MAGAZINE - The Leela Palaces, Hotels and Resorts · 2020. 12. 29. · DELHI (011 - 61319300) Sr. General Manager (North) Asha Augustine (09654567819) Rishabh Malhotra BANGALORE (09886041356)

M A G A Z I N E

India’s Most Celebrated Modernist

COO’S NOTE

Anuraag Bhatnagar Chief Operating Officer,The Leela Palaces, Hotels And Resorts

These have been unprecedented times and I hope you and your family are in the best of health whilst reading this. In the last several months, the world around us has changed rapidly and we have had to adapt to a new way of life, become more thoughtful in the

way we do things and ensure we keep our families, our communities

and our associates safe.

At The Leela Palaces, Hotels and Resorts we have had to think

creatively about our operations and reimagine the guest experience,

with our guests’ safety and well-being being of paramount importance.

We therefore launched SURAKSHA by The Leela in partnership

with Bureau Veritas India. This comprehensive program builds on

The Leela’s existing rigorous cleaning protocols and is aimed at

elevating sanitisation, hygiene and safety procedures to deliver a safe

environment for guests and associates.

It was also a time to rethink our customer experience with the

launch of new initiatives like the introduction of immunity booster

drinks and the soon to be introduced new range of all-natural bath

amenities that ensures we support local businesses while staying true

to our brand DNA...an epitome of true Indian luxury. Shopping local,

consuming locally grown and crafted products, and traveling locally

will become the new norm not just to support the economy but as an

act of solidarity.

Hotels and resorts that naturally lend themselves to social-

distancing and provide expansive settings such as private pools

and private lawns have seen a surge of interest. So also private

accommodations, such as larger suites, villas and residences, where

people can gather with family and friends while social distancing from

others and yet feel safe. The pandemic has brought family, friends and

loved ones closer together. People now have an emotional need to

travel with people they know and trust and stay where they feel safe.

In this issue, amongst a range of stimulating articles and evocative

images we look at the various places that people are travelling to in

the current scenario, as well as explore the trend of zero waste cooking

that ensures every scrap in one’s kitchen is put to good use.

Enjoy the read!

“At The Leela Palaces, Hotels and Resorts

we have had to think creatively about our

operations and reimagine the guest experience,

with our guests’ safety and well-being being of

paramount importance.”

THE LEELA MAGAZINE | 2 | WINTER 2020-21

https://www.incredibleindia.org/content/incredible-india-v2/en.html

T H E L E E L A M A G A Z I N E — W I N T E R 2 0 2 0 - 2 1

14

06Luxe Effect

Stylish timepieces, and designerface masks to protect yourself

10Proust Questionnaire

With international art auctioneer Hugh Edmeades

26Fashion

Behold! It’s time for mento dress up once again

14Food

Why chefs around the world are championing zero waste cooking

32Spotlight

In conversation with chesschamp Viswanathan Anand

22Business

The future of digitalisation with Rajiv Bakshi, CEO of Reliance Big Synergy

44Art

Exploring the works of one of India’s most inventive painters, Manu Parekh

36Photography

Underwater photographer Sumer Verma takes a dive into eco-awareness

50The Good Life

Ayesha Broacha and Ashima Mehra are changing the way we view weddings

56Travel

The places people are travellingto in the pandemic

CONTENTS

68

THE LEELAVICE PRESIDENT MARKETINGAnjali Mehra

PRODUCTIONPrakash Bachche

MEDIASCOPEFOUNDERS Marzban Patel • Anita Patel

DIRECTOR – PUBLISHINGIndu Joshi

EDITORFarhad J. Dadyburjor

ARTCREATIVE DIRECTOR — Muhammad Jaan FaruquiASST. ART DIRECTOR — Vikas Hari Kinjawadekar

ADVERTISING SALESMUMBAI (022 - 68468500)Katty Gia, Lamont Dias

DELHI (011 - 61319300)Sr. General Manager (North)Asha Augustine

(09654567819)Rishabh Malhotra

BANGALORE (09886041356)Nagesh Rao

HYDERABAD (08978866599)Sheetal Petkar

JAIPUR (09414069321)Sanjai Krishnan

MANAGER MARKETING SERVICES — Salim B.CLIENT SERVICING MANAGER — Reshma Malvankar

BACK OF THE BOOK

C O N T E N T ST H E L E E L A M A G A Z I N E — W I N T E R 2 0 2 0 - 2 1

66

67

71

COVERArtwork byManu Parekh

62 Mixology At The Leela

66 Snapshot

67 Launchpad

68 Chef’s Corner

69 Insider’s Guide

70 Guest Speak

71 Perspective

72 Social Index

CONNECT WITH US ON

This Magazine is published by The Leela Palaces, Hotels and Resorts (“The Leela”). Opinions expressed herein are of the authors and do not necessarily reflect the opinions of The Leela. All enquiries about editorial matters, reproduction of articles and advertising should be addressed to The Leela Magazine.Material in this publication may not be reproduced, whether in part or in whole, without the consent of the publisher. The Leela doesn’t assume any responsibility or endorses any claim made by the advertisers herein. Printed at Silverpoint Press Pvt. Ltd.,A-403, TTC Industrial Area, Mahape,Navi Mumbai - 400709.

This magazine is printed on environment- friendly, wood-free paper.

THE LEELA MAGAZINE | 4 | WINTER 2020-21 WINTER 2020-21 | 5 | THE LEELA MAGAZINE

The glam squad While you get ready and mask up for your next socially distanced rendezvous, don’t forget to style your wrist with these bedazzling timepieces for men and women.

LUXE EFFECT

VACHERON CONSTANTIN Dress to the nines with this

haute couture-inspired watch by

Swiss-based Vacheron Constantin.

Called the Égérie Moon Phase, this

piece boasts of a starry moonlit

phase at 1 and 2 o’clock, with two

mother-of-pearl moons set against

sapphire crystal clouds. With a

power reserve of 40 hours and a

self-winding movement, the 18k

watch case dazzles with 802 round-

cut diamonds set on the dial. Égérie

is available in two strap variants of

satin and alligator leather.

Buy here

BREGUETTaking it a notch

up, Breguet’s newly

introduced Classique

9065 in vivid red is for

elegant ladies. A first of

its kind for the brand,

the watch features a

Tahitian mother-of-pearl

dial, which displays a

gilded second hand

adorned with a little

red heart. Powered with

38-hour reserve, the

model has a red satin

strap, accentuated more

with 88 brilliant-cut

diamonds on the bezel.

Buy here

PIAGETA part of the limited series by Piaget, Altiplano in a green alligator

skin strap is a classic statement piece for the new-age man. Run by

hand-wound movement and cased in 18k rose gold with a sapphire

crystal case-back, the watch stuns with its Malachite marquetry dial.

Available as a limited-edition series of eight timepieces, Altiplano’s

off-centered hour and minute section, together with the tourbillion

cage, portray a figure of eight or infinity as Piaget’s signature design.

Buy here

JAEGER LECOULTREFit and flamboyant, one of the

newest iterations of Jaeger

LeCoultre is the Reverso tribute

styled in a polished black leather

strap. The rectangular-faced

watch features two time zones

on two of its dials; the front dial

sports a silvered-grey, Guilloché

pattern, while the back dial is

black with a velvety Clous de

Paris Guilloché, set with baton

hour markers and pink gold case.

Buy here

— Compiled byPratishtha Rana


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Choose your Design Choose your Shape/Size

Establishing a democracy for user-centered design. Choose from a library of 194 colors, 99+ designs and more than 5

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An attempt to rede�ne bespoke. Create handmade rugs in limitless designs and textures. Pick from a glossary of 399+ blends in

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WORLD OF GAYAGaya by Gayatri Khanna designed this fiery

mask that flaunts abstract auburn-gold hued

flames, embellished with tiny glitzy beads.

Buy here

Face guardsDon’t step out of your home without one of these protective and stylish face masks, from Indian and international designers.

LUXE EFFECT

BURBERRYDesigned in

two soft hues of

beige and pale

blue, Burberry’s

non-medical

cotton masks

feature the

brand’s signature

vintage check

print. Available

in three sizes,

each mask comes

with a twin

travel pouch.

Buy here

DOLCE & GABBANAThis black neoprene mask by the Italian fashion house

is quirky and perfect for casual wear. Its highlight is

the striking red heart stamped on one side, with

white D&G doodles covering the front.

