The Bright Side of Sunny

02 Thursday Aug 2018

Posted by sitanshi talati-parikh in Features & Trends, Publication: The Voice of Fashion

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India, PETA, Sunny Leone, The Voice of Fashion

Published: The Voice of Fashion, July 31, 2018 as “Sunny Leone’s Business Calendar”

Sunny Leone, Canadian-born Indian-American actress, model, entrepreneur and former porn star represents the intriguing sexual freedom that Indians lack. Today, 37-year-old Leone—who gave up her adult film career in 2013, a year after her Bollywood debut with Pooja Bhatt’s erotic thriller Jism 2—has a string of brand endorsements, splashed across buses, billboards, dailies, television channels and going viral on the Internet. She is the star of her autobiographical web series, Karenjit Kaur – The Untold Story of Sunny Leone which released last month on Zee5. Overt sexuality has always had a tenuous relationship with Indian society. In a country where sex is considered entertainment—albeit behind closed doors, or bawdy and obscene when explored in public—there is a vicarious pleasure in watching, being associated with and fantasising about someone who is willing to bare it all. But is that all there is?

The face of causes
The anti-smoking ad film, 11 Minutes (2016) captures Leone’s appeal in India through the last wish of a man (theatre actor Deepak Dobriyal) dying of the consequences of cigarette smoking. He wants to be with a woman: Leone arrives like an oft-rendered caricature of a coy village bride. The public-service campaign—which uses stereotypes to engage, and set the stage for the anti-climax—crossed one million views on YouTube in 48 hours, reaching two million views in three days, as reported on media and advertising news site, Afaqs!. And that is not surprising, given that Leone—who incidentally doesn’t smoke—has been, on more than one occasion, the most Google-searched person in India.

The female bosom forms the story behind Leone’s public service campaign #DetectToDefeat (2016) by digital media channel Aur Dikhao, to promote breast cancer awareness. The ad captures the deeply uncomfortable male gaze in India, ending with a, presumably, topless Leone looking into the mirror, saying: “If we women paid as much attention to our breasts as men do, breast cancer cases would reduce to half.”

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Leone has been associated for almost six years with People for the Ethical Treatment of Animals (PETA) India. Her 2017 campaign has her, with musician-husband Daniel Weber, in what has been described on the PETA site as “wearing little more than high heels and tattoos between them,” advocating “Ink Not Mink.” On the effectiveness of Leone as an endorser, Sachin Bangera, associate director of celebrity and public relations, PETA India, says: “Calls and emails started pouring in after (Sunny) Leone’s campaign on the adoption of homeless dogs and cats, asking us about the procedure to do so. Close to 15,000 people joined the online campaign to help ailing elephant Gajraj after Leone shared his condition on social media. Gajraj has since been rescued.”

The power of titillation
While Leone’s persona drives the public service campaigns, it is the interest and controversies sparked over her Manforce condom ads playing on objectification of the female body, which fuel her power as a headline-grabber. On the Manforce condoms’ official YouTube channel, Leone’s popularity is on the rise: their 2014 dotted condoms ad with Leone shows over 3.1 million views in four years, while their flavoured condoms ad, Man Kyun Behka, from last year clocked over 2.2 million views in one year alone.

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Besides being an entrepreneur and the face for her own line of clothes, perfume (Lust) and makeup (Star Struck launched March 2018 and is PETA-certified), Leone has endorsed a wide range of products that include Chase mobile phones, Iarra sunglasses, Dholpur Fresh desi ghee, energy drinks like Gold Fogg by R Z International and XXX by Viiking Ventures, online jewellery portal Jewelsouk.com, Big Boy Toyz pre-owned sports and luxury cars, and Mehak Kesar Shilajit pan masala. The “A” grade luxury brands may not touch her with a pole but new FMCG brands evidently find her attractive.

Veteran celebrity photographer, Dabboo Ratnani, who has worked with Sunny Leone, regularly gets requests from people asking for an introduction to her. “Leone’s endorsement creates a strong image change for the brand—she effectively challenges the status quo, immediately creating a buzz,” says Ratnani. Speaking about the Gold Fogg energy drink campaign, Rahul Vinakiya, managing director, R Z International, has said on Afaqs!, “We opted for (Sunny) Leone as our brand ambassador as she perfectly suits our brand tagline ‘Live Your Way’. She completely believes in living life on her terms.” Says Leone in an article in the Indian Express this year, “I don’t think I have ever done my work worrying about people judging me.”

