Life & Style

Why India is still awkward about kink, and why that may be changing


Everyone has an opinion about kink, and almost none of them begin with, “I’m curious.” The first time it came up with my friends, it was over dessert, which feels appropriate because Indians love processing discomfort with sugar. Someone asked, genuinely alarmed, “So it’s basically just hurting people, right?” Another waved their spoon dismissively and said, “Wasn’t that Fifty Shades?” And that was that.

Here’s the first myth to dismantle: kink in India is not one thing. It’s not a dungeon, it’s not a personality type, and it’s definitely not eight shades of collective moral panic. At its most basic, kink is a set of preferences, practices, and agreements about power and pleasure. Over the past few years, communities have been forming, people have been comparing notes, and yes, India even had its first Kink Con a few years ago.

So why do we still get it wrong? Shame. We inherit it like furniture. Our first reference point is usually spectacle. Strip away the theatrics, though, and kink is aggressively practical. It’s about safewords, checking in, aftercare, and saying things out loud that most of us would rather assume. In her book Speak Easy, sex educator Seema Anand says it plainly: consent isn’t a one-time “yes”; it’s an ongoing conversation.

But communication isn’t the whole story; otherwise, Indians would simply WhatsApp their way into better sex and be done with it.

A married woman I spoke to told me kink did something unexpected in her marriage: it made her husband ask. Constantly. “Are you okay?” “Do you want to stop?” “Do you like this?” She laughed when she said it and then added, “That level of attention was the most romantic thing he’s done in years.”

A young, queer man in Bengaluru told me kink forced him to stop blaming “chemistry” for every failed hookup. “We say there’s no spark,” he said, “when what we really mean is we didn’t talk.” The first time someone asked him what he actually wanted, he froze. “I realised I’d spent years performing desire without knowing my own.” Kink, for him, was less a fantasy and more a mirror.

Don’t hit the panic button

Which brings us to the question everyone usually panics about: pain and pleasure. How do you tell the difference without turning intimacy into a corporate offsite? You use signals. Safewords are the obvious ones — “red” means stop, “yellow” means slow down — but when speech isn’t an option, people agree on non-verbal cues: dropping an object, tapping a hand, a gesture that says pause. Experienced practitioners talk about watching breathing, responsiveness, and energy.

And yes, pain can be part of pleasure, but distress is something else entirely. Freezing, shutting down, going silent: that’s your cue to stop. After that comes aftercare: water, warmth, reassurance, and a conversation once everyone’s nervous system calms down. Which, frankly, is more emotional responsibility than most of us were taught in any context.

Zoom out, and this stops being about kink and starts being about culture. Indian intimacy runs on assumptions — who leads and who adapts. Kink’s real disruption is naming those roles, treating them as temporary, and allowing people to opt out. Before anything happens, there’s often a short checklist: what do you want, what don’t you want, what’s the safeword, what happens after?

A necessary disclaimer: kink is not a cure-all. It won’t fix a marriage that avoids conversations about money or childcare any more than yoga will if you never leave your house. But it does teach habits most relationships desperately need: how to ask, how to listen, and how to care once the mood has passed.

As a kink practitioner once told me, to simplify my understanding of it: think of kink like ordering a thali. “You negotiate the spice level, respect when someone’s had enough, and agree upfront on whether dessert is shared. But if you want to be serious, treat it like any other skill worth learning — with curiosity, humility, and the ability to stop when someone says stop.”

As Aili Seghetti, who leads Intimacy Curator, that organises kink events pan India, once told me on the sidelines of a foot fetish cruise she organised in Mumbai a few years ago, we have to be open about basic fetishes first before getting into more intense territory. “We need to be open to discussing our desires, and less judgment helps.”

“The cruise had around 60 people. Most kink events we organise typically draw between 60 and 80 attendees. Femdom suppers — where women hold the power and their subjects (mostly men) join them — are among the most popular, with a waiting list of nearly two months,” Aili tells me.

We’ve avoided these conversations because they’re messy, and because shame is often easier than curiosity. The good news is that curiosity is catching up. People are learning, communities are forming, and educators are finally saying things out loud.

A fortnightly guide to love in the age of bare minimum

Published – February 23, 2026 11:04 am IST



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Workshop on bird watching to be held in Wayanad


Get a peek into the world of birds at Basics of Birdwatching, a two-day workhop. Organised at Thennal Jungle Camp in Wayanad, in association with Nature enthusiasts and birding communities from the region, the workshop is designed to introduce participants to the fundamentals of bird watching. It aims to help participants understand bird behaviour, improve habitat awareness and practise responsible Nature observation. Facilitated by bird watcher and wildlife photographer CR Anoop, the workshop will include guided bird walks within a natural habitat, classroom sessions on bird identification and conservation and interactive sessions on local bird species and ecosystems.

It will be held on February 28 and March 1 at Thennal Jungle Camp, Kattikulam, Wayanad. Seats are limited. For registration, call 9447766581/9061114448.