Buy here

PRABAL GURUNGElegant and colourful, Prabal

Gurung designed these rosy floral

matelassé masks with upcycled

material and 100 per cent silk lining.

Buy here

SHIVAN & NARRESHA trendsetting mask of its kind, Shivan &

Narresh’s Orient Night Skein mask is for

the ones who love to dress up glamorously.

This handcrafted piece is adorned with

skein florals blooming on the fabric.

Buy here

HOUSE OF MASABAThis scarlet red mask with an animated

‘deer in forest’ print oozes with House of

Masaba’s fun and experimental aesthetic.

The double layered, reusable mask is

made from a blend of crepe and cotton.

Buy here

— Compiled byPratishtha Rana


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The international ‘gavel king’,

he has conducted over 2,500

auctions, selling 3,10,000

items for a total in excess

of £2.7 million. Whether

it’s the property from the

estate of HRH Princess

Margaret, Nelson Mandela’s

90th birthday gala dinner,

the IPL players or 88 guitars

belonging to Eric Clapton —

he’s been at the forefront of

them all. We caught up with

the renowned auctioneer on

the most overrated artist, his

inspiration and more.

HughEdmeades

GETTY IM

AGES


— Interviewed by Farhad J. Dadyburjor

PROUST QUESTIONNAIRE

Who is your greatest

inspiration in the art

world?

Michelangelo Buonarroti.

What is your most

marked characteristic?

Stress-free and relaxed.

What is the most

challenging part of being

an auctioneer?

Getting a bidder to say “Yes”

when he is trying to say “No”.

What is the greatest

misconception when it

comes to your job?

That anyone can do it.

Who according to you is

the most overrated artist?

Tom Keating, a British artist

who wasted his talent in

forging other artists’ works.

Which words or phrases

do you most overuse?

One more bid?

What one quality should

every woman have?

Empathy.

Which one quality should

every man have?

Sincerity.

What one experience would

you like to have?

To hit a hole-in-one at the 12th

hole in The Masters at Augusta.

What is your greatest fear?

Being stuck between floors at

the back of a crowded French

elevator.

Which art critic do you most

admire?

The late Brian Sewell.

What is your greatest

extravagance?

My collection of 30

watercolours by the Victorian

artist Alexander Wallace

Rimington R.A.

What is the biggest love of

your life?

My wife, my three kids and my

dog (usually, but not always in

that order).

What is your most treasured

possession?

My bronze sculture by the

South African artist Dylan Lewis.

What is your greatest

regret?

Not realising at a younger age

that I should do things when

the opportunities arose.

In honour of the British Monarchy, The Signature Blend is sophisticated and opulent in character; the result of a selection of rare

and exceptional Scotch Whiskies, including those carefully watched over at the Royal Salute Vault, destined to make the perfect blend.

A Salute to Royalty Royal Salute, the finest Scotch whisky brand, embodies the spirit of royalty beautifully. Its first bottles were launched in 1953 to mark the coronation of Queen Elizabeth II

and celebrate the momentous occasion. A richly ambrosial spirit to engage royal tastes, it is composed of a fine blend of the rarest single malts from the cellars of Strathisla distillery in the Scottish Highlands. A powerful, sophisticated and opulent blend, aged for a minimum of 21 years, it was named for the tradition of the 21 Gun Salute that is fired at the Tower of London to mark royal celebrations.

The legacy of that momentous tribute and gift to the British Queen has filtered down to Royal Salute's much celebrated portfolio of commemorative royal bottlings. Royal Salute 21 years old is now a part of the royal tradition and continues to be gifted on special royal occasions; the most recent being the launch of Royal Salute's commemorative Royal Wedding Edition at the wedding of Prince Harry and Megan Markle.

While it remains steeped in tradition, it perfectly balances modern needs by pushing the art of blending into new, creative and ambitious forms.

Signature Blend Royal Salute continues to celebrate the extraordinary through momentous whiskies and the occasions that call for them to be enjoyed. Receiving a gift of the Royal Salute 21 says it all; it’s from someone who values you and what you represent.

Its taste is a harmonious blend of regal luxury. The very first sip releases sumptuous sweet orange marmalade flavours infused with fresh pears that burst across the tongue. The second brings a rich medley of spices and a nuttiness of hazelnuts that have a deep intensity, before finally releasing some warmth with hints of masculine smokiness. Elegant aromas of sweet vanilla and a dry oakiness are enhanced with subtle notes of sherry and smoke.

Since July 2019, the Royal Salute's signature 21-Year-Old spirit has an all-new look, inspired by the Royal Menagerie housed in the Tower of London. The Illustration is created by the award-winning fine artist Kristjana S. Williams.

Connoisseurs' Choice For a discerning spirits aficionado and a connoisseur, the Royal Salute has a portfolio of offerings which range from the Signature

Blend, the Malts Blend and the Lost Blend to the 32 Year Old, 38 Year Old and 62 Gun Salute that can enthrall their sensibilities.The Malts Blend: Created by Master Blender Sandy Hyslop, it is the first blended malt from Royal Salute, crafted with over 21 precious single malts. The Lost Blend: A perfectly peated spirit, it was meticulously crafted by combining scarce whiskies from distilleries no longer in production, together with a selection of exceptional malt and grain Scotch whiskies. These closed distilleries are often referred to as 'lost distilleries' and Hyslop hand-selected only the most compelling liquids from his collection of casks to create this rare expression. Heightening the magic and overall experience of the Royal Salute in terms of taste, texture and aromas is its visual appeal. The elegant blends are each housed in beautifully crafted porcelain flagons,

glazed in individual hues inspired by the precious stones set within the Imperial State Crown: a sapphire flagon for The Signature Blend, an emerald flagon for The Malts Blend and an obsidian flagon for The Lost Blend.Royal Salute 38 Year Old: It has been crafted from whiskies aged for no less than 38 years. Owning this bottle unlocks the ability to have access to the Royal Salute Vault at Strathisla Distillery.

With a deep aroma of cedar wood and almonds with a rich, sherried oakiness, it’s full, with the richness of dried fruits, assertive spiciness, a deep

floral fragrance and a long, lingering taste. Royal Salute 62 Gun Salute: It celebrates the time-honoured tradition of the 62 Gun Salute, which is the highest ceremonial honour in British tradition reserved for the most important royal occasions. A prestigious blend of hand-selected rare whiskies, it is presented in a decadent blue Dartington crystal decanter.

It is extremely rich with sumptuous fruit notes. Lavish swirls of ripe plums seamlessly combine with a complex essence of sherried sweetness. The magnificent notes of fine dark chocolate marry with hints of warm cinnamon. Its taste is like an explosion of power, bursting with a zenith of intense sweet orange, mingles with a superb depth of nutty, oaky flavour. The impressively long finish, lingers luxuriously with superlative structure.

Rare offerings such as these make for a great way to tell someone that he/she is truly special. •For additional information, visit: www.royalsalute.com

Its taste is a harmonious blend of regal luxury.

The very first sip releases sumptuous sweet

orange marmalade flavours infused with fresh pears that burst

across the tongue


SPECIAL FEATURE

According to a report by the Swedish Environmental

Protection Agency, humans produce about 1.3 billion

tonnes of kitchen waste each year. Most of the kitchen

waste includes the peels, scraps, leftover food and seeds

which can be used smartly to create nutritious and flavourful dishes.

Chefs around the world have now caught onto this secret, turning

their waste into scrumptious dishes, thereby fuelling what is called

the zero waste revolution.

From discards to dipsYakuta Sarkari of the Cold Food Company, which specialises in

dips, salads and cold meats, believes that there is no fresh

ingredient that can ever go to waste. She feels that all it

takes is a little effort and some creativity to ensure

zero wastage. “Leftover tomatoes, onions and

coriander can be used to make a delicious

salsa, which will stay well for 2-3 days

and can be used as a dip, sauce or

condiment. Leftover avocado can

be used to make guacamole, into a

smoothie blended with yoghurt and

fresh fruit, into a dairy-free dessert

used with cocoa powder. The best

way to keep your avocados fresh is

to store it with its seed intact, face

down in a bowl of water to retain its

freshness,” she says, adding, “leftover

yoghurt can be strained and whisked into

a firm dip with basic seasoning and used as

a garnish or a dip. One can also make delicious

smoothie bowls with the yoghurt by adding granola,

fruits and nuts.”