Leone who has grown up playing street hockey with the boys and is, as of last year, the co-owner and brand ambassador of Premier Futsal franchise Kerala Cobras, puts her game face on for Torque Pharmaceuticals’ JAL mineral water. In the ad film, a clean-faced, pony-tailed Leone is described by a male voice-over as, “a diva, a fighter, on the top of her game.” The video ends with a camera focusing on ever-so-bouncy breasts in the background and the bottle in the foreground with Leone saying: “Kyunki, jal hi jeevan hai” (Because water is life).

Veteran image guru, Dilip Cherian, finds that Leone checks all the three boxes to be a successful brand endorser: ‘Risqué’ value, resonance and reach. “Leone is someone who has confronted the reality of who she is. Her risqué factor is 9.8—there is nothing further to be revealed, and therefore the downside is zero. Her name has resonance and her reach is global and immense.” But above all, in an era where the smartphone has brought porn into every home, Leone represents the new reality of openness in Indian society. He says, “She is a woman to boldly go where no man has gone.” As Leone notes, in her web series, in response to the question about how some Indians can’t differentiate between a prostitute and a porn star, “There is one similarity…guts.”

The girl next door
Leone—who is admittedly bisexual—is a girl you can take home to your mother. Shocking as that may sound, keeping her fair, chiselled face and the in-your-face augmented breasts aside, probably a part of her appeal, locally, lies in her easy “next-doorness”. Her web series suggests that she is just another girl, ridiculed in school, who made a tough—and unorthodox—choice. With 13.9 million followers on her Instagram, what you gauge from Leone’s posts is a girl who separates her work life from her personal life. There are stuffed toys, pink roses for Valentine’s Day, goofy moments, and gym snapshots. She demystifies her work life, by capturing the steamy visuals with little jokes: a behind-the-scenes picture of her in a bathtub from the shoot of the reality survival show Man vs Wild, has the tongue-in-cheek caption: “Just lying around at work”. Her styling has mass appeal, she is not a star with sharp dance moves or serious acting chops, but her aura—a “good” girl who knows when and how to be “bad”—circumvents it all, and allows her to reign in the over-a-crore-price-tag endorsement category.

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Leone, born Karenjit Kaur Vohra, married Weber in 2011. She posts photos of them as a regular couple, often remarking on how “handsome” he is, or how he is the “sweetest man” she knows. In March 2018, she posted a photo of them in blue jeans and a white tee—a classic all-American family—with their three children, including the newly-born-via-surrogacy twins. At the time of this story, Leone is unable to respond because, as informed by her agent, she has “taken some time off from everything” to be with the children.

We tend to gravitate towards authenticity and Leone’s life, even while rife with Hindu immorality, is real, exciting and aspirational. Not because everyone wants to be a porn star, rather, because she is, like Vinakiya said, living life on her own terms. In a society that imposes restrictions on everything from food to marriage, Leone represents that elusive freedom, all the while being the girl a man would perhaps aspire to have…next door.

Why Are School Uniforms Still Gendered?

15 Tuesday May 2018

Posted by sitanshi talati-parikh in Features & Trends, Parenting, Publication: The Swaddle

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Gender Inequality India, Parenting, School Uniforms, Social Chronicle, Ungendered

Published on The Swaddle: May 14, 2018

Recently, the Children’s Academy — which runs three private schools in Mumbai — determined through a student poll that its new uniforms will be gender neutral. While an overwhelming majority of students chose T-shirts, 58% of the 1100 girls who participated opted for trousers over skirts, citing comfort as a big factor. The new uniforms will be implemented at Children’s Academy schools in the upcoming academic year.

This decision towards gender neutrality comes as one of many, as schools across the globe adapt to increasingly inclusive attitudes. Last September, The Daily Mail reported that 150 schools in the UK would be introducing gender-neutral uniforms, where children of any gender were allowed to wear either a skirt or trousers. Last month, Fiordland College in Te Anau, New Zealand agreed to gender-neutral uniforms, where the girls will be allowed to wear pants and the boys will be allowed to wear dresses, as per their choice.