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20 years of Tamannaah: The actress speaks about her roles and new jewellery line


Tamannaah Bhatia turns entrepreneur with Tamannaah Fine Jewellery

Tamannaah Bhatia turns entrepreneur with Tamannaah Fine Jewellery
| Photo Credit: Special Arrangement

This is a landmark year for Tamannaah Bhatia — she completes 20 years in Kollywood. She made her Tamil debut with the film Kedi in 2006. Two decades down the line, the actor is a pan-India star having worked in Hindi, Tamil, and Telugu films and big blockbusters like Baahubali. We catch up between shoots.

“I just shot for Rohit Shetty’s Rakesh Maria with John Abraham. Then there is Rangers, an action adventure film — a Luv Ranjan production; and Vvan with Sidharth Malhotra. It’s rooted in some amount of folklore, depicting culture in an interesting way,” she lists out, adding, “This is a fresh outing for me. People have seen me a lot in the southern film industry. This entire phase and all these films will be an interesting outing for me for the Hindi side of the audience.”

 Post this she will start her schedule for Purushan with Vishal, Ragini 3, and Shantaram.

With the camera still rolling, and despite back to back shoots, Tamannaah has found time to embrace one of her passions and become an entrepreneur. The actress recently launched Tamannaah Fine Jewellery in Mumbai (available at the retail store and online). This is jewellery — rings, necklaces, pendants, earrings, bracelets — in 14kt and 18kt gold with diamonds and gemstones like emerald, ruby, and tourmaline.

Pieces from her first drop

Pieces from her first drop
| Photo Credit:
Special Arrangement

“It took two years to come up with the first drop, which has five collections,” says Tamannaah. And keeping the month of love in mind, the brand just dropped Heart Knot, pieces that prominently feature diamond hearts. “The first most impactful piece I came up with and felt like we were onto something was the half and half torque necklace, inspired by the Indian hasli. The torque is like a metallic pipe and we attached it with links. We created our own links, called flick and that plays out a lot in our collections,” she explains.  

As a child, when Tamannaah had a bad day her father would take her to a jewellery store. She would buy trinkets. That perhaps is one of her earliest memories of jewellery. “I started working very young (she was 15 when she acted in her first film Chand Sa Roshan Chehra), so I was exposed to fashion early. I was getting ready everyday wearing jewellery. But I never imagined that I would take a liking to it so strong that I would create within that space,” she says. A collection for men is on the cards next.

While styling herself for events and just “having glam on all the time”, she realised that there was too much emphasis on clothes and accessories that were not comfortable and there was a certain notion of what glamour should be. But when she tried on certain kinds of jewellery it took her away from that notion that others had. She wanted to create jewellery that could be worn everyday and not just be locked away for weddings and other such occasions.

“My father has been in the jewellery business for the last 15 years. The moment I felt I had something to say in this space, I hopped in,” says Tamannaah. The designs, she says, are all hers. And she is on the floor talking to people to understand what they really want in the pieces they wear, what works and what doesn’t.

 Tamannaah has taken lessons she has learnt in the film industry and applied them to her jewellery business as well. “I’ve been in a commercial space and understand that in the end your art is supposed to be consumed by people. If you have to survive as an artiste, you have to reinvent.” What’s been interesting for her is that every year she discovered a new version of herself. Baahubali helped her realise the range and variety she could bring as an actor. She enjoys the ability to make her audience feel something. The whole purpose of entertainment, she believes, is to influence people by invoking something within them. 

But acting is also a physically rigorous job, she admits. “It is gruelling. You have to keep your body and emotions intact. There is very little time for family and self. In the end, would I do it all again?,” she asks and after a pause smiles, “Yes, I would.”



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Thiruvananthapuram-based art community, Live by ONC, aims to boost the city’s art culture


A music event orangised by Live by ONC

A music event orangised by Live by ONC
| Photo Credit: SPECIAL ARRANGMENT

For the founding members of Live by ONC (short for Oru New Culture), a group of friends from Christ Nagar College, Maranalloor, in Thiruvananthapuram, the idea for launching a community in the city that organises art and cultural events originated from a trip they took to Bengaluru a few months ago. The group, unable to decide how to spend their evenings in the metro city, searched online platforms, where they found a plethora of options from cultural events to parties, ultimately choosing the latter.

Also read: Quizforya in Thiruvananthapuram is a go-to platform for quiz enthusiasts

Once they returned, the friends decided to start a community in the Kerala capital in October 2025 when they organised their first event and have since then conducted music nights, crochet workshops, and other programmes. The latest is a biomimicry workshop, Wildmarks, touted to be the first in Thiruvananthapuram, to be held on February 22. “The immersive session will require participants to explore their surroundings, pick an object in nature that catches their attention and create an artwork out of impressions made by it,” says Adwaith S, one of the founding members of Live by ONC.