“I believe that zero wastage is not just a concept, it is

the way we should strive to achieve as chefs in our day to day

operations,” says Chef Dominic Gerard, Executive Sous Chef, The

Leela Palace Bengaluru. “Sustainability is the way forward considering

limited resources and every opportunity to zero down on wastage has

to be a constant effort. Every ingredient is a precious resource which

needs to be watchfully used in our passion to create dishes.”

He elaborates that in their efforts towards zero wastage, they

have started sourcing out the best of ingredients from the local

produce requiring minimum handling and packaging which in turns

helps to avoid the wastage created in terms of package material

often used in materials that are transported from far of regions. “Our

Namma Bengaluru brunch in Citrus is a good example of putting to

Yakuta Sarkari, Cold Food Company

Leftover herbs as garnish, Cold Food Company Smothie from leftover Avocado, Cold Food Company

Salad from leftover ingredients, Cold Food Company


Peels to pulp It’s now all about sustainability

in food! As chefs and

mixologists turn copious

amounts of kitchen waste and

discarded remains in their

restaurants into delicious meals

and brews, Kasturi Gadge

finds out more on the zero

waste revolution and how you

can do it at home.

FOOD

use the best of local produce being fresh as well as cost effective.

Our vendor development programme helps us source out organic

ingredients locally by educating them about sustainability and more

often procuring whole foods rather that processed, which gives us an

opportunity to compost the food wastage within our premises and

use them for our gardens.”

Brewing things upMumbai watering hole Thirsty City 127 takes zero waste a little

too seriously. The bar recently launched a limited-edition brew

with leftover fruit, spices and key ingredients from the bar

and kitchen. In their endeavour to promote the zero waste

revolution, they have started using kitchen scraps

to amplify the flavours of the drinks by creating

flavoured foam to top the drink. While most

bars usually get that gorgeous head on

the drink by using chemicals, Thirsty

City 127 gets it using natural flavours.

Explains mixologist Santosh Kukreti,

“We create a celery air (foam) from

the leftover parts of celery such as

leaves and discarded stems. We mix

them with some sea salt and blend it

in a beaker to create a fragrant foam

for our drinks. Celery has natural

protein which helps us get that foamy

texture and so we don’t need to rely on

artificial ingredients.”

Kukreti says that right from the beginning,

they have believed in up-cycling and zero wastage

at the bar. “We blend all the discarded stems and roots

from the kitchen to create a paste, which we later spread

evenly and dehydrate to make something similar to a nori sheet

that we use as a garnish for some of our cocktails. We also create

peat (a brown deposit similar to soil) from the spent coffee, tea,

herbs and vegetables which we use to add a smokey flavour to our

drinks.”

A menu made from leftoversChef and mixologist Arina Suchde has been at the forefront of the zero

waste revolution since a while now and with her latest tie-up with The

Pantry cafe, she has managed to create an entire menu that is made

using kitchen leftovers. “While researching and planning a menu for a

workshop on reducing wastage, I felt that nothing was being done for

the waste created by all the trimmings, scraps, peels, pulps, seeds et

Santosh Kukreti, Thirsty City 127

Beet Tapache, Thirsty City 127

Carrot Oat Taco at The Pantry, Kala Ghoda


al, which were perfectly edible and nutritious. So I started developing

recipes that use those as the main ingredient,” she says.

Suchde’s goal was to get maximum benefits from all the

ingredients usually scrapped by the café and create something that

was not only healthy but also fun, creative and familiar at the same

time. In a chilled Som Tam salad which is prepared using leftover

watermelon rind, raw mango, carrots and sprouts, to enhance the

flavours Suchde adds a soy chilli dressing with toasted sesame

and peanuts which gives it umami of flavour. She’s also created a

nutritious Detox Tea made with pomegranate and orange peels

dehydrated and brewed with fresh mint and ginger which helps

heal a sore throat. Another good gut drink that she has crafted

is the Whey Fermented Soda made using seasonal fruits

and whey from discarded curd or cheese. She also recently

designed a zero waste cocktail menu for Woodside Inn

where she has crafted a tequila that is infused with

bell pepper seed, a rum cocktail made using the spent

(already brewed) coffee brew and more.

Being smart about scraps“Zero waste is a discipline which is focused on preventing

any sort of waste and is aimed towards re-cycling them

and eventually not harming our environment in any

form. When it comes to food or cuisine, the importance

that we hold as chefs is immense, that we leave no

waste as an ultimate goal and re-cycle each bit, be it

dry waste or wet food waste,” says Chef Abhishek Gupta,

Executive Sous Chef, The Leela Ambience Gurugram Hotel

& Residences.

Adding that besides using the leftover peels/stems

etc as compost, leftover food if any is donated to local

NGOs for underprivileged children and is not thrown away

into a bin. In fact, in the employee cafeteria, they follow two

times a week NO BIN DAY where people are encouraged to take

smaller portions and eat everything on their plate and not waste.

“Currently, small components such as stocks and jus are made from

wastage from potatoe peels, mushroom trimmings, onion peels and

other root veggies across outlets. As a practice, 01 Buffet soup is made

from such leftovers. We work towards small portions and frequent

replenishment to control buffet wastage. Breakfast leftovers are looked

upon regularly and controlled each day. Leftover breads are turned

into bread crumbs for various recipes. Any fish/seafood leftovers after

processing of standard portion size goes into garde manger for salads.

Meat trimmings are used for seekh or kebab mixtures in the Indian

restaurant. All bones leftover are used for stocks and soups.”

There are many smart ways of using kitchen scraps that also

add an extra zing to your food. Says Chef Aabhas Mehrotra, Executive

Chef of Sorrentina by Foodhall, “As a team, we focus on reducing

wastage, using the freshest produce and adapting various other ways

to re-use the wastage within the kitchen. For example, all parmesan

rinds are used to make sauce such as the bolognese and minestrone.

The stalks and herbs are used to make several crumbs, lasagna verde

sheets, herbed burrata ravioli dough et al. The leftover body of the

zucchini, after making the guacamole from the fibre and seeds, is

used as a vegan or a keto option for spaghetti by cutting it into the

shape of a noodle.” Wabbit Margarita, Woodside Inn

Inset: Arina Suchde, Woodside Inn

“When it comes to food or cuisine, the

importance that we hold as chefs is

immense, that we leave no waste as an

ultimate goal and re-cycle each bit,

be it dry waste or wet food waste.”

Chef Abhishek GuptaExecutive Sous Chef,The Leela Ambience Gurugram Hotel & Residences


Ph. No. 7785970032 / 9838222555D-53/92-93-1, OPP GURUDWARA GURUBAGH, VARANASI - 221010

Weaving a new story, now at Taj Ganges, Varanasi

Ph. No. 7785970032 / 9838222555D-53/92-93-1, OPP GURUDWARA GURUBAGH, VARANASI - 221010

shanti-banaras.myshopify.com

The digital takeover

As more and more people use their smartphones to watch the

latest web series, the way we consume entertainment has changed

dramatically. There’s only one direction digitalisation is heading in

India — and it’s skywards, as CEO of Reliance Entertainment’s Big

Synergy Rajiv Bakshi tells Jeena J Billimoria.

One could be forgiven for assuming that the man who is

currently the CEO of one of the country’s most respected

content development and production companies,

Reliance Entertainment’s Big Synergy, cuts a stern and

serious figure. This proves far from accurate in the moments after we

step off the elevator of the suburban powerhouse that Rajiv Bakshi

calls his office, as he greets me with an easy smile and casual air.

Bakshi’s career has been an illustrious one. He has previously led

the Discovery Networks’ Indian & South Asian arm into high margin

profitability and the 13 years

he spent there eventually

led to his becoming the Head & VP of Products & Marketing, where

he was credited for building its 11-channel portfolio, a 10-year

leadership for the Discovery Channel; creating the lifestyle category

in India with TLC; launching the kids’ business — Discovery Kids

and pioneering the HD TV genre. He then went on to be the CMO of

Intex Technologies, a USD 1 billion homegrown Indian disruptor in

smartphones and consumer durables, before assuming CEO status at

Reliance Big Synergy.


BUSINESS

different content at the same time. It’s the recognition that we are

not alike, but different. A family may share the same house and name

but have different orientations and tastes — and therefore watch

diverse content at the same time. That’s a dramatic aspect that’s been

observed. This possibility wasn’t available earlier but now in terms

of viewership and demand, a variety of content has also appeared,”

says Bakshi.