Such changes are the result of a growing resistance to gender stereotypes from both students and parents. At a basic level, schools are paying attention to the need to provide young children with the comfort of moving around safely, and without restriction. Although widespread gender neutral uniforms are a step in the right direction, ultimately, India needs to move towards the global trend of letting students choose whether they want to wear skirts, dresses, or trousers.

“As a girl in Indian society, I have grown up in an environment that has often restricted my clothing choices in terms of ‘what to wear’ or ‘when to wear,’” says 17-year-old Tamanna Sheth, who attends BD Somani International School (BDSIS). “I strongly believe in gender-neutral uniforms as I support the idea of comfort over appearance. Besides, they may also make one feel more confident.”

While urban Indian parents may be less resistant to change these days, radically different points of view exist among them. For many parents, gender-neutral uniforms are not on their radar. If they are, they may weigh in but not be a deal breaker when parents are picking a school.

Esha Pandya Choksi, mother of a two-year-old girl, strongly believes that differentiating between clothing from an early age adds to the pool of social factors that foster gender inequality. “At an age when children form ideas, clothing sets the stage about what girls and boys can or cannot do,” she says. “While clothing is not a direct counter to society’s stereotypes, it is a small step towards making a statement.”

Akanksha Shah, mother of two girls, aged seven and four, the older of whom attends Mumbai’s Cathedral and John Connon School, prefers dress to be an obvious differentiator. “They (skirts) are feminine and graceful; they complement the body structure of girls better,” she says.

Mumbai-based fashion designer and mother of a girl and a boy aged five and seven respectively, Anjali Patel-Mehta, is strongly in favour of gender-neutral uniforms. She suggests that a traditional Indian form of dress may actually make for a progressive uniform. “The kurta is universal, entirely gender neutral and authentic to India, while tunic and pants still lean towards a gender,” she says. However, she’s cautious of the implementation challenges — for example, resistance from the girls themselves, like those who struggle with body issues. She believes letting kids choose what to wear for themselves might be the best solution. “Going androgynous or unisex isn’t ideal: eventually, it should be a social choice, rather than attempting to force fit someone into a gender-neutral role,” says Patel-Mehta.

While giving children a choice in what to wear might have its own challenges — a child making a non-traditional choice may face peer pressure and ridicule — it will create a foundation for long-term societal acceptance.

The Mumbai-based Waldorf schools like Tridha, Inodai and The Golden Spiral, with the Rudolf Steiner education system, offer simple colourful cotton kurta tops paired with bottoms of their choice. “Our uniforms are practical and frugal — designed more to be comfortable in our climatic conditions and allowing freedom of movement during play,” says Tasneem Quettawala, co-founder and pre-primary coordinator of The Golden Spiral School.

South Mumbai-based IB schools like Bombay International School (BIS) and BDSIS have gender-neutral uniforms, save for their formal uniforms — worn once a week at BIS and worn optionally at BDSIS. These are in the form of a “skort” for girls, which is a pair of shorts with a front flap, giving the impression of a skirt. Anjali Karpe, deputy head of BIS, says the gender-neutral sports (PE) uniform, which comprises shorts and a tee for all children, is worn on most days and has been around for 25 years, even when it wasn’t the norm for all schools. “It is high time we went for gender-neutral uniforms — there is a distinct change in the perception of what is considered ‘feminine,’” Karpe says. “It is an archaic notion of dressing girls in skirts.”

And yet, while BIS derives comfort from the neutrality of their most commonly worn PE uniforms, Karpe reflects on the challenges of making a school-wide change, as the uniform is an important part of a school’s branding. “It needs to be an informed choice at a student-body level,” says Karpe. “Personal opinion cannot drive school leadership, and it would involve multiple stakeholders.”

The Children’s Academy method of polling its students is a good example of how to drive such change in a fair and egalitarian manner. Their schools will make the new uniforms optional within the first year of the change, taking into consideration parents who have already invested in the old uniforms; the new uniforms will become mandatory from the subsequent academic year.

