, predates Hotel Maris by a few years. The original Palmgrove was established in 1971 by its earlier promoters, but after a difficult start and a period of decline, it was almost forced to shut down. Its fortunes changed in 1973 when the Ballal Group of Mangalore took over and restored the hotel to stability and respectability.

The hotel’s permit room, the Ramba Bar, opened in 1981. “Keeping with tradition, we’ve always chosen mythological names — Urvashi for the conference hall, Menaka for the restaurant, Indrasabha for the mini hall, and Ramba for the bar,” explains general manager B Sukeerthi Raja Ajri, who has been associated with the hotel since 1973.

A vintage car stationed outside Hotel Palmgrove
| Photo Credit:
Johan Sathyadas

Over the decades, while Palmgrove’s restaurant and banquet services have enjoyed steady patronage, the Ramba Bar has had a tougher run. It remains a modest 35-seater with limited décor and a bar stock that is far from extensive. Yet, it has a quiet charm that keeps regulars coming back. Bartender T Murugesan, who has been with the hotel for eight years, says, “We have many regular customers — some stay at the hotel, others live nearby.”

One such regular, sitting alone with his drink, shared his reasons for returning: “I come for the silence, the calm, and the quick service. Many of us are from traditional families where drinking at home is taboo, so this place becomes our quiet corner.”

Ajri adds, “Most of our guests — whether at the hotel or the bar — are from the business community or the local neighbourhood.” Ramba Bar offers the popular whisky, brandy, vodka, and rum selections, along with a decent range of beer. The demand here is for practical IMFL favourites rather than exotic or high-end labels, though a Scotch is occasionally poured. The snacks are simple too — chips, peanuts, mixture — with vada and chutney being the signature item.

Fridays and Saturdays see the highest footfall, while Sundays tend to be slow. With four competing bars in the vicinity serving non-vegetarian dishes, Ramba Bar faces stiff competition. Yet its familiarity, ample parking, well-known faces, and unhurried atmosphere continue to draw middle-aged and older patrons who appreciate its quiet, steady presence.

Our favourites: Vat 69 (old world whisky in an old-world bar) with masala vada /chutney and peanut masala

The Bar at Madras Hotel Ashoka

Simply called The Bar, and marked only by a discreet glow sign above the hotel’s main porch, the permit room at Madras Hotel Ashoka has been operating quietly yet steadily since 1982. The hotel came under the ownership of the Ballal Group of Mangalore after the previous promoters, LG Balakrishnan & Bros of Coimbatore, decided to exit the hospitality industry. Since then, the Ballal family has maintained the property with a sense of continuity and tradition.

Set within sprawling grounds in the heart of Egmore, Madras Hotel Ashoka is a vegetarian establishment that draws a large and loyal clientele. Business travellers form a significant portion of its patrons, many of whom are drawn to the hotel’s tasty vegetarian fare and the sensibly priced offerings at The Bar.

Today, the hotel operates under the collective leadership of K Jayavermaraj Ballal, with day-to-day operations overseen by director Roshan Ballal. “As one of Chennai’s oldest permit rooms, the charm of The Bar lies in its simplicity and continuity,” Roshan explains. “Many guests have been coming here for decades. They appreciate the familiar snacks, the understated décor, the calming ambience, and even the greenery and ample parking. These evoke an era when hospitality was simpler and more personal, giving them a peaceful space in a busy city.”

The Bar carries more than 50 varieties of liquor, and the snack menu is substantial, offering around 10 items. Among these, the rasam and sambar vadas remain particular favourites. The average guest is between 30 and 50 years old — mostly business travellers. Roshan adds that the hotel’s open-air and banquet halls host events throughout the year, and attendees from these programmes often visit the bar before or after their functions.

A view of The Bar at Hotel Ashoka
| Photo Credit:
Johan Sathyadas

Two friends who meet here regularly chat about why they like visiting. “We always sit at our usual table at the far end,” one of them said. “It gives us the privacy we want.” Their preference is so well known that the bartender occasionally asks newcomers to shift seats so the regulars can occupy their familiar spot. “Most people oblige — they understand the comfort of a familiar table,” says Harinarayanan, barman.

Our favourites: Jim Beam with potato sticks and roasted groundnuts

Crystal Bar at Hotel Ranjith

In 1972, PV John from Kerala arrived in then–Madras city and entered the hospitality industry by establishing what came to be known as Hotel Ranjith. His son, PJ Eapen, the hotel’s current managing director, had never planned on joining the business. But circumstances changed when he moved to Chennai to care for his ailing mother. With his father occupied with her treatment, Eapen gradually stepped in to manage the hotel and eventually became deeply involved in its operations.

As the hospitality landscape evolved and demand grew, the family expanded the business by opening a permit room — the now-iconic Crystal Bar. Eapen’s son, John Eapen, who is taking on a larger role in the family enterprise, recalls, “We come from a conservative community that traditionally frowned upon involvement in the liquor business.”

Perhaps for this reason, when Crystal Bar was opened, it was housed in a standalone structure within the hotel premises. Over the years, it developed its own identity, becoming well known not only for its drinks but also for popular dishes such as Afghani chicken, crab cutlets, fish Malabar, and chicken rolls.

Cocktails at Hotel Ranjith
| Photo Credit:
Johan Sathyadas

Established in 1986, Crystal remains one of the finest among Chennai’s older hotel bars. Its club-like seating — plush chairs, L-shaped sofas, and granite-topped tables — creates an intimate, relaxed setting. The lighting is soft and the music deliberately low. “Sometimes, when the bar is full, we turn the music off completely because guests prefer to focus on their conversations,” says John. Beloved for its old-world charm, Crystal has become a preferred gathering place for both older patrons and younger regulars seeking a nostalgic, unhurried ambience. “It’s not just a bar. Its 40-year legacy is a testament to consistency and quality,” adds Eapen John. This is probably why Crystal Bar attracts the youth – senior college students and young professionals. Says one of the six in a group present, “We like to talk, exchange news, speak about music and enjoy the peaceful ambience of this old-world bar which allows us to do so, in contrast to some of the noisy pubs.”

Bartender Venkatesh, who has served at Hotel Ranjith for 25 years, observes that guests aged 40 and above tend to favour brandy, rum, and vodka. “We’re also one of the best-stocked bars in the city,” he says. “Crystal offers a curated selection of premium imported spirits — single malts, bourbons, VSOPs, and even special liqueurs like absinthe. Occasionally, groups of college students stop by for a quick drink before heading to the restaurant,” says Venkatesh. The snacks remain simple, with the ever-popular chilli idli topping the list.

Our favourites: Chilli idli, crab cutlets and Madras Masti (whisky, ginger, mint, plum and pomegranate)