Founding members of Live by ONC

Founding members of Live by ONC
| Photo Credit:
SPECIAL ARRANGMENT

The collective began with a discussion on how dormant Thiruvananthapuram’s art and event scene was. “With a lot of people coming to the city, our goal is to boost the city’s art and cultural scene by creating a space for artists to showcase their works and give them exposure,” says Adwaith. “A lot of people are also moving to the city. So, we are building something for them to spend quality time, be it alone or with their friends, or even to meet new people.”

Live by ONC focuses on two types of events — hosting intimate gatherings where people can socialise and mainstream events, such as concerts, with a larger crowd. We also plan on curating events for corporate companies and even destination weddings.”

Humble beginnings

Adwaith says, “When we started, I remember a lot of people telling me that people here does not have that culture of spending time outside their households yet. They said, ‘If you’re doing events, there’s no guarantee that it can amount to anything.’ We realised how people are mostly used to having just a quick meal outside on weekends, without being involved in any other activities.”

So far, the response has been great, say the organisers. The people here are very social and have the mind to experiment as well. But there isn’t much offered to them, says Adwaith. “We are also trying to get people to explore their hobbies and present their talents.”

Scenes from a crochet organised by Live by ONC

Scenes from a crochet organised by Live by ONC
| Photo Credit:
SPECIAL ARRANGMENT

Live by ONC’s recent crochet workshop was a hit. “We posted an after-movie on our social media handle, which went viral. Since then, our community has been growing organically and quickly.”

Follow the Instagram handle @livebyonc for more updates on their events.



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How Thekkekottaram at Raja Ravi Varma’s Kilimanoor Palace was restored, on a budget


When Sethu Thampuratty passed away at 105-and-a-half, Prasanna Varma decided the best tribute to her grandmother would be to save her beloved home. Then seven of her cousins joined in. Two years later, Thekkekottaram is ready to be lived in again.

Thekkekottaram is one of the rowhouses on the southern edge of the Kilimanoor Palace. Located 30 kilometres from Thiruvananthapuram, the Kilimanoor palace is the ancestral home of Raja Ravi Varma, one of India’s most influential painters. It was also the site of his studio. Ravi Varma was the grand uncle of Sethu Thampuratty.

A portion of the renovated row house

A portion of the renovated row house
| Photo Credit:
Prasanth Mohan

The palace comprises a complex of buildings, small and big structures that were built as the family grew, with a large portion of its residences in the form of row houses. Prasanna, who is an author and translator, reminisces about her early days at the palace. “Some of us were born here and all of us were brought up here; Ammoomma and Muthachan [Rama Varma] treasured this plain little house and transformed it into a real palace for each of us. A palace of love.”

Cousins who came together to renovate the row house

Cousins who came together to renovate the row house
| Photo Credit:
SPECIAL ARRANGEMENT

The sloping-roofed row houses are connected, built around the central naalukettu. One can only imagine the bustle when it was alive with people and activities. Today, in stark contrast, it is silent and parts of it wear decrepitude.

So when Aswathy Ganesh of The One Architecture Studio, Tripunithura, the architect who led the renovation of Thekkekottaram set to work, she felt the design had to reflect the simplicity that defines the entire Kilimanoor palace and retain its soul.

The buildings that comprise the palace

The buildings that comprise the palace
| Photo Credit:
Prasanth Mohan

A graduate of College of Engineering Trivandrum (CET), Aswathy worked with architect and urban planner, the late Christopher Charles Benninger in Pune. Some of the projects she was part of include the Azim Premji University, Bengaluru and IIT Hyderabad. Working with him, she says, shaped her as an architect, for instance in the honest expression of materials through a clarity and elegance of form. These show in her work at Thekkekottaram: the lines are neat and simple, sans unnecessary flamboyance, retaining the character of the space.

Aportion of the row house before renovation

Aportion of the row house before renovation
| Photo Credit:
SPECIAL ARRANGEMENT

Physically deteriorating, but alive and thriving in memories, there were many things Aswathy wanted to do with the house as an architect; but she was working on a modes tbudget. She says, “Cost was a constraint. I had the memories of eight cousins to work with, of their vacations spent here…I had to imagine what it was like, there were no photographs as references,” says Aswathy. Since the construction was more than 100 years old, Aswathy also had to tread carefully.

Aswathy Ganesh

Aswathy Ganesh
| Photo Credit:
Prasanth Mohan

In keeping with the style of the times it was built, spaces were not very well lit and were cramped by today’s standards. Renovation let in more light and air, while retaining older elements wherever possible. The walls were repaired or altered while keeping the roof in place.

Aswathy chose construction material frugally, sourcing material and labour locally. “I retained what we could of the woodwork, especially the windows. What could not be used was repurposed for the seating or put to other uses and new were made.” She also retained pieces of furniture, such as an easy chair, an aattukattil (a swinging bed) and an ara (granary). Most of the existing furniture was repaired including cots, tables, chairs.

A portion of the renovated row house

A portion of the renovated row house
| Photo Credit:
Prasanth Mohan

Rooms were combined to become an open space with parapets/thinnai that also serve as seating. Kadapah stone replaced the black oxide flooring damaged with age.