At schools with less progressive ethoses, the student body may not lean towards gender-neutral uniforms with the same kind of majority. Government schools in India, however, have shown that they’re not resistant to change if it benefits their students. Last year, the Uttar Pradesh government announced that it would be changing the color of its public school uniforms from khaki to bright red and brown, in an effort to ensure that students wouldn’t feel like they were in any way inferior to their counterparts in private institutions. It’s not inconceivable that, down the line, they, too, will feel the need to adopt gender-neutral uniforms, if more private schools begin to do so, and seeing that the gender-neutral kurta already exists as a part of the social fabric.

Schools have been clinging to their uniforms for decades at a stretch, in the name of tradition and school identity. Uniforms have often been designed before the current management can recall, and have not come under review or updated since. They’re unlikely to be high on the list of priorities for most schools. But some schools have begun to lay the groundwork by listening closely to their students. It will be a slow process — stumbling blocks include tradition, deep conditioning, and stigma — but as institutions begin to pay more attention to what is best for their students, positive change will follow.

With Love From Scandinavia

23 Saturday Sep 2017

Posted by sitanshi talati-parikh in Fashion & Style, Features & Trends, Publication: Mint Lounge

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Design, Designers, Fashion, Mint Lounge, Scandinavia

Published: Mint Lounge, September 23 edition
Additional images and content (end box) used in this post.

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Swedish philosopher and feminist Ellen Key described in her essay, Beauty For All (1899), a life that consisted of fewer but finer things—those that are functional and beautiful all at once. By the 1950s, Scandinavia (colloquially including the five countries of Finland, Norway, Sweden, Iceland and Denmark) witnessed a design movement characterized by simplicity, minimalism and functionality. It’s a design sensibility influenced in part by the stark beauty of the Nordic landscape, the harsh northern climate and a lifestyle that is driven less by excess and more by fulfilment. The long winters and reduced sunlight, for instance, have designers creating bright, light and practical interiors. It is visible in art as well: late-19th century Swedish artist Carl Larsson was known for his brightly coloured paintings, while innovative, futuristic shapes dominated the works of the late Verner Panton, one of Denmark’s most influential 20th century furniture-and-interior designers. Contemporary interior brands like HAY and Ikea are Swedish exports to the world.

Screen Shot 2017-09-25 at 9.50.02 PM Lifestyle scape by Hay.

With fashion, the focus is on functional—and often multifunctional wear—rather than occasional glamour. Importance is given to longevity, and there is a drive towards go-to staples that you can experiment with, add your own personality to and build your look around. Over the decades, from the bold prints of the 1960s and 1970s to the boho chic of the 1990s, the fashion sensibility of Norway, Sweden, Denmark and their neighbours has emerged as a distinctive “Scandi style”.

Today, you can’t make a trip to any of the European fashion capital cities without walking into a boutique devoted solely to Scandinavian fashion brands, not to mention its deep impact on wardrobes via high-street or upmarket streetwear, like H&M. It’s what the chic Parisians and Londoners are buying, and what global celebrities are headlining.

We bring you a lexicon of the fashion brigade from Scandinavia.

ACNE Studios
Ambition to Create Novel Expressions (ACNE) is a 21-year-old brand that has bridged the gap between high fashion, ready-to-wear and streetwear, with its headquarters in Stockholm and outlets in major fashion capitals of the world.

Screen Shot 2017-09-25 at 5.42.04 PM Fjällräven

Backpacks as utilitarian cool
Chasing functionality entwined with a “cool geek” sensibility are brands like Fjällräven and Sandqvist. Fjällräven uses G-1000, its own hardwearing and versatile fabric born from founder Åke Nordin’s experiments with building mountaineering jackets out of tent fabric, while Sandqvist is inspired by the untrammelled rawness of the Nordic landscape.

Ganni 2 Ganni

Copenhagen Girls
Danish brand Ganni is an Instagram fashion wonder. In 2015, Danish model and photographer Helena Christensen took a selfie with her friend, actor Kate Bosworth, for Instagram (both wearing Ganni) and captioned it “#GanniGirls”. It went viral, via digital influencers like Danish models who post images of the latest styles while on their summer break. What began as a niche cashmere line has taken the quintessential “Copenhagen girl” global, with celebrities like Jessica Alba and Kendall Jenner buying into the brand and concept.

