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The Vivienne Westwood fashion show in Mumbai did not bring the punk

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The Vivienne Westwood fashion show in Mumbai did not bring the punk


The late Dame Vivienne Westwood, the British designer who dragged punk and new-wave fashion into the mainstream in the 1970s, once quipped, “Popular culture is a contradiction in terms. If it’s popular, it’s not culture.” Her disdain for conformity and her love for rebellion were the hallmarks of a career that redefined style as a form of dissent. “Democratic envy,” as she termed it, made people dress alike simply to belong. She preferred dressing for herself — even if no one else approved.

That ethos lingered in the air at Vivienne Westwood’s recent show in Mumbai, staged against the dramatic backdrop of the Gateway of India. The venue — last seen hosting Dior’s pre-Fall showcase in 2023 — came with weighty expectations. Where Dior offered polished precision, Westwood delivered something else entirely: looser, moodier, and far less structured.

Khadi and chanderi fabrics were used in creating the capsule collection
| Photo Credit:
Special Arrangement

Secrecy surrounded the event. There was no pre-show buzz and invites were last-minute invites. A passing drizzle left the air sultry and thick with tension.

The collaboration

The collection, which featured a few archival pieces, was born of a collaboration with Vivz Fashion School in Pune and Aaranya, an initiative led by Priyadarshini Scindia, of the erstwhile royal family of Gwalior. Aaranya’s mission: to preserve traditional crafts, especially Chanderi, famous in Madhya Pradesh, through modern design interventions. Also in the mix was khadi, supplied by the Khadi and Village Industries Commission (KVIC), a statutory body established by the Government of India in 1957. Together, these collaborations were meant to champion craft preservation, sustainability, and cultural exchange.

According to Carlo D’Amario, CEO of Vivienne Westwood, the show’s inception began with his visit to India last year, hosted by Priyadarshini. The trip rekindled memories of his travels through Goa in the 1970s, and coincided with his growing interest in India’s burgeoning luxury market — currently valued at $8 billion and projected to reach $14 billion by 2032.

The model lineup

The model lineup
| Photo Credit:
Special Arrangement

In a poetic twist, the Gateway of India itself features jaali work sourced from Gwalior, linking the royal collaborator to the setting.

The idea for the show reportedly crystallised during Carlo’s keynote at Vivz last year. “He fell in love with India — its textiles, its stories,” recalls Vivek Pawar, the school’s founder-director. But translating that love into garments was not straightforward. Getting khadi and Chanderi to the Westwood studio in Italy meant navigating red tape. “The fabric had to have structure,” Vivek explains. “It wasn’t just about heritage; it needed to hold up on the runway.”

The fabrics certainly delivered on texture and lightness. Carlo was especially taken by Chanderi’s airiness. “I was gobsmacked,” he said. “It felt just right — for India, and for the brand.”

But the garments themselves were less convincing. Creative director Andreas Kronthaler —Westwood’s long-time collaborator and husband — focussed on ease and modernity. The result was a collection anchored by handspun khadi, ethereal Chanderi, flourishes of chiffon, hints of tartan, and the brand’s signature petal flower headpiece. But the silhouettes felt restrained. The repetitive boat-neck corset dress, already seen on Kareena Kapoor Khan and Janhvi Kapoor, became the collection’s default form: pretty, but predictable. The edge that once defined Westwood was softened into something safe.

The iconic Vivienne Westwood floral headband 

The iconic Vivienne Westwood floral headband 
| Photo Credit:
Special Arrangement

The soundtrack did not help. A jarring mix of Indian classical music and Alisha Chinai’s ‘Boom Boom’ felt more kitsch than counterculture — less rebellion, more runway theatre. Rather than elevating the clothes, the music muddled their message.

Though the choice of textiles — khadi from KVIC and Chanderi from Aaranya — was rooted in legacy, it felt more like a symbolic gesture than a bold statement. The garments borrowed Westwood’s visual cues, but missed her unmistakable voice.

The strategy

Still, the show marked a distinct shift in the house’s strategy. Carlo summed it up: “Magazines are great, fashion houses are great, but it’s politics that gets things moving.” The brand now seems to be leaning into State-supported collaborations, cultural diplomacy, and global craft partnerships. Remarkably, the show was reportedly pulled together in under a month — proof of sharp coordination behind the scenes.