Add to that the atom bomb-like explosion of Indian smartphone

users who currently sing to the tune of a staggering 450 million

(numbers overtaking even the US), a projected growth expectancy of

600 million over the next two years and a mega bandwith appearance

thanks to Jio & others of its ilk, and this phenomenon has paved the

way for seemingly endless content watching. It will also serve as

the largest possible growth market in the world. “Across the country

and anywhere electricity is available, all one needs to do is charge

a phone and he’ll have access to almost anything. We are content

obsessed. The millennials, especially, have the time to consume

everything online. In big cities, people between the ages of 30 and 50

commute a lot, and thanks to congested roads, they’re able to watch

their favourite shows which they may not have time to do at home.”

Along with the expansion of viewers, Indian content has also

carved quite an impressive niche for itself in recent years. Indian web

content developers are in step with their international counterparts

(‘Sacred Games’ was nominated for an Emmy award last year) and enjoy

creative and artistic freedom — all while highlighting themes that are

sometimes swept under the rug in mainstream TV. “This is not to say

that such content was not produced earlier. Even mainstream cinema

sees many such concepts: same sex relationships, infidelity, etc. I

remember launching one of the first shows for the queer community

on TLC — ‘Queer Eye’ at least eight years ago. It’s just that today, this

content gets noticed much more because more people are talking

about it; the conversation is amplified on social media. We watch things

Top: Rajiv Bakshi feels international shows like ‘Narcos’ brought a breath of fresh air; Above: Introduced the Indian audience to ‘Queer Eye’ during his tenure at TLC

“Take ‘Narcos’ for

example; they didn’t

make it for an Indian

audience but almost

every youth you

meet here will have

watched that show.”

The Harvard Business School alumnus is animated as he

waxes eloquent on the rise of digitalisation in India, explaining

that traditionally, India was a single-TV phenomena, where a family

came together and perhaps watched what the leader of the house

wanted to — but with digital content, “It’s now a personalised media.

You could have three people in the house who are all watching

individually, but discuss it together as a community. It’s also why

these shows have mass viewership.”

The days of jaded Bollywood celebrities re-enacting the same

scripts and plots have also been made redundant thanks to the

breath of fresh air that’s seen in the form of relatable web series.

“It’s important to be real about the subject matter — the truer you

are to the subject, the more you’re going to get an audience, even

if that audience is sitting in Mexico. Take ‘Narcos’ for example; they

didn’t make it for an Indian audience but almost every youth you meet

here will have watched that show. With the independence to create

and a ripe imagination, and the emergence of great talent as well as

collaborations, it’s allowing for great content such as this. You have to

give the audience exactly the kind of content they demand and you

have to be absolutely honest and transparent, otherwise you can lose

a subscriber in just one click,” Bakshi says matter-of-factly.

With the promise of accessibility and inexpensive data plans on

streaming giants like Netflix, Amazon Prime and Hotstar, one would

wonder what the future of entertainment is vis-à-vis innovative

technology. “The emergence of Smart TVs across India has come up so

much that it’s become device agnostic because you may want to watch

Netflix on your mobile when you’re travelling, but TV when you’re at

home,” explains Bakshi. “And so far as content variety is concerned,

imagination can actually be put to action now. Earlier, one had a

script but no platform to put their imagination forward. Today, that’s

possible because each platform may look alike, but they’re actually

very different in terms of their target audience, pricing, storytelling,

orientation as well as being different, business model wise. As we

progress and mature, it will get evened out even in regional markets

and across all demographics. The phenomena is now as wide as it can

be, hence material has to be created for everybody.”

Reliance Big Synergy has largely been known for its non-fiction

content that produced shows such as ‘KBC’ and ‘Nach Baliye’ and

Bakshi’s two-year journey so far has been to transform the business

into a predominantly fiction-based one. “We’re producing shows

in several languages on the web, of all nature on TV and making

movies for digital — so it’s a wide portfolio and the opportunities

are immense. Today, we operate in six to seven languages. In terms of

trajectory, I’m looking to work with a lot of international collaborators

to create content for India as well as international audiences,” he says.

One can therefore expect to see big things in the near future

from this company, and with so much going on simultaneously

(Bakshi works tirelessly with no fixed time table), prioritisation is a

big challenge that he’s had to try and overcome. “There is so much

happening but only so much one can do — how do you prioritise? I’m

working very hard on that,” he shares.

As we wrap up the interview, there’s one question left to ask —

which shows is he currently addicted to? ‘The Kominsky Method’ and

‘The Mentalist’ are at the top of his list. “Also, ‘Seinfeld’ is a show that

I’ve watched for the past 12 years and I have a habit of going back to

it whenever I have the time. I’m trying to watch a lot more regional

content too, as well as international movies. There’s just so much

great work and potential out there…” he signs off with a smile.

“You have to give the

audience exactly the kind of

content they demand and

you have to be absolutely

honest and transparent,

otherwise you can lose a

subscriber in just one click.”

Shows by Reliance Big Synergy


MenswearreduxBin those pyjamas and tees

with comfy flip flops that have

become the sartorial staple of

work at home wear. With the

festive season upon us, even if

you’re celebrating at home, it’s

time to dress up once again.

Kushal Parmanand speaks to

leading menswear designers

on the new looks and styles

that men will be sporting right

through to next year.

Millennial model Aashim Gulati in clothes by Siddartha Tytler; (facing page) oversized, sheer and athleisure are bold new trends for men

In fashion history, womenswear has been

chronicled every decade in the last century.

But what about when it comes to the other

sex? Growing rapidly amidst a digital

society, men are increasingly consuming content

online and the exposure to digital fashion has

helped them revolutionise their own style. Due

to this influx, men are more astute as to what

their contemporaries are wearing. The modern

man is now adept with techniques like draping,

terms like deconstruction and power shoulders,

and trends like athleisure, unlike before.

Agrees Siddartha Tytler, “Due to the major

influx of social media and globalisation, the

fashion world is all about how to be cool and

paint the perfect picture. Men today are more

open to experimenting with their style due to

this exposure.”

Adds in Shivan, head designer of the brand

Shivan and Narresh, “The men’s fashion scene

is currently driven by the younger millennials

and Gen Z whose mindset is different.” This

well-travelled and digitally driven generation is

more aware of relatively newer categories such

as resort and holiday wear as opposed to earlier

limited menswear categories.

Ujjawal Dubey of Antar-Agni reasons,

“The acceptance level has gone up and the

belief in sensible and smart clothing has risen

alongside with androgyny and gender fluid

fashion. Men are coming out of the basic T-shirts

and shirts pattern and experimenting more in

terms of silhouettes and drapes for both formal

or casual wear.”


FASHION

WINTER 2020-21 | 27 | THE LEELA MAGAZINE

Gaurav Gupta feels lucky to have been part of this cultural

evolution. When he started with menswear in 2017, it was very

different. “One could only play with embroideries, traditional drapes

and cuts, as opposed to the men today who are willing to experiment

with construction, deconstruction and avant-garde shapes. Our

menswear has its own universe, futuristic yet Gatsby-esque.”

Men are also developing an aesthetic to appreciate design

as opposed to the earlier decade. Anaita Shroff Adajania, one of

the most celebrated celebrity and costume stylists in the country,

explains this phenomenon. “The Indian man has always taken an

interest in his dressing. I think somewhere in-between it got lost

and became more synthetic and about durability versus real style.

Normcore is a big trend, which is not necessarily screaming out

masculinity or femininity. Gender neutrality has also become a

reality where a couple can share some pieces from their wardrobe.”

Today, global trends do have a way to influence consumers in

ways more than one which automatically affects the local fashion,

admits Gaurav. The only argument here is that we need to strike

a balance. One’s creative instinct should not be completely side-

lined by fads. “Street-wear is a continuous international trend,”

says Narresh, creative director of the brand. “One which allows

the consumer to express their personality in bolder ways. Men

have also evolved from being occasional shoppers to regular

shoppers. Millennial men are now using fashion as a medium of free

expression.”