Expressive knitwear
Family-owned, heritage knitwear companies like the Swedish House of Dagmar (named after the founders’ late grandmother, a tailor) and Danish brand SNS Herning (specializing in knitwear geared for Nordic fishermen) focus on the basics. Dagmar has defined the term “expressive knitwear”, where inspiration is taken from architecture, contemporary art and culture, focusing on textures and cuts.

Gothersgade
The major street in the city centre of Copenhagen, Denmark, offers a wide range of shops and smaller boutiques.

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Scandi Kids
Nordic children’s brands emphasize on comfort, colour and print: from Swedish brand Mini Rodini started by an illustrator, Indikidual’s unisex pieces and Danish brand Bangbang Copenhagen’s circus play to Gardner and the Gang’s cartoon-embellished organic cotton and Soft Gallery’s poetic prints and embroidery.

More than H&M
In 2014, the Swedish multinational H&M Group was valued at €13 billion (around Rs99,300 crore), the highest-valued fashion brand in Europe. H&M also owns Cheap Monday (known for their hip skinny black jeans in the 1990s), the trendy & Other Stories, the younger-apparel brand Monki, and COS (Collection of Style), the unobtrusive brand which takes high-street wear into a chic new realm.

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New Nordic Movement
The award-winning, Copenhagen-based Henrik Vibskov is known for his avant-garde and forward-thinking designs in clothing (particularly men’s fashion), furniture, art and music. He is often associated with the “New Nordic Movement”, especially due to his serious runway fashion credentials.

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Performance footwear
Swedish brand Tretorn has expanded from weather-ready rubber boots to casual and performance footwear, with canvas shoes like Nylite and Racket. The brand that was born in 1891 holds a warrant of appointment to the Swedish royal family, making it an exclusive supplier to the court.

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Camilla Skovgaard

Toffel clogs
Sweden’s famous “toffel” clog has found its way into contemporary times with a modern look and vintage twist. Available in 22 countries, Swedish Hasbeens toffels (expanded from platform sandals to loafers, heels and clumpy boots), bags and belts are based on the original 1970s models, and are handmade with ecologically prepared natural grain leather. Meanwhile, award-winning footwear designer Camilla Skovgaard’s edgy spike heels and moulded platforms, which count patrons in actors Halle Berry and Kristen Stewart, and singer Rihanna, are available in 33 countries.

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Weather-proof textiles
Denmark’s wet climate has led to a surge in brands that factor in the weather. RAINS works contemporary cuts with weather-ready textiles, including classic rain anoraks and other waterproof apparel and accessories. Elka has rubbery, heavy gear, while Stutterheim applies the rubber fabric to handmade raincoats and SWIMS has a wide range of accessories made from 100% waterproof material.

OTHER KEY SCANDI BRANDS

By Malene Birger is worn by the Crown Princess of Denmark as well as the Duchess of Cambridge.

Bruuns Bazaar is the first Danish company to show in Paris in 1999.

FILLIPA K is a Swedish men’s and womenswear retailer believing in minimalist, pure, clean lines with high-quality fabrics and flattering cuts.

Wood Wood is a smart Danish athleisure brand with an attitude; with over 50 collaborations with brands from Nike to Disney and Fred Perry.
Gestuz Has a pared-down sophisticated sensibility for whom they describe to be a “Gestuz Girl”.

Astrid Andersen counts fans in Rihanna and Drake, and has taken forward the sport-luxe genre by adding materials like lace and fur to classic tracksuits.

Cecile Copenhagen Took two printed scarves and turned them into a shirt and a pair of shorts, which now count as signature pieces.

Norse Projects Copenhagen brand that blends streetwear and workwear towards a higher aesthetic.

Très-Bien The Swedish menswear store has an in-house label that speaks of minimalism and timeless silhouettes.

Sophie Bille Brahe Delicate and contemporary jewellery, counting Madonna as a fan.

Georg Jensen Classic Scandi jewellery that also collaborates with upcoming designers.

Skirting The Issue: Is the future of fashion ungendered?