Let us not forget: Westwood’s defining collections — Pirate (1981), Mini-Crini (1985), Anglomania (1993) — did not just play with form. They were provocations. She fused chaos with couture, rage with elegance, and protest with pageantry. Climate change, anti-capitalism, consumerism: nothing was off-limits.

There were 60 looks that made its way down the runway

There were 60 looks that made its way down the runway
| Photo Credit:
Special Arrangement

The Mumbai showcase was ambitious in scope and symbolic in spirit. But it lacked the rupture, the recklessness, the radical flair that once made Westwood’s runways a battlefield. It was, in the end, a respectful tribute. But perhaps a little too polite.



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Brews and beverages shine at Pandhal Coffee & Brew in Thiruvananthapuram

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Brews and beverages shine at Pandhal Coffee & Brew in Thiruvananthapuram


Pandhal Coffee & Brews in Kowdiar, Thiruvananthapuram
| Photo Credit: SPECIAL ARRANGEMENT

Against the backdrop of overlapping coffee fragrances, blended with a sound track of grinding, whistles of steam and keyboards clicking, barista Afeef is calmly preparing a slow brew coffee called V60 tableside at Pandhal Coffee & Brews at Kowdiar, Thiruvananthapuram.

Cakes, pastries and other sweets inside the illuminated glass shelf overlook as Afeef wets a folded filter paper, placed inside a funnel. Coincidentally, it is the angle at which the filter paper is folded and kept that gives the coffee its name.

This contraption is then placed atop a glass coffee pot, set on a weighing scale for accuracy.

Hot water being poured into the ground coffee while preparing the V60

Hot water being poured into the ground coffee while preparing the V60
| Photo Credit:
SPECIAL ARRANGEMENT

“Four things are important while making a V60— temperature of the water, grain size, pour timing and the ratio between ground coffee and hot water,” Afeef says, putting 18 grams of medium coarse ground coffee from medium dark roasted Arabica beans on the filter paper. He slowly pours around 40 ml of water, 85 degrees Celsius hot, on the ground coffee and waits for a few seconds. This is called the blooming period as the coffee releases carbon dioxide making it more flavourful. Water is poured three or four times at regular intervals leaving around 270 ml of coffee in the pot, before being served.

V60 coffee being made

V60 coffee being made
| Photo Credit:
SPECIAL ARRANGEMENT

It is important to rinse your palette with hot water before you taste this manually brewed beverage that is ideally consumed without any sugar. The rising steam carries an earthy fragrance, which disappears almost instantly. The first sip of the V60 has a mellow bitter taste that does not overstay its welcome on your palette, as a hint of sweetness slowly comes through. A sip of water and the sweet note sings sweeter, leaving your palette clean. Even if you are not a “coffee lover”, the V60 is worth a try at ₹200.

The menu at Pandhal Coffee & Brew also features other slow brews such as French press, American drip and a 24-hour milk brew, all exclusively available at this outlet. This lone branch in the State capital is the Kochi-based brand’s sole outlet focusing on coffee and beverages. “We wanted to do something beyond cafes and cake shops, which brought us to this concept,” says the branch’s assistant manager Giby Varghese.

Their menu also has plant-based and non-plant-based shakes, exclusive to the branch. These include salted caramel, cheesecake, banana foster (available in both options) and blue spirulina and pineapple, with rates starting from ₹250.

The Blue spirulina and pineapple shake is a plant-based shake containing spirulina, a type of blue-green algae, rich in protein, vitamins, minerals, carotenoids, and antioxidants. It also has pineapple, coconut milk and coconut puree, which act as a base for the beverage. Served on a glass rimmed with sugar crystals and a pineapple wedge, the drink is not a typical milkshake. It comes off as a cross between a slushie and a smoothie. The blue spirulina used in powdered form does not add any flavour to the food, allowing tropical fruits like pineapple and coconut to shine. The shake is refreshing and can even be a meal on its own.

Blue spirulina and pineapple shake from Pandhal Coffee & Brew

Blue spirulina and pineapple shake from Pandhal Coffee & Brew
| Photo Credit:
SPECIAL ARRANGEMENT

Their signature brews also include South Indian filter coffee, cinnamon latte, hazelnut latte, and salted pistachio latte, starting from ₹120, and are available with dairy substitutes like coconut milk and oats milk.