This effectively means that with this new decade, men are

now experimenting with newer silhouettes and styles. Ujjawal

explains that most men these days are open to trying all sorts of

styles. “Drapes, for instance, which have been an integral part of

our ancient Indian clothing, were perceived to be feminine due to

western influences. However, it’s great to see men trying drapes and

layers to break the monotony.” Dhruv Vaish adds that in general,

garments have become baggy and chunky and unlike earlier,

men are exploring all kinds of new silhouettes like multi-layered

jackets, hybrid and cropped suits. Says Siddartha, “Sportswear and

athleisure are big continuing trends and hence working with layering

and oversized looks is much easier.” Shivan & Narresh, synonymous

with their prints, share that prints are a rage amongst the millennials

of today. They believe that classic silhouettes like flared denim or

trousers and dramatic shoulders are making a comeback. Oversized

puffers remain a staple trend in the streetwear category.

“Layering is a big trend,” says Anaita. People are trying out

a shirt over a t-shirt or in Indian wear, wearing an interestingly

cut kurta with bandis and scarves, letting a bit of a flamboyance

creep in.Edgy, unusual stylelines give the classic jacket an updated look by Dhruv Vaish

The Peacock Syndrome Could this conclusively mean that men will preen themselves more

than women in the future? Will this ‘mandemic’ go overboard? “It’s all

coming back in a millennial way,” says Anaita. Men are not afraid to

wear jewellery, show their vulnerability or to wear floral patterns and

colour. “A step outside from their earlier generation, they are having

fun with fashion.”

Shivan adds, “Men are definitely making bolder choices. Crystals,

sequins and beaded details are growing as embellishment and

surface texture. Skeinwork (a yarn or thread wound on a reel) is a very

important element of all our creations and we constantly develop it to

our fullest.”

Dhruv believes that menswear is exploding in all directions.

“Nothing is too much in today’s time. Men are looking at more and

more ways to express their individuality and the want to wear jackets

with embroideries and other details.”

Siddartha says they take the classic man into consideration, “but

we allow him to push the envelope a bit for himself. Men are now

open to newer techniques to play with their style statements.” It’s

the reason why millennial models like Aditya Seal and Aashim Gulati

favour the brand.

“It is utterly gratifying to see the overwhelming response,” says

Gaurav. “The main intention was to break away from ‘safe dressing’.

Men are more open to experimenting and inclined towards flamboyant

Left & right: Dhruv Vaish feels layering is a cool

new way to update your style statement


designs. The right embellishments and texture can take men’s fashion

up a notch.” Something he has always incorporated in his collections

through vibrant jacquards, sculpted lapels, fantastical motifs or

intricate glass bead embroidery.

Power Dressing 2.0So, men seem to finally have upped their fashion ante. Does this battle

of fashion between the sexes make power dressing an androgynous

trend now? “Power dressing began with the women’s liberation

movement in late 1960s when women were recruited for roles that

were previously seen as ones for men,” says Narresh. It’s fascinating

that this eminent concept in history is now a whole new unisex fashion

trend. Where menswear is concerned, the suit has always been a must-

have. However, men are now styling the classic suit in various ways;

the bare suit or the shorts suit or even a denim suit. Fine tailoring and

a customised fit are truly the key essentials of power dressing for men.

Gaurav says that the fundamental criteria that defines power dressing

is confidence, and you can only be confident if you’re comfortable. A

sharp pinstripe suit accessorised with a classic watch, pocket square

and tie epitomises power dressing, according to him.

Dhruv adds that it’s not about following the rules any more. “Find

a new creative way to tweak your classic suit just a little bit.”

Power dressing for men has a new language, it’s now about

not showing your power but your individuality. Allowing yourself to

indulge in fashion and to experiment with new colours and silhouettes.

“I’ve always favoured pink for men. I feel it’s the most flattering colour

on a man,” says Anaita.

This ascertains that men have indeed travelled a long fashion

cycle. Given that they are at a dynamic fashion point in time, what are

some new-age guidelines? “Sneakers have taken over Indian men in

the biggest possible way. Men have become big sneakerheads who

know the latest drops, collections and collaborations,” says Anaita.

Some other do’s according to the ace stylist? “A trouser should fit you

right so don’t wear a belt unless you need one, and invest in a custom

made-to-measure suit, so it fits you perfectly.”

Adds Gaurav, “Let your garment be the hero. Every man’s holy grail

is a pair of well-fitted bottoms and a classic white shirt. Go extremely

minimal with your accessories, otherwise it’s a bit of an overkill!”

Ujjawal sums it up very simply, “My advice would be to focus on being

you. Stay as close to who you are in the way you present yourself.

Honestly, the more comfortable you are, the better you’ll look.”

One way or the other, this fashion hybrid version of the man

is here to stay. It remains to be seen what new fashion heights he

continues to scale. For the moment, though, he truly is the king of his

own castle.

Antar-Agni’s Ujjawal Dubey says bright intense colours are the new normal for menswear


Making the

right movesChess champion Viswanathan Anand’s memoir ‘Mind Master’ is about

his life beyond the 64 squares. In an interview with Joanna Lobo, he

talks about the role his wife Aruna has played in his success, how he

dealt with feelings of depression and his mantra for making it.

SPOTLIGHT

There’s no denying Viswanathan Anand is a star. He was

India’s first Grandmaster, a feat he achieved in 1998. He is

a five-time world chess champion. He was the first Asian

to hold the FIDE World Chess Championship from 2000

to 2002. He was the first recipient of the Rajiv Gandhi Khel Ratna

Award in 1991–92, and in 2007, became the first sportsperson to be

awarded the Padma Vibhushan. His list of accolades and achievements

runs long.

But for the true story behind the rise of the chess champion,

there’s his recently launched autobiography, ‘Mind Master: Winning

Lessons from a Champion’s Life’ (Hachette India). The book is a glimpse

into his journey and the highs and the lows of being a champion. It

doesn’t follow much chronology, but focusses on a match or incident

and the lessons learned from them. It’s a collection of moments and

memories. There are photos from different tournaments. The end of

each chapter has a diagram from his games, and footnotes that reflect

his thoughts on life.

Interestingly, it was his mother Sushila who taught a young Vishy

how to play chess, accompanying him to lessons, and even calling

every Torre in her phone book in the Philippines in order to find

Eugenio Torre (Asia’s first Grandmaster) and seek his advice. It was also

his mother who suggested he write down his thoughts for they would

come in use later. Deservedly, the book is dedicated to his late mother.

Excerpts from an interview:

When did you get the idea of penning your autobiography, given

that your chess-playing days are far from over? Why did you want

to write it?

The idea to write my autobiography has been around for a while. It

wasn’t really intended to coincide with my retirement or anything like

that. Two years ago, we had this natural deadline of my 50th birthday.

It provided the right circumstances and proved to be a very convenient

WINTER 2020-21 | 33 | THE LEELA MAGAZINETHE LEELA MAGAZINE | 32 | WINTER 2020-21

deadline. I think that by doing the book now, rather than earlier, I have

been able to make it more complete. In 50 years, I have done all the

things that I would like to include in it. And in that way, the timing

worked out perfectly.

There’s a refreshing honesty and candidness in ‘Mind Master’. How

did you decide on how much to reveal in the book, and how much to

hold back?

I wanted to make this book for two reasons. I wanted players who

are familiar with much of my story to get some new details and

perspectives. The other motivating factor is that I wanted a non-

chess player who is curious to get a good insight into what actually

happens at a chess tournament. It’s all very well to say the players are

concentrating and they are making great moves. There’s also a lot of

emotions, noise and anxiety that have to be dealt with. I wanted to

share both these aspects in the book. I also feel that having waited

till the age of 50, I felt much more open to the idea of confiding my

thoughts. In general, over the last few years, I’ve become more open

and candid. There’s the added benefit that an autobiography is a

chance and responsibility to put your perspective on record.

The book’s format doesn’t follow a chronology but, instead, focuses

on the successes and disappointments and your lessons from them.

What are some lessons people can take away from the book?

The thing I’ve noticed the most in the course of my career and its

highlights is the criticality of being in the right frame of mind and

having positive thoughts. These emotions and moods are critical to

success. The other lesson that really comes across in the book is the

struggle to learn things. Every time I thought I had something figured

out, invariably, I was surprised and then you find that you have to get

back to work again.

You mention how your wife Aruna was involved in every aspect

of your career, from packing your suitcases to focusing on more

practical matters. In what ways does she centre your life?

I think beyond the obvious role that we have, as husband and wife, I

would say she has been a sort of pillar in my career because she has

been with me the whole time. As a result, we are very close. For many

years, we spent much more time together than most couples do. We

should really think of my journey as a team effort and I believe that

inevitably she has influenced me in many ways as well.