17 Wednesday May 2017

Posted by sitanshi talati-parikh in Brand Watch, Fashion & Style, Features & Trends, Publication: Mint Lounge

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Anaam, Androgyny, Antar Agni, Burberry, Chanel, Design, Designers, Fashion, Genderless, Genderless Kei, Gucci, Kallol Datta, Korean Beauty, Louis Vuitton, Maithili Ahluwalia, Mint Lounge, Payal Khandwala, Rajesh Pratap Singh, Ungendered, Writing, Yves Saint Laurent

Published in Mint Lounge, Saturday May 13, 2017 (Future of Design special edition).
(Additional images added below for this blog post)

We have had women in tuxedos and men in skirts. But the new ‘genderless’ direction in the global fashion world might further dissolve the idea of binary identities

An image from ‘Vogue India’s’ May issue, guest-edited by Mario Testino. The editorial, titled ‘Role Play’, attempts to ‘challenge gender with fashion’. Photo: Courtesy Mario Testino for Vogue India/May 2017

Earlier this week, Emma Watson received the first gender-neutral award for Best Actor (Beauty And The Beast) at the MTV Movie & TV Awards. “It says something about how we perceive the human experience,” she said. The award was presented by Asia Kate Dillon, who plays TV’s first gender non-binary character (Taylor, on Billions).

Like other recent events, this added to the ongoing conversation on gender-fluidity.

For a culture like ours, with its thrust on uber masculinity and coy femininity, reconciling to this phenomenon may be shocking, but not impossible. While one knows androgyny to be the combination of masculine and feminine characteristics, ambiguity in gender could be a lifestyle, sexual or style choice.

Celebrities such as Miley Cyrus have identified themselves as pansexual, but perhaps it is young actor-rapper Jaden Smith’s bold outlook that has fired up the imagination. Will Smith’s son is seen wearing a skirt as part of Louis Vuitton’s Series 4 (Spring/Summer 2016) campaign about a heroine and the multiple facets to her personality. The brand’s creative director, Nicolas Ghesquière, believes Smith “represents a generation that has assimilated the codes of true freedom, one that is free of manifestos and questions about gender. Wearing a skirt comes as naturally to him as it would to a woman who, long ago, granted herself permission to wear a man’s trench or a tuxedo”.

Androgynous roots

Le Smoking, Yves Saint Laurent by Helmut Newton

Worldwide, sartorial acceptance tipped when the founders of two path-breaking French haute couture houses, Coco Chanel and Yves Saint Laurent, gave women trousers and tuxedos in the early and mid- 20th century, respectively. Many male music legends have flirted with everything from make-up and heels to ruffles and florals, but it was David Bowie (in his sexually ambiguous Ziggy Stardust persona) and Prince (in his flamboyant Purple Rain-era) who cut the sartorial cord with their seminal style statements. More recently, American hip hop artiste Young Thug wore a dress for his album cover, while British footballer David Beckham has been spotted in nail paint and a sarong.

Historically, pre-colonial India saw no issue in dressing up its men, particularly royalty; the traditional male outfits of Gujarat and Rajasthan are adorned with colours, mirrors and gathers, while drapes like shawls, anarkalis, lungis, kurtas, salwars and churidars have been a long-standing part of India’s unisex fashion grammar. Even as the idea trickles down—Tridha, a school in Mumbai, has genderless uniforms (a short kurta students can wear with lowers of their choice)—in a country that lends exaggerated importance to binary sexuality, fashion is setting a new pace for a forward-thinking society.

Beyond binaries

A model wearing Rajesh Pratap Singh.

Designer Rajesh Pratap Singh, who has an affinity towards androgyny, finds the audience for unisex clothing limited. “As women found independence and emancipation once again in India, wearing men’s clothing is considered stylish in most urban areas, but it doesn’t hold true for most parts of the country,” he points out.

What is true though is that modern silhouettes for the local landscape increasingly tend to be sleeker, deconstructed or fluid, shaped according to will, body type and occasion. From anarkalis to dhoti pants, from cholis to shirt-blouses, we have made a shift in styles, and increased the functional element of formal wear. But are women able to take the leap to wearing perhaps a tuxedo to an Indian wedding? Mumbai-based designer Payal Khandwala, whose lines for women are largely anti-fit, says: “It (gender-fluid dressing) will be a parallel movement. The bright side is that it makes us question the male gaze we have taken for granted and re-examine our preoccupation with ‘pretty’ and ‘hyper-sexualized’ clothing for women.”