Explains Prasanna, “We wanted to retain the faded grey of the floor, even the dull gleam of the walls. And, of course, the two courtyards with the curious wall in between. We wanted to retain the feeling of space where we could sit together, talk, laugh and tell stories rather than having a large number of rooms to retire to.”

Prasanna and her cousins are elated with the result. “From all the desolation and deterioration, Aswathy somehow managed to find Thekkekottaram’s soul.”

Published – February 20, 2026 03:01 pm IST



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In Hyderabad, Palate by Design brings together architects and chefs


What happens when architecture plays collaborator rather than a mere backdrop to food? We are used to thinking of dining as an experience led by aroma and taste, with spaces quietly receding into the background. Yet, spaces bear the ability to shape one’s rendezvous with food.

The show villa set against the rolling landscape.

The show villa set against the rolling landscape.
| Photo Credit:
Palate by Design

When the two disciplines meet as equals, a carefully choreographed dialogue between the built and gastronomy follows. Set within the rolling expanse of Hyderabad’s Signature Estates, a private villa community, Palate by Design — curated by Nitya Reddy of Ramky Signature One Pvt. Ltd. — offers a compelling answer.

Nitya Reddy.

Nitya Reddy.
| Photo Credit:
Palate by Design

A debut festival of its kind unfolded in January through a series of chef-designer pairings, in which spatial intent and culinary expression were developed in tandem.

Zafar Choudhary.

Zafar Choudhary.
| Photo Credit:
Palate by Design

“With Palate by Design, fine dining, architecture, and lifestyle retail have surged with new energy. At the estate, instead of high-volume developments, the focus has been on luxury and rarity,” says Reddy.

Sahir Choudhary.

Sahir Choudhary.
| Photo Credit:
Palate by Design

With a colossal 101 acres, Signature Estates offers its patrons 93 villas, designed in a creative alliance with the New Delhi and Ludhiana-based legacy firm Habitat Architects. “Rather than imposing a dense vision onto the land, the project listens to it. The show villa, specifically, is not about presentation — it’s about giving people a sense of how life unfolds across the estate,” reflects Zafar Choudhary, CEO and founding partner at Habitat Architects. The development’s clubhouse bears the DNA of new-age thinking helmed by Sahir Choudhary. “The design focuses on fluid circulation, and experiences that feel active without ever feeling crowded,” Choudhary shares. At the event, immersive pop-ups embodied the dialogue between celebrated designers and acclaimed kitchens. A look at four collaborations sheds light on this exchange.

The Signature Estate clubhouse’s conceptual render.

The Signature Estate clubhouse’s conceptual render.
| Photo Credit:
Palate by Design

Rooted modernism

Farah Agarwal, Chestnut Storeys (Chennai) | Chef Manav Khanna, BANNG (Mumbai and Gurugram)

Farah Agarwal imagines BANNG’s dining venue as a familial retreat. Styling: Prateeksha K. Tholia

Farah Agarwal imagines BANNG’s dining venue as a familial retreat. Styling: Prateeksha K. Tholia
| Photo Credit:
Palate by Design

Farah Agarwal.

Farah Agarwal.
| Photo Credit:
Palate by Design

The convergence of spice, heady colour, and ambience crescendos through the crossover between Farah Agarwal, principal designer at Chennai’s Chestnut Storeys and chef Manav Khanna of Gurugram and Mumbai-based BANNG. Agarwal envisions the pop-up as an intimate dining room, a blend of quiet luxury and considered functionality. Domesticity, the designer figured, is the way to go — layered materials, textured wall finishes, warm woodwork, and plush furnishings to evoke a sense of familiarity. “The idea was to create a space that feels like a home, an intimate dining room of sorts, where guests feel at ease the moment they step in,” shares Agarwal.

Offerings from BANNG’s menu. Styling: Prateeksha K. Tholia

Offerings from BANNG’s menu. Styling: Prateeksha K. Tholia
| Photo Credit:
Palate by Design

Manav Khanna

Manav Khanna
| Photo Credit:
Palate by Design

With years of experience in global kitchens, Khanna’s approach fits seamlessly with this direction, his team guided by curiosity as they explore authentic Thai cuisine. Khanna says, “I wanted an elegant space without being precious, and functional without losing soul. The design translated that beautifully: minimal and tasteful, with just enough warmth and texture to mirror the way we cook.”

For the contemporary curious

Apoorva Shroff, Lyth Design Studio (Mumbai) | Chef Ralph Prazeres, Praça Prazeres (Goa)

Praça Prazeres’ best picks headlined their menu. Styling: Prateeksha K. Tholia.

Praça Prazeres’ best picks headlined their menu. Styling: Prateeksha K. Tholia.
| Photo Credit:
Palate by Design

Apoorva Shroff.