South Indian filter coffee from Pandhal Coffee & Brew

South Indian filter coffee from Pandhal Coffee & Brew
| Photo Credit:
SPECIAL ARRANGEMENT

“One of our most popular coffees recently is the South Indian filter coffee made with coconut milk,” says Giby. The filter coffee is served in the typical metal filter coffee tumbler set and has a thinner consistency compared to its classic version. However, the coffee is stronger and does not need any additional sweetener. It has 20 ml of decoction and 100 ml of coconut milk, resulting in an unfamiliar, yet welcome fragrance from the hot beverage.

A fudge tart with a caramel filling containing peanuts and raisins and a buttery, biscuity, flaky crust can be a good combination with the beverages.



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Dancer working on Riteish Deshmukh’s film ‘Raja Shivaji’ found dead; he was missing since two days | Hindi Movie News – The Times of India

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Dancer working on Riteish Deshmukh’s film ‘Raja Shivaji’ found dead; he was missing since two days | Hindi Movie News – The Times of India


Riteish Deshmukh is currently working on his next film, ‘Raja Shivaji‘ based on the life of Chhatrapati Shivaji Maharaj. Riteish is also directing the movie apart from producing it and acting in it. However, an unfortunate incident happened with a dancer who was working on the film. This dancer’s name was Saurabh Sharma and he was found dead in the early morning of April 25. He was missing since 2 days and was found dead on Monday morning.
The police have indentified his name as Saurabh Sharma and said that they found his body on April 25. They stated that this incident took place at Sangal Mahuli which is located 250kms away from Mumbai. ‘Raja Shivani’ is being shot there near the river Krishna and Veera. This 26-year old was a part of the choreography team.
According to the reports, the incident took place after Saurabh Sharma had finished filming the song. Apparently during the shoot, colour were thrown and the dancers went down near Krishna river to wash their hands. Saurabh decided to go deeper for a swim but was swept away by the strong water current. This dancer was a part of choreographer Remo D’souza‘s team.
Riteish and Genelia Deshmukh’s production house had issued a statement as the dancer was missing and wasn’t found. It read, “As soon as the news came to light, actor-director Riteish Deshmukh, producer Genelia Deshmukh and choreographer Remo D’Souza, along with the entire team, immediately reached the river bank. The help of local swimmers was immediately sought to find Saurabh, and the filming drone was used immediately for the search. Mr Deshmukh contacted Satara District Collector Mr Patil and other concerned agencies and requested them to expedite the search operation.”





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No Agenda Space: a movement of silent companionship growing across India

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No Agenda Space: a movement of silent companionship growing across India


In late March, Rakshitha A., 32, went to a stranger’s house to read a book. She settled on a sofa next to a sleepy dog, only getting up to make herself a cup of tea. Soon, she was joined by another unfamiliar woman who positioned herself at the desk in the cosy living room. The women occasionally smiled or nodded at each other but rarely spoke. While this may seem strange to most, it is a glimpse into a silent movement where women are creating safe spaces for each other.

It was in January this year that 36-year-old Meghna Chaudhury, training to be a therapist, decided to open up her home in Indiranagar, Bengaluru, to women and non-binary people, to work, paint, sleep, read, and more importantly, do nothing, if they so wished. Her post about this ‘No Agenda Space’ blew up on social media, and in just a day, 20-30 women had reached out to Chaudhury asking if they could use the space.

The idea for this initiative sparked from an unexpected afternoon of “non-talking companionship” between three of her friends, who were strangers to each other, and happened to come over on the same day in mid-January. Women existing in each other’s company without any expectations, or labour demands, made Chaudhury aware of the lack of such spaces. So, she created one.

“I named it No Agenda Space because it’s just that — a third space that isn’t their home or workplace and doesn’t demand anything, not even a conversation, from anyone who identifies as a woman,” she says. “This space is completely anti-performative small talk. But it’s often expected of women. I wanted to create a space where they can just exist.” Chaudhury’s two-bedroom apartment is open to strangers five days a week from noon to 4:30 p.m., after prior registration online. People are free to use her WiFi, grab snacks from the kitchen or even prepare something for themselves.