Unisex clothing creates ambiguity towards age, shape and size, naturally defying the restrictions imposed, stereotypes perpetuated and social comment invited by accentuating and fitted garments. While many designers locally have nailed the anti-fit trend, there have been attempts, such as the “Ungendered” clothing line released online last year by Zara, that faced flak for its unimaginative designs. Unisex outfits shouldn’t be drab, shapeless or colourless—rather, they should be a celebration of clothing that is chic while being free of conservative parameters.

A model wearing Gucci.

Women in menswear may be de rigueur, but men in women’s clothing is certainly up for exploration. A key designer of genderless fashion, J.W. Anderson’s Fall 2013 collection sent a male model on the runway in ruffled shorts and knee-high boots, showing off muscular, hairy legs. Singer Pharrell Williams, who likes Chanel necklaces, has starred in the couture house’s Gabrielle bag campaign this year. International luxury brands like Gucci (whose fluid vision under creative director Alessandro Michele has been touted as inspired and sound) have “genderless” models—those without an associated gender—on the runway, also unifying men’s and women’s fashion weeks. Michele stated last year, “It’s the way I see the world today.”

It was a “fluid-packed” fall 2016, with Burberry harking back to Bowie-esque ruffled shirts for men and military-style jackets (also seen in Givenchy’s campaign) for women, along with gender-neutral trench coats.

A model wearing J.W. Anderson.

Bungalow 8 founder Maithili Ahluwalia is unimpressed by men in skirts. “It is not a natural evolution, it is fashion. A man’s body is structured differently and it is a bit limiting to think that what works for one may work for the other. It should be a mindset over a sartorial choice, not a surface-level relationship with fashion. Would a man wear gender-fluid clothing to work, particularly if he works in a bank?” she asks. Possibly, if he is anything like actor Ranveer Singh, who has turned red-carpet dressing on its head with his penchant for aggressive experimentation—of course, creative professions do allow for more sartorial freedom.

Delhi designer Ujjawal Dubey, founder of label Antar-Agni, whose styles are “androgynous and flattering to both the sexes, avoiding stark lines and labels between genders”, believes India is primed for change. So does Sumiran Kabir Sharma, whose new label Anaam is said to “dissolve all stereotypes”. Sharma works as “a silhouette generation artist, not focusing on the physical and the biological part of the human body that defines gender”. According to him, going genderless is not a passing phase—“it is definitely the future of fashion”.

A model in an Anaam piece.

Kolkata-based designer Kallol Datta, who started out making (and wearing) gender-neutral clothing, is now moving towards “sexless clothing, where there is no acknowledgement of gender”. “I’ve favoured all-enveloping shapes and certain proportions when layering pieces of clothing…there is a blurring of lines with these shapes.”

Going genderless

If the male gaze changes, so may the female gaze. In Tokyo, following the explosive trend of “genderless kei” (kei means style), “genderless boys” have appeared on the scene since 2015. The popular Japanese idols tend to be slim-bodied, with dyed hair, make-up and nail polish, coloured contact lenses, and attention-grabbing outfits. They are not necessarily gay or trying to be like women, they are rejecting gender norms and establishing a new yardstick of style. It’s likely inspired by the Korean term ulzzang (“best face”), a common beauty standard for both men and women derived from the “flawless” K-Pop idols.

In America, Marilyn Manson’s genderless Mechanical Animals cover set the tone years ago but today, gender-neutral models like Rain Dove have gained supermodel status. Dove’s Instagram page says: “I’m not a Boy. I’m not a Girl either. I am I.” And further, “Sometimes I like lace panties. Sometimes I like briefs. It’s my body…. And I’ll cover it however I damn please.”

Today, numerous designers worldwide offer unisex lines of clothing, and stores like Selfridges in London stock an “Agender Fashion Without Definition” collection across three storeys, suggesting that the trend is more than that—it’s a new way of life.

Fashion should cater seamlessly to one’s individuality, without leaning towards homogeneity. Khandwala agrees: “At its core, what one wears must be a democratic decision that comes from a place of honesty and self-evaluation. The impetus cannot be external and certainly not because it is a fashion movement.”