Apoorva Shroff.
| Photo Credit:
Palate by Design

At Lyth Design, Mumbai-based architect Apoorva Shroff views design as a trusted medium to relate to people and their built context. This time, Shroff’s design direction reaps inspiration from the Konkan region, drawing upon chef Ralph Prazeres’ sensibility for melding traditional and bold contemporary flavours. The result is a space that mirrors this nuanced balance with rich Indian colour, texture, and artisanal warmth. “A shimmering mirror-box entry opens into sculpted metal arches framing a courtyard — the restaurant’s heart. The experience then settles into a plush, carpeted lounge beneath a glowing wood canopy, where refinement echoes the spirit of the restaurant’s cuisine,” Shroff highlights.

Apoorva Shroff’s take on the space for Praça Prazeres rests steeped in Goan charm and a penchant for colour. Styling: Prateeksha K. Tholia.

Apoorva Shroff’s take on the space for Praça Prazeres rests steeped in Goan charm and a penchant for colour. Styling: Prateeksha K. Tholia.
| Photo Credit:
Palate by Design

Ralph Prazeres.

Ralph Prazeres.
| Photo Credit:
Palate by Design

“Shroff understood what we stood for at Praça — the warmth of Goan hospitality — and created a setting that translated those feelings into a space where we felt we belonged,” Prazeres recalls. In Panjim’s heart, Praça Prazeres has done the essential for its diners: brought fading simplicity back to the table, where European fare is prepared with precision, celebrating memory and craft on a plate.

Familiar echoes

Gowri Adappa, A Design Co. (Chennai) | Gauri Devidayal, The Table (Mumbai)

Gowri Adappa’s spatial design for The Table draws upon nostalgia and rooted modernism. Styling: Prateeksha K. Tholia

Gowri Adappa’s spatial design for The Table draws upon nostalgia and rooted modernism. Styling: Prateeksha K. Tholia
| Photo Credit:
Palate by Design

Gowri Adappa.

Gowri Adappa.
| Photo Credit:
Palate by Design

Time moves more slowly, with leisure permeating its very being within the space Gowri Adappa created for The Table. Partner and co-founder at Chennai-based A Design Co., Adappa’s practice is synonymous with creating spatial experiences that champion local craft and indigenous materiality. Her collaboration with restaurateur Gauri Devidayal of Mumbai’s The Table paints a nostalgic portrait of ingrained warmth. “We introduced furniture, art, and décor that are worldly yet grounded. We worked extensively with traditional and local materials and crafts, reinterpreting them in a modern vocabulary that felt both rooted and current,” reminisces Adappa.

Vignettes of delicacies by The Table.

Vignettes of delicacies by The Table.
| Photo Credit:
Palate by Design

Gauri Devidayal.

Gauri Devidayal.
| Photo Credit:
Palate by Design

“The space Adappa created for us perfectly complements the food philosophy: It’s relaxed yet thoughtfully curated,” Devidayal says. Devidayal’s culinary destinations are celebrated for their elevated comfort, with ingredient-forward menus. Much like food, good design also thrives on balance, she expresses, “When every element — from materiality to light — is considered, it quietly shapes how a dish is received, deepening the experience without distracting from it.”

Reign of restraint

Abin Chaudhuri, Abin Design Studio (Kolkata) | Chef Nooresha Kably, Izumi (Mumbai and Assagao, Goa)

Restraint and an immersive milieu underpin Abin Chaudhuri’s approach for Izumi’s venue. Styling: Prateeksha K. Tholia.

Restraint and an immersive milieu underpin Abin Chaudhuri’s approach for Izumi’s venue. Styling: Prateeksha K. Tholia.
| Photo Credit:
Palate by Design

Abin Chaudhuri.

Abin Chaudhuri.
| Photo Credit:
Palate by Design

Anyone familiar with Abin Chaudhuri’s Kolkata-based practice, Abin Design Studio, and its colossal body of work knows the architect’s devotion to context. The studio’s reliance on collaboration, craft, and public engagement takes a tactile form, creating a venue for Izumi. “This space is an expression of our design philosophy, informed by Japanese minimalism and a belief in restraint as a form of luxury,” notes Chaudhuri. “Chef Nooresha Kably’s culinary philosophy was translated into a spatial language of quiet materiality, controlled detailing, and calibrated proportions. Simplicity here is not an absence, but a carefully curated presence.”

Izumi’s menu showcases its standout plates.

Izumi’s menu showcases its standout plates.
| Photo Credit:
Palate by Design

Chef Nooresha Kably.

Chef Nooresha Kably.
| Photo Credit:
Palate by Design

Headed by Chef Nooresh Kably, with their home in Mumbai and Assagao, Izumi’s culinary philosophy celebrates all that Japan embodies. At Izumi, chef Kably channels the rigour of her training sought in Japan, from sushi to ramen, into a menu that balances accessibility with authenticity. Kably further explains, “It was a slow reveal, a multi-layered experience for the diners and the design was perfect for it! It was defined and definite in its central stone table and yet, experientially layered in the screens with glimpses of foliage behind them.”