Right from our marriage, she was traveling with me everywhere.

And about a year into our marriage, she suggested that she

should start taking over some functions because she wanted to help.

At first, this involved planning and dealing with people and that

eventually evolved to taking over almost everything. This was very

helpful in my career because it meant that I had the ability to focus

entirely on my tournament, my thoughts, and the game. By now, I

think, most people who deal with me know that our roles are quite

well established in our marriage.

How has she helped you with the book?

Aruna drove the process of writing the book quite heavily. Susan Ninan

(co-author) would consult with Aruna and they would decide how

Susan should pose the questions. Whenever my tournament calendar

permitted me, she would block four or five days so Susan and I could

sit and talk. Then, we would go over the notes with Aruna and she

would suggest further insights, anecdotes or incidents that I might

have forgotten to mention or highlight. She knows almost everything

that I’ve been through and she also has her own added memories. It

was a lot of back and forth. Without Aruna, I don’t think the book would

have turned out like this. I think she should also have been a co-author

because she was very crucial for this book.

“Right from our marriage, she (Aruna) was

traveling with me everywhere. And about a

year into our marriage, she suggested that

she should start taking over some functions

because she wanted to help.”

At any point in your career or life, did you feel depressed because

of the stress?

I have often felt depressed and dejected and had this feeling in my

chest that I have hit some kind of wall. But I can’t recall an instance

where either a short break or in some more extreme cases, a long

break, didn’t cure everything. I would just come back to the game a

month later and things would go back to being normal.

Did you have a mantra or a fixed way of dealing with negativity that

came your way in the game?

I have learned to control my reaction to negativity. It is simply

something that you have to get used to as it comes with the territory.

During tournaments, I tried hard to cocoon myself as much as possible

and not think about these things. If I find out something was said

about me and I got angry, the only way to deal with it was to channel

that energy into my work, or go for a walk and calm down. I had to deal

with it in some way, address it instead of just keeping it inside.

There have been a few recent stories on how high-level chess players

can lose up to 10 to 12 pounds on average over a 10-day tournament.

For a game that doesn’t involve strenuous activity, this has surprised

many. What are your thoughts and experiences on this?

My hunch is the figure of 10 to 12 pounds on average is way too high.

But yes, stress at tournaments can produce weight loss. I definitely

believe that there’s a lot of calorie consumption expenditure when

you’re playing just games because you’re sitting there and working

quite hard during the game. I think equally, this can cause a reaction

where you overeat so I’m not convinced it is always weight loss. A

healthy diet and being able to play the whole game without getting

tired at the end makes a big difference to your play. In terms of my

fitness, I generally go to the gym a lot. I like to run, cycle, swim and take

long walks. I believe this is important to develop endurance and get rid

of tension and help me relax during a tournament.

To what would you credit your longevity in the game?

The technological influence on chess has been huge. In a way, all of us

over the last 20 or 30 years have had to adapt and constantly change

the way we work. All you need to do is be willing to learn and keep

adapting. It’s the reason I think that I’ve been playing for so long.

With Aruna on their honeymoon in Dortmund in 1996

At the Wijk aan Zee

Tournament in 1989

Game 6 against

Kasparov at the Siemens

Giants Frankfurt,

1999

With the legendary film-maker Satyajit Ray in Calcutta in 1991

With the World Championship trophy, Bonn 2008


Oceanicwonderland

He might be best known for shooting fashion

editorials and films underwater, but what is closest

to Sumer Verma’s heart is eco-conservation.

The scuba diving instructor, underwater

photographer and filmmaker speaks to

Dhara Vora Sabhnani about raising awareness

about our oceans, one dive at a time.Hammerhead sharks at Galapagos Islands


PHOTOGRAPHY

For 44-year-old Mumbai boy Sumer Verma, it was a chance

trip to celebrate the end of college to the Lakshadweep

Islands in 1997 which laid the foundation for a life-long love

for the sea. Back then, Verma was exploring career options

post his graduation, when his mother guided him to work under ad

filmmaker Prahlad Kakkar. Kakkar had started Lacadives, a diving

school in Lakshadweep, and this prompted Verma to head southwest…

and then there was no looking back.

Verma underwent training to become an instructor, became a

managing partner at Lacadives and eventually took up photography

and filmmaking to show the rest of the world what lies beneath the

seas and why we need to save them.

Do you remember your first dive?

My first diving trip was just as a holiday, but it completely altered

the course of my life over the next 25 years. Lakshadweep is a

tremendously beautiful place and I didn’t know how pristine and

beautiful these islands would be. The crystal clear water, the small

little white coral island, pure white sand, lagoons and the life inside

the water was completely mind-blowing. You can see 20 to 25 meters

vertically and horizontally in the water.

Is it still like that?

Absolutely. Many parts of the Indian Ocean, like Lakshadweep and

the Maldives, have crystal clear water. To learn scuba diving in such a

beautiful environment, under the stars was spectacular and I thought

I definitely want to do more of this. I became a diving instructor by

2000 and I spent the next 15 years actively teaching. The desire for

shooting underwater came from the fact that I wanted to share my

underwater experiences with my friends, family and peers in Mumbai,

so I started filming casually.

Underwater photography is extremely absorbing and challenging.

This started in 2000 and now photography and filming are full-time. I

don’t just shoot when I dive now but also do fashion editorials. My core

revenue as an underwater photographer comes from the feature film

industry, though. It’s a very complex nuance because the actors need

to be trained, and you need to have a competent diver cameraman

to do the cinematography. Regular cinematographers can’t handle

the large cameras underwater, especially if they don’t know diving.

So, you need professionals who also have aesthetics of framing and

composition underwater because it’s going to be on the big screen as

part of a film.

Vijay Amritraj at The Leela MumbaiPhotograph: Bajirao PawarWhale shark in The Philippines

Clown fish and anemone in Bali

Sumer Verma


You’ve been diving in the Indian waters for so long now, is the impact

on our environment visible in the seas?

Of course. The tragedy of this matter is, because you can’t see the

depths, you only see the surface. So you can’t imagine the beauty

and the degradation happening down there. El Nino has been

causing bleaching of the corals more often now because of the water

temperature going up by a few degrees. Science is confirming that this

is due to global warming. Back then, we were aghast to see the coral

reef which was alive in ‘97 to be completely white in ‘99, and in a

few years, completely breaking down. When the coral reefs died, the

fishes also disappeared. It became a complete graveyard. This made

me make a documentary called ‘Troubled Waters’ in 2006, and that

film went on to win a national award and gave me the confidence and

courage to persevere further. In addition to the rise in the temperature

of the seas, add overfishing, ocean acidification and mix that with the

pollution — we have created so many dead zones today. It really is

catastrophic. It’s sad that the current political environment worldwide

is denying climate change.

What are the immediate measures that our government can take in

order to save our coastlines and marine life?

Conservation is a very complex matter. We can’t just stop fishing

because the livelihood of locals is at stake. We personally need to take

“Conservation is a very complex

matter. We can’t just stop fishing

because the livelihood of locals

is at stake. We personally need

to take steps such as not use

single-use plastic. And the

government needs to provide us

with the right alternatives.”

I have shot a lot of films for Bollywood, some international

projects, and for the South film industry too. Recently, I did ‘Raabta’,

‘The Sky Is Pink’, a Malayalam film called ‘Moothon’, ‘Ninety Six’ in

Telugu and others. My upcoming film is with Maddock Films, which is a

story of a person who swims across the English Channel.

Rajan, the swimming elephant at the Andamans

Hawksbill turtle, Andamans

Face to face with a lion fish, Andamans


steps such as not use single-use plastic. And the government needs to

provide us with the right alternatives. Then, you have the President of

the United States saying things like global warming is a hoax and this

really confuses people. So, I feel awareness is key, right from schools.

Do you think to make our children more aware is the need of the

hour?

Children are our hope. The beauty of Earth is that old generations

die and then suddenly new generations are present on Earth. In 100

years, none of us will be present; it’ll be a completely new batch. And

if these new batches are more aware, more sensitised... One of the

most important programmes that I give my time to is the educational

programme we do for children through schools, where kids come

to the Andamans for a week. We do scuba diving, conduct talks and

discussions and do beach clean-ups. It’s so easy because children

absorb everything. Once they get on board, they go back transformed.