Is the potential dissolution of gender a fantasy of the future or a reality of today? As predefined roles get blurry, so does the way we dress. And we should find our voice in that freedom. Worldwide, as socio-politico-religious mindsets get narrower, perhaps it is fashion’s lot to expressively push back as the non-conformist and heterogenous “genderless uniform” of a truly inclusive and free-spirited society where it is, literally, best face forward.

****

How we got here

A brief sartorial history of the blurring of gender lines

Coco Chanel

1910s: Gabrielle “Coco” Chanel changed women’s relationships with their bodies and ways of life by introducing them to trousers and jersey sportswear.

Katharine Hepburn

1930s: Katharine Hepburn’s path-breaking attachment to men’s shirts bought secretly from the back of New York’s Brooks Brothers store and Marlene Dietrich’s seminal moment kissing a woman on screen while wearing a bow tie and top hat.

1960s: Yves Saint Laurent’s (muse Violeta Sanchez) “Le Smoking” tuxedo suit for women pioneered the modern-day power suit; Mick Jagger performed in Hyde Park in a white “man’s dress” designed by Mr Fish.

David Bowie

1970s: Patti Smith’s obvious androgyny, Jane Fonda’s bold red-carpet moments and David Bowie’s sexually ambiguous Ziggy Stardust persona triggered cultural shifts.

Grace Jones

1980s: Feminine Prince and masculine Grace Jones set the tone for blurry gender lines. Japanese designers Yohji Yamamoto and Rei Kawakubo’s ambiguous collections set the tone for the future.

Marilyn Manson ‘Mechanical Animals’ cover

2000s: Marilyn Manson appeared genderless on the ‘Mechanical Animals’ cover.

Father of the Child: Imran Khan & Tusshar Kapoor

28 Wednesday Dec 2016

Posted by sitanshi talati-parikh in Features & Trends, Interviews (All), Interviews: Cinema, Publication: Verve Magazine

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Bollywood, Imran Khan, Interview, Parenting, Tusshar Kapoor, Verve Magazine

Published: Verve Magazine, December 2016
Image credit: Ryan Martis

These two young dads from the Indian film industry exemplify the changing attitude towards child-rearing

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The gentleman of today is exactly that. Ready to accept that raising a family is a joint responsibility, a far cry from the Indian men of a previous generation who believed in the division of responsibilities: earning was a male domain, while taking care of the home and kids was restricted to women. Taking this a step further, what happens when a man decides to become a father without a woman? Two young dads from an industry that celebrates showbiz show us that they are as real as they come and all about changing the name of the parenting game, albeit in two diametrically different ways.

We’ve watched Imran Khan take a leap into parenting in much the same way that he made a foray into cinema — suddenly, without warning, and quickly reaching superstardom. His focused and balanced nature held him in good stead, and we see that in his role as a parent. During his first ever photoshoot with his daughter, we discover that Imran has Imara’s baby footprint tattooed on his chest — a sign of an endearing and permanent love. He may be a man besotted, but he is also hands-on about life, not one to watch as things happen around him.

Tusshar Kapoor has bitten the parenting bullet with single-minded predetermination, and six months into it (before which, he preferred to avoid Laksshya facing the camera), he’s finding his ground. It has made him an example for a generation that strives to juggle choices — whether in a partner, career or life. Perhaps Jane Austen hadn’t prepared for this eventuality. Can a single man in possession of good fortune, be in want of a wife? Or would he prefer IVF-led-surrogacy into single parenthood instead?

Let the men do the talking, we say.

What made you decide to take the plunge?
Imran: It was completely accidental. It was one of those extremely hectic nights. I won’t go into any further detail, but next thing you know, three weeks later, Avantika (Malik, married since 2011) is in the bathroom throwing up and I’m making jokes like, ‘Haha, what if you’re pregnant?’ Two hours later, I wasn’t laughing anymore.

Tusshar: The best things in life just happen. I was considering becoming a father; marriage didn’t seem to be on the cards and I was nearing 40. I had a faint idea of becoming a single parent through surrogacy — maybe through IVF. It just didn’t seem very possible in India. Then I happened to have a chat with director Prakash Jha, and he introduced me to a family that had done it. Things fell into place, and it was wonderful that a year later, I had a child in my arms.

You’re likely to go in with a romantic notion of being a dad — was it all that