The writer is a trained architect and design specialist working across architecture, interiors, and the built environment.



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Saisudha Acharya: ‘The discipline of history isn’t as easy as people make it out to be’


Rohit Bhasi and Saisudha Acharya

Rohit Bhasi and Saisudha Acharya
| Photo Credit: Special Arrangement

Saisudha Acharya’s History Unpacked book series was conceived when she was teaching at the alternative school her son attended. “We weren’t restricted by textbooks, so it allowed me to try to get them to read other stuff,” says the Bengaluru-based author and educator, whose second book of the series, History Unpacked: The Why, When and What of Medieval India (Duckbill), was released earlier this year.

She soon discovered that these children, who were growing up reading Geronimo Stilton and Diary of a Wimpy Kid, avoided things that did not have many pictures or were not funny. “While I did try to get them to read the things I had grown up reading, it proved to be a challenge because the reading culture had changed,” believes Saisudha, who fell in love with history in high school, discovering historical fiction and narrative non-fiction along the way. “History was something that started as a side interest, and I started teaching it in 2016.”



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Minotti anchors cross-cultural interiors dialogue in Bengaluru


What really connects Indian homes with Italian ones? While India and Italy share a long and storied history of craftsmanship in handmade sculpture and furniture, Indians today import Italian furniture for its impeccable detail, material honesty, measured maximalism and an astute design language.

Susanna Minotti is an architect, head of interior design, Minotti S.p.A, and third generation of the Minotti family, from Meda, Italy. She was in Bengaluru last week (February 11) to celebrate the first anniversary of the brand’s flagship store in the city, in collaboration with Amber Home Interiors, headed by Bhashar and Sneha Sarda. For her, the two countries are rooted in family. “It’s not the aesthetic, but what the home represents, the warmth and comfort of family. And food, that’s very important to both Indians and Italians,” Susanna tells me.

Susanna Minotti

Susanna Minotti

For three generations, since Alberto Minotti founded the studio in 1948, Minotti has been crafting luxurious furniture, with 80 experience centres across the globe. “These are not showrooms, and we are not selling furniture. We are offering a dream and an experience,” observes Alessandro Minotti, general manager, Minotti S.p.A, and third-generation Minotti, present at the anniversary.

Embracing pastels, Brazilian curves

Choosing colours and designing for India has been a unique experience.

Alessandro Minotti

Alessandro Minotti

While Indian maximalism is making a comeback in interior spaces, choosing to stick with the Italian penchant for pastels has proven to be an unusual but winning choice.

Bhaskar and Sneha Sarda, co-founders of Amber Home Interiors.

Bhaskar and Sneha Sarda, co-founders of Amber Home Interiors.

Spread over three levels, the space in HSR Layout was conceived by Minotti Studio over video calls. Each floor at the Minotti experience centre is carefully calibrated. Each piece can be customised, from material to contrast detailing. The Yves bedroom suite is particularly impressive. “Designed by Milan-based Hannes Peer, this is an homage to Yves Saint Laurent, so the seams on the headboard, and bench bear a resemblance to a collection by the couture designer,” explains Alessandro.

From a sartorial statement to a more organic one, the Bézier seating system designed by Brazilian designer Marcio Kogan (founder, Studio MK27) is a true romance of mathematics and art. It is inspired by the legacy of Pierre Bézier, whose parametric curve (used in CAD software) celebrates the fluidity of organic shapes. The collection pays tribute to Brazilian modernism with all its elements embracing curves that fit into each other seamlessly, from the sofas to the low coffee tables that resemble smooth pebbles. The Nico table, on this level, in green textured marble, rests on a unique interlocking base, in marble or wood, holding up the round, oval, rectangular or hexagonal top with soft edges.

A view of Minotti store in Bengaluru.

A view of Minotti store in Bengaluru.

Lunar influence

The second floor, with its generous skylights and ivory ceiling, illuminates the living and dining spaces it showcases.

Here, it’s the 1970s-inspired Super Moon collection, designed by Giampiero Tagliaferri, with its soft contours, luscious upholstery and an air of playfulness, that steals the show. The shape of the armrests, seat cushions and marble tops evoke a lunar leitmotif, as the upholstered base rests on a floating metal frame.

Lego solutions

The terrace comes alive with the outdoor collection where Minotti imagines the garden in tropical splendour. The Quadrado collection, by Marcio Kogan, is inspired by the duckboard used in the yachting industry, with suspended square platforms, and any number of combinations made possible with an interlocking effect. “A lot of our furniture can be thought of as Legos, where you can keep adding elements to create new arrangements,” states Susanna. For the Minotti family, while their business has expanded impressively across the globe, their team of around 300 in Meda, Italy, still mostly deals with local vendors, for their leather, stone and ashwood components. They are, however, curious about materials from overseas.