A visitor in Meghna Chaudhury’s No Agenda Space.
| Photo Credit:
Meghna Chaudhury

Starting this month, she is asking for a contribution of ₹80 per head to cover costs like electricity, water and so on. For safety reasons, Chaudhury has made it mandatory for people to bring an identity proof. She also ensures there are two or three women visiting at the same time. Her dog, Millie, is often a participant at these sessions and can be found cuddling up with a stranger or taking a snooze with another.

One thing Chaudhury is clear about: there will be no hosting. “It’s my rejection of the idea of a woman having to host. I don’t want the responsibility of catering to other people’s needs in my own home. I am tired of that,” she explains.

The need for a third space

Increasingly, across India, many people like Chaudhury live in the shadows of urban loneliness and find it exhausting to maintain adult friendships. There is also the constant labour that women, especially, have to do in any space. Be it physical or emotional, something is always asked of their presence. “Among all these responsibilities, you don’t get time for yourself. So, sometimes leisure is just sleeping without answering five phone calls from your children, partner or colleague,” says Chaudhury.

For the women who have used Chaudhury’s place in the last three months, it has been about not having to perform an identity and freeing themselves of clingy gendered impositions. For instance, while one woman came to take a nap, another painted, and two others who had lost their pets hung out with Millie. Interestingly, one woman was recommended the space by her therapist, while another came there to attend an online therapy session. “It made me think about how women often don’t feel safe enough to do that in their own homes,” says Chaudhury.

For people with ADHD (attention deficit hyperactivity disorder) or for those on the autism spectrum, such third spaces are helpful and nurturing, says Rinkle Jain, a neurodivergent psychologist and psychotherapist based in Mumbai. “Often, they can’t just exist the way they want. They can’t constantly get up and walk around in their workspace, or expect a quiet environment at home. So, having a third space gives them a sense of agency. It’s almost like they can breathe better,” she explains.

A refuge during the pandemic

However, the idea of providing a third space for women “to do nothing” is not entirely new. Back in 2021, at the height of the pandemic, Indu Antony set up Namma Katte in Bengaluru because she wanted to offer a safe space for women in view of the rising number of domestic violence cases.

Women take a pause at Namma Katte in Bengaluru.

Women take a pause at Namma Katte in Bengaluru.
| Photo Credit:
Indu Antony

“There was no third space where women could go without having to spend money. Namma Katte [meaning ‘our place’ in Kannada] gives them a place to exist without any questions from morning to evening,” says Antony. Since Namma Katte is situated in a public area with no doors — it used to be a shop once — Antony hopes that the next generation will see women simply resting in full visibility, something she had never witnessed growing up.

Antony points out the socio-economic disparity that exists between the people who visit Namma Katte and No Agenda Space. “When someone from the upper class starts a space like this, it garners a lot of attention but it’s not the same for people from underprivileged sections,” she says. But Antony is happy to see more women creating safe spaces for each other and hopes social barriers of caste and class can be eliminated someday.

 Indu Antony, founder of Namma Katte in Bengaluru.

 Indu Antony, founder of Namma Katte in Bengaluru.
| Photo Credit:
Vivek Muthuramalingam

A growing movement

Inspired by Chaudhury, women across Bengaluru and a few in other cities have decided to create No Agenda Spaces. For instance, Vidhu Vinod who lives in Kaggadasapura, Bengaluru, is inviting people to use her home a few days a week to “come chill”. “Women, especially, don’t have enough safe third spaces like men do, to just be themselves. The fact that this idea has picked up and we are creating a network of such spaces for each other shows how big a need this was,” says Vinod. 

In Mumbai, women can go to Shruthi Jahagirdar’s home one Sunday every month for four hours to work on their dreams. “I know how expensive the city is and working on your startup or idea in cafes is not something many can afford. Since I live by myself, the least I can give other women is four hours in my house to do whatever they want in a no-judgment zone,” she explains.

Arundhati Gaddala, who lives in Hyderabad, hopes to offer silent companionship to women through a No Agenda Space. “I want to just be there when someone needs help to get through something they might be struggling with,” she says.

Seeing how quickly and eagerly women have shown up for each other, Chaudhury feels overwhelmed. “This space has made me realise that even without words, there can be sisterhood,” she says.

The independent journalist specialises in gender, culture, and social justice.



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