To inspire and educate children is one of the most powerful things

we can do to inspire change. Today one of the greatest environmental

movements is being carried out by children such as Greta (Thunberg).

Tell us more about the conservation programmes you undertake as

part of the NGO Reefwatch…

We (with diving instructor and marine biologist Nayantara Jain) are

working on an artificial reef project at the Andamans. It the first of

its kind in India. This involves tethering broken pieces of live coral to

metal structures, these corals would otherwise die. They then can start

growing into reefs and harbour life. This is completely a Reefwatch

project and it has been two years in the making. We also teach scuba

diving, bird watching, snorkelling and other skills to the children of the

local fishing communities, which will help them find a new means of

livelihood, become educators and promote tourism.

A lot of marine mammals wash up on our coasts and there aren’t

means to perform autopsies. Reefwatch has set up base in the middle

of the coast of Karnataka with the help of the Karnataka government,

which is headed by two marine biologist vets. We have a WhatsApp

group of 5,000 volunteers where we are informed if any animal is

washed up and we try to reach it within 2.5 hours. So far, we have

treated and rehabilitated seven green turtles. The last 14 strandings

of dolphins and turtles have been found with plastic in their system.

Which are your favourite places to dive?

Raja Ampat in Indonesia and the Galapagos Islands where one can swim

with hammerhead sharks. There are many places I want to discover like

Micronesia, Tonga, Egypt and Fiji. Egypt has some beautiful diving; the

Red Sea is one of the most beautiful oceans in the world. In India, both

Lakshadweep and the Andamans are beautiful.

Pregnancy shoot of actor Sameera Reddy

A school of sweet lips fish, Indonesia

Exploring the shallow watersof Komodo, Indonesia


Potato Eaters from Kalahandi

Manu Parekh, one of India most inventive painters, believes that a

good artist draws inspiration from everything around him. Parekh’s

study of other people’s art inspires his own work and reaffirms his

belief that everything and everyone is connected. A new book ‘Manu

Parekh: Recent Paintings’ (Aleph) showcases 42 new works painted

over a single year by a master creating at the height of his prowess, as

good friend and renowned author Jeet Thayil pens a special tribute.

“You can’t buypain or pleasure”


ART

I asked Manu about ‘late style’. Did he feel he had less to prove to himself and to the world?‘There is vanity to prove, and freedom from history.’

Vanity can save your life. It gives you the kicks you need to

keep making even when there’s nothing left to prove, and no one

left to prove it to, when the artists with whom you’ve been having

conversations in your head, and in real time, like Souza, are dead.

These new paintings were made after his 2018 career retrospective at

the National Gallery of Modern Art. Say again: immediately following

a retrospective of sixty years of work, Manu Parekh makes forty-two

paintings in a single year, many of them a distillation of everything he

has done in his working life. This is late style.

Some artists repeat the success of their mature years ad

infinitum into old age. I’m thinking of Raza, say, or Rothko, who

worked in one medium on one project that developed over the

years but never changed its premise. Then there are those who

deepen and mix up the work, charging it anew, experimenting until

the very last brushstroke or until the moment they are unable to

hold a paintbrush and must use scissors, like Matisse at the end,

producing massive cut-outs energized by the vitality and joy of

movement that were denied to the artist by his own advanced and

advancing limitations.

Manu is among the select latter group — a risk-taking crew for

whom no achievement is set in stone, and there’s no success like

failure. In his new work, he catechizes his own inventions, seemingly

unimpressed by past toil, and by the labours of the artist as a younger

man. If late style is a fusion of the raw and the cooked, it is also the

result of man-hours and discipline; and if there is spontaneity and

What I see in Manu’s latest

late style is rawness at the

service of technique, and I

see the kind of arrogance that

comes from having nothing

to prove to anyone except the

voices in your head…

improvisation — of which these works are full — they are by-products

rather than the guiding force.

What I see in Manu’s latest late style is rawness at the service

of technique, and I see the kind of arrogance that comes from having

nothing to prove to anyone except the voices in your head, the kind

of confidence that cannot be bought or faked. The speed comes

from working every day, and obeying the spasms of body memory,

and being unable to wind down when the deadline has passed. He

goes on to the next one, and the next. He makes a painting faster

than before, having acquired the enigmatic velocity that can only be

distilled from a lifetime of experience, which, too, is a prerogative of

late work.

Look at the monumental heads. What do they say, those stunned,

disbelieving, unready faces out of the Old Testament, suffering

torments so holy their bodies are transformed into timelessness,

pointing back at the essence of things? Suffering transcends time and

place. It makes sense to all ages. It is the one thing ancient man and

future man have in common.

‘You can’t buy pain,’ he told me, ‘or pleasure. These things you

can’t fake.’

Look again at the Christ heads — some gaunt Indian Jesus

looming powerlessly against a net of crude geometric scrawls, some

Jesus in the guise of an Indian holy man, homeless or hallucinating,

beset by images of a former life in which he was clothed and loved

and served at tables set with bounty, the kind of face you see a

hundred times a day in Calcutta or Banaras or Bombay. Look again,

and what you find is freedom from the pinpricks of local history. You

find the naïve native genius of the Indian village filtered through its

wall drawings, but also you find the fearful calamities of the Bible, the

apocalyptic and the magical on one page.

‘When I paint a head, I’m not painting a head. I approach it from

an actor’s point of view. I don’t paint the face, I paint the expression.’

Everything feeds off everything. Manu’s work in theatre and in

Indian textiles feeds into the lighting and texture of his pictures. Once

he was an actor. He had to think about what the actor must do with

his face, how much work must be done by the eyes, by the mouth,

by just the eyebrows, just the teeth. As a painter, the experience is

channelled directly into what he does with contrast, with colour and

light, and, sometimes, with the absence of colour or light. In the heads

he makes, the face is more than portraiture. It is ‘a situation’ waiting to

be decoded, where bands of light illuminate a forehead or someone’s

eyes, like stark lighting in a small and intimate theatre, the dramatic

shorthand that shows and doesn’t tell, where the spotlights and strip

lights are half the story.

Architectural Mosaic of Temples


These paintings encapsulate a history of Indian art. I remember

meeting Manu in 2005 or 2006, when he lived in a middle-class New

Delhi housing colony, the only artist in a community of civil servants

and small businessmen. I remember a grid of identical houses, a kind

of maze that was easy to get lost in, laid out in the haphazard way of

Delhi’s residential colonies, the houses numbered with a pretzel logic

I was unable to decipher.

It was the middle of the day, and the sun beat on my head like

a gong. In a few minutes of wandering I was already made insensible

by the heat and stillness, the breathless hush bordering on torpor.

And then I came to a house with a polka-dot red-and-green snake

painted directly on the whitewashed wall. There was a gate and a

path leading to the front door. I knew from the happy dots on the

absolutely modern, dapper Indian snake that it was Manu’s house.

We talked that day about Basquiat (on the wall was an epic

triptych, Colours of Banaras, in which I saw the similarities between

the destructive New York graffitist and Manu, the slash and burn

ferocity, the tenderness and aggression mixed so fine you couldn’t

tell which was which); and Rimbaud, the colour alphabet in relation to

the alphabet of vowels; the existential question of breathing Delhi’s

air; the dread human stew of Calcutta; his first meeting with Souza;

the urban vernacular in his wife Madhvi’s new work; and we talked

of course about water lilies and those landscapes so drenched with

emotion they enter your unconscious; and I asked him what it was

about Banaras that attracted him so profoundly and made him return

to the city time and again. He answered with a word I hear in my head

sometimes at the oddest of hours, particularly in times of tranquillity

and ease.

‘Commotion.’

What I liked about the paintings then, at first sight on a day in

June, is what I like about them today, more than a decade later. I

like the blasted improvisatory shock of their newness, the rawness

of the colours, the disregard for classical ideas of beauty and finish,

but also the residual regard for classical ideas of beauty and finish.

And looking now at the trajectory of his career, I see the inevitability

of the arc from the local to the universal, from the abstract to the

representational, from being a slave and product of history to being

free of it forever. So when I see the late Banaras pictures and the

heads, the hairy sex flowers and tumbledown temples and Jesus’s

eyes, I know I am also seeing, through a blur of memory and desire,

every flower and temple and head Manu has ever painted; and I am

seeing, through a midsummer haze, a palimpsest of lost races, a

codex to be deciphered and devoured by the seeing eye. There is

an amalgamation and loosening: the technique may be taken for

granted, but the emotion is hard-won still.