Yves bedroom

Yves bedroom

“We are open to looking at new materials like teak for outdoors, that can be best sourced in Asia. We also see the size of homes changing — some Indian living rooms can accommodate our large sectionals while some choose the smaller seats. For us, the most important design factor is versatility,” concludes Susanna, as the family prepares for their showcase at the Salone del Mobile in Milan in April.

Centrepieces start at ₹4 lakh, armchairs from ₹5 lakh, seating systems are upwards of ₹18 lakh.

The freelance writer is based in Chennai.

Published – February 20, 2026 06:21 pm IST



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Touring Kentucky’s most storied distillery


It is James Bond and Diamonds Are Forever that one thinks of getting off the plane at Louisville Muhammad Ali International Airport, where a fluttering banner proclaims ’Welcome to Bourbon City’. In the novel, Bond finds himself in Saratoga Springs and is introduced to a drink that is “fashionable in racing circles — bourbon and branch water.” Bond is obviously not swigging vodka martinis, shaken or stirred, all the time.

Louisville is known for bourbon, the Kentucky Derby, boxing legend Muhammad Ali and of course Kentucky Fried Chicken, considering it is the final resting place of Colonel Sanders, founder of KFC.

Dinner at Paseo set the ball rolling with a cocktail-forward approach. The Paper Plane’s citrusy notes elegantly paired with the heirloom tomato toast while the Mule’s Vodka (Mr Bond would have been pleased), lime, and ginger beer offered an exquisite counterpoint to the earthiness of the black garlic Caesar. The Old Fashioned was all sugar and spice when paired with the creamy risotto.

The next day as we drove into the Buffalo Trace Distillery in Frankfort for a tour, we were greeted by the historical water tower that has stood strong and tall since the 1700s. The buffalo icon on the water tower is a nod to the actual buffalo migration routes, or traces, that gave the distillery its name. Incidentally the buffalo mascot is called Thunder.

The tour includes stops at Old Fire Copper Distillery, Old Taylor, a restored fermenter and Warehouse C from the late 1800s with tastings along the way.

After a lunch of bourbon scalloped potatoes, mushrooms and a generous helping of bourbon butter bread pudding (talk about a liquid lunch!) we headed to Whiskey Woodcraft, where master woodcrafter Jonathan Hartman and his team give used bourbon barrels a new life by creating custom pieces.  

A picture of a Buffalo Trace Distillery tour in the mash intended for media kit usage. Buffalo Trace Distillery, Louisville 

A picture of a Buffalo Trace Distillery tour in the mash intended for media kit usage. Buffalo Trace Distillery, Louisville 

A tour of Old Taylor House, gave us a sense of the history of the place. Dating to the late 1700s, it is one of the oldest buildings in Frankfort (nothing to do with the German city).

The Bourbon boat tour, the only water based distillery-related tour in the U.S., on the Kentucky River gives a sense of spirited history.

On the nine-month river journey to New Orleans, the clear whisky absorbed the colour and flavour of the barrels that were charred to sanitise, to take on the well known golden hue and smoky flavour. Dinner at The Barrel Room at the historically significant Repeal, features steaks cooked over reclaimed oak bourbon barrels.

Historical aside

Bourbon Pompeii thankfully does not feature lovers in an ashy embrace for eternity or even that poor petrified dog; instead it is the site of a whisky archaeological discovery — the remains of Colonel E.H. Taylor Jr.’s original O.F.C. (Old Fire Copper) Distillery, dating back to the 1870s. Taylor, called the father of bourbon, introduced many revolutionary practices into the making of bourbon.

A historic picture of Col. E.H. Taylor in the George Stagg Distillery office intended for media kit usage. Buffalo Trace Distillery, Louisville 

A historic picture of Col. E.H. Taylor in the George Stagg Distillery office intended for media kit usage. Buffalo Trace Distillery, Louisville 

The remains of the distillery were discovered in 2016 when Buffalo Trace began renovating an empty building as an event space. We were taken through the site over gantries to look at the 11,000-gallon copper-lined fermenter, among other things, by Nicolas Laracuente, also known as The Bourbon Archaeologist. Laracuente was doing his doctorate when he was invited by Buffalo Trace to have a look at the remains of the old distillery. 

Racing finish

A visit to the Pin Oak Stud Farm introduced us to Kentucky’s other passion — racing. As we looked at the beautiful beasts and learnt interesting things, such as all horses have a January 1 birthday, I was again reminded of Diamonds Are Forever and the horse, Shy Smile that Bond’s friend and ex-CIA man, Felix Leiter, comes to Saratoga to investigate.

A picture of the buffalo mantel painting in Stony Point at Buffalo Trace Distillery intended for media kit usage. Buffalo Trace Distillery, Louisville 

A picture of the buffalo mantel painting in Stony Point at Buffalo Trace Distillery intended for media kit usage. Buffalo Trace Distillery, Louisville 

We ended the day at the aptly named The Last Refuge. The whisky bar in Louisville’s NuLu district is located in a repurposed German Methodist church from the 1880s. The pulpit, the stained glass windows, the soaring, painted ceiling and the slightly startled-looking saints, apart from the walls of bejewelled whisky bottles earns the bar its title of High Church of Bourbon.

Troubadour tales

And there is the Bob Dylan connection, as giant portraits of his 1960s strung-out look adorn the space, which is also home to Heaven’s Door, a whisky the singer and songwriter co-created in 2018. 

For those curious about the ‘water of life’, a distillery tour might just be the ticket for whisky newbies like yours truly and seasoned connoisseurs alike, to uncover its origins and what makes it different from its Scottish cousin.

And if you find yourself thinking of a certain secret agent with stormy blue eyes, a cruel mouth, and an unruly comma of dark hair… that just adds to the suave quotient, bruv.

The writer was in Louisville at the invitation of Buffalo Trace Distillery

A picture of the fermenters at Buffalo Trace Distillery intended media kit usage. Buffalo Trace Distillery, Louisville 

A picture of the fermenters at Buffalo Trace Distillery intended media kit usage. Buffalo Trace Distillery, Louisville 

Published – February 20, 2026 06:19 pm IST



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Reimagining watchmaking through craft and community


“Anyone wearing a Rotoris watch will never feel singled out, even in a room full of Rolexes and Pateks,” says Aakash Anand, co-founder of the newly launched Indian watch brand Rotoris. He is joined in the venture by serial entrepreneur Prerna Gupta and founding partners Anant Narula and Kunal Kapania. We’re seated in a concept bar in Delhi’s Greater Kailash 3 that, for the next month, will double up as Rotoris House, an experience centre for the watchmaker where customers can encounter timepieces over cocktails and small plates.

At the centre of the space, the watches sit on display like protagonists. Rotoris currently has five collections—Auriqua, Monarch, Astonia, Arvion and Manifesta, each built around a distinct narrative. Monarch draws from celestial architecture, with Roman indices lending it a classical presence. Astonia and Astonia Sport take cues from motorbike racing, incorporating tachymeters and chronographs that echo the mechanics of speed. Arvion borrows from the performance dashboard of a vintage sports car, prioritising clarity through a pared-back, single-hand display. Manifesta leans into regality with materials such as mother of pearl and lab-grown diamonds, while Auriqua channels the clean, fluid lines of superyacht design.

“Their specifications aim for chronometric precision or high degree of accuracy–the standard for serious timepieces,” says Harman Wadhwa, whom Rotoris describes as the only Indian-trained watchmaker formally educated in Switzerland. The watches feature anti-scratch and anti-fingerprint finishes, power reserve indicators, and a mix of automatic and Q-matic movements. Each piece is numbered, comes with a lifetime warranty on movement, and can be auctioned by its owner after two years.

For Aakash, who previously built the fragrance label Bella Vita Perfumes, Rotoris is meant to occupy the space between aspiration and accessibility. It is targeted at men who seek craftsmanship without the intimidation often associated with legacy watchmakers. It took the team 18 months to translate that vision into a tangible product. The brand’s route to market is also different from the rest: instead of relying on traditional retail or even e-commerce, Rotoris operates through a waitlist model. 

“We currently have an inventory of 2,100 watches across five collections. When we opened the website on February 1, half the pieces sold out within three days. That’s when we stopped sales,” he says, adding that allocations will reopen in March, with new collections. 

Access hinges on demand. Once the waitlist reaches 25,000 people, Rotoris sends invites to prospective buyers, allowing them to view pricing. A payment link remains active for 48 hours—time, Anand believes, is enough for those who are serious. Once a watch has been purchased, it arrives in two to three weeks. 

The intent of their strategy is to create emotional ownership rather than a purely transactional purchase, explains Prerna. “We kept coming back to three words—ambition, craft and character. These are what define the Rotoris man.” The name itself comes from the rotor, the moving component in an automatic watch, symbolising motion and progress.

Their approach has already captured investor attention, with Rotoris raising $3 million from entrepreneurs and creators including Nikhil Kamath, Vivek Anand Oberoi and Tanmay Bhat, along with institutional backing from Venture Catalysts and 100 Unicorns.

Early adopters, the founders say, include entrepreneurs, designers and athletes—people they describe as being “on the journey” rather than having arrived.

The Delhi outpost is, in many ways, a testing ground for how the brand is attempting to build a community of Rotoris owners (or Rotorians). Customers can book hour-long slots, often bringing along a guest, to experience the watches in an informal setting. Similar pop-ups are planned in other cities before permanent stores follow in Mumbai, Bengaluru, Hyderabad and Chennai over the next two years. A Gurugram store is set to open by the end of April, and the founders hint at a forthcoming sister brand focused on women’s watches and jewellery.

In a category where storytelling increasingly shapes perception, Rotoris is betting that aspiration, when paired with access, can be as compelling as heritage.

The watches are priced ₹25,000 upwards. One can join the waitlist on www.rotoris.com.

Published – February 19, 2026 05:11 pm IST



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