You can’t buy pain, and you can’t fake it. Holy Dip

Moon Moving around Temple


This is the most unusual wedding season ever,

and unusual is definitely what you can call

this duo of wedding photographers. Avoiding

perfectly posed and happily smiling images of

the bride and groom, Ashima Mehra and

Ayesha Broacha prefer going behind the scenes

and capturing candid images of the wedding

that tell a story, finds Kasturi Gadge.

Ayesha Broacha and Ashima Mehra

The newface ofweddings


THE GOOD LIFE

It is undoubtedly the biggest and most important

day in a couple’s life. But COVID-19 has definitely

changed a lot in the Big Fat Indian wedding. With

the ongoing pandemic, from having a small

guest list to restrictions on shopping and finding

the right vendors to not just facilitate the wedding

preparations but also to maintain hygiene, the

challenges are countless. However, even with all that

in mind, capturing all the fun and happiness of their

big day is every couple’s ultimate wish, something

they can look back fondly on in the years to come.

While some wedding photographers make the bride

the centre of attention, others go all out by creating

dreamy images using fancy props and lights.

That’s not the case with Ashima Mehra and

Ayesha Broacha of AHA Pictures who prefer capturing

the real emotions during a wedding. “We have

always looked for smaller, more intimate weddings.

That is our forte, as a team of two. Our endeavour

has always been to make photographs that were

not only timeless, but had an artistic quality that

sets it apart as a print that could adorn a wall, on

account of the vision. So, the pandemic really doesn’t

change much for us,” explains Broacha. “We prefer

keeping things natural rather than using gimmicks

to create something that they might not be entirely

comfortable with.”

The girls first met each other in college in Mumbai

and later went on to assist renowned photographer

Atul Kasbekar in order to hone their photography

skills. After their stint at Kasbekar’s studio, they both

went on to have industrious careers with clients

ranging from the film industry to the ad world, along

with leading publications and fashion houses. After

15 years of working on their independent career

paths, they decided to work together to shoot

weddings.

Continues Broacha, “Working independently

gets a little lonely as a creative person. It is nice to

pitch ideas and get constructive feedback, which

we were both missing. We had also been shooting

weddings independently and were getting larger

projects that required more than a single person on

the job. Ashima and I gel creatively and enjoy working

with each other, so there wasn’t a better time or

“We steer clear of being cheesy. We prefer a

classic aesthetic and therefore make sure that the

clients are on the same page beforehand.”


reason to not want to collaborate. It’s been wonderful…the results are

now much more wholesome.”

They decided to name their venture AHA Pictures with the primary

aim to create beautiful and timeless images that tell a story. “We work

on opposite sides generally, very aware of where the other one is at

all times so that we aren’t getting into each other’s pictures and also

making sure that we maximise our coverage. Once the picture is shot,

this being the easiest and the most fun part of the wedding, the edit

begins which is a long and arduous process where the best images are

picked out and then arranged as a photo essay that tells the story of

the event. We lay this out into a mini-book which we present to the

client to showcase the event succinctly. We then work with the client

if they so decide to do a larger edit and make an album of the event

to include a wider selection of photographs, of people, and moments

that make the event an indelible memory for the client,” says Broacha.

While each lends their unique style, their combined final product

is slick, clean, un-fussy, candid and very contemporary. Mehra is a

brilliant fashion photographer with an amazing eye for details. She is

drawn to the clothes and the beauty of the subjects in the wedding and

her images highlight this aspect. Broacha is keen on documentary and

waits to capture a moment that tells a story. “With this combination,

we seamlessly complement each other’s work. And every wedding we

have shot reinforces the fact that we have to be there as a team to get

the maximum out of the wedding,” says Mehra.

The duo believe that each wedding is a unique experience and

that no two families are ever the same. They go into the event as a

blank book, open to capturing everything that happens in the course

of the wedding. Says Broacha, “We are extremely comfortable with our

individual photographic vision and know that when we are done, the

combination of our photographs will do justice to the narrative. So,

we go in, each knowing that we have to make the sort of work that

we each do and implicitly trust that it will come together on the edit

table. We do get to know the family beforehand and throughout the

wedding we find ourselves becoming an integral part of the family and

celebrations, which results in a degree of comfort that is then reflected

in our photographs.”

Most couples aren’t used to or even comfortable with so many

eyes and cameras being on them all the time, and as a wedding

photographer trying to ease them into the process is a large part of

their responsibility. Explaining their method, Mehra says, “We do meet

the family before the day of the wedding and appraise them of how we

would like to cover the wedding. We are candid photographers and like

to be unobtrusive, for the most part. But we make sure to understand if

there is anything specific that the family would like covered.”

In order to innovate, they both feel that the key is to be alert at

all times. “We are a little old-fashioned and prefer to make a good

photograph versus relying on gimmicks for the sake of innovation.

For us, it’s imperative that the client enjoys and appreciates our

storytelling style. We steer clear of being cheesy. We prefer a classic

aesthetic and therefore make sure that the clients are on the same

page beforehand. We are also a little ‘boutique’, and keep it small and

quiet. We don’t want the wedding to be taken over by huge lights or

a massive team. Our endeavour is to document the special day where

the family and guests can partake in the wedding without being

jostled for space because the photographer and videographer needs

to cover the event!”

Ashima and Ayesha had shot a wonderful sangeet ceremony a few years ago at The Leela

Mumbai. Recalls Ayesha, “The ceremony left us with fun memories of the wedding party,

dancing the night away and everyone having a gala time. The one thing that stood out that night

was the courteousness of the staff towards us and the guests. They greeted and served us with

a welcoming smile, making the experience of shooting even more enjoyable.”

A memorable sangeet


Travelling in the‘new normal’

Water activity in Maldives


TRAVEL

Of late, our home has been our office, entertainment

centre and rest & relaxation zone. Fortunately, with

life gradually coming back on track in the pandemic,

you now have the option to step out as many countries

are exploring the option of low-risk travel by creating

travel bubbles or Corona corridors. While most local destinations

in India are open to travellers, with several having gorgeous wide

open spaces, one also has the option to visit many International

countries India has an arrangement with. So, pack your bags with a

sanitizer at hand, get your masks on and take a pick from any of these

five popular destinations.

GoaSometimes, all you need is a little sun and sea to wash away the worries.

Soak in all the Vitamin D you need and let the sound of crashing waves

be the score of your holiday as you savour fresh catch at Susegado,

the beachside seafood restaurant at The Leela Goa. Take a walk on the

beach or spend idyllic mornings cycling to the nearest local bakery for

freshly baked butter croissants. Next, head for a quick swim and book

an Ayurvedic spa ritual for lymphatic drainage for some post-swim

relaxation. Skip the tourist-heavy spots and beaches and instead, go

for an art walk in Fontainhas and eat at local traditional eateries and

shop for handcrafted azulejo tiles and local art.

MaldivesAzure waters that stretch for miles, framed by white sand beaches

that serve as a gateway to explore a thriving marine life – Maldives

typifies island paradise. If you don’t enjoy swimming and snorkelling,

or are travelling with kids, you could sign up for a whale submarine

tour instead to see rare fish and coral. And if you wish to explore more,

take a city tour to explore local stores and to visit Hukuru Miskiiy or the

Old Friday Mosque, which is a unique mosque with the walls carved of

coral stone. And for a truly unique experience, choose to unwind at a

spa or a restaurant underwater, surrounded by the sea.

As many countries explore the option of low-risk travel by creating travel bubbles or Corona corridors,

Dhara Vora Sabhnani looks at the destinations in India and abroad that people are flocking to.

Susegado, beach side seafood grill restaurant, The Leela Goa

Maldives Villas


DubaiIf you have been missing out on some fancy retail therapy and fine

dining, Dubai is the place to be. You could either shop at the many

high-end malls with luxury brands from across the world or visit a

local souk for souvenirs. For some adventure, go sky diving or book a

dune safari followed by a meal surrounded by the dessert. If it’s your

first visit to the city, the architectural wonders of Duba

Documents

MAGAZINE - The Leela Palaces, Hotels and Resorts · 2020. 12. 29. · DELHI (011 - 61319300) Sr. General Manager (North) Asha Augustine (09654567819) Rishabh Malhotra BANGALORE (09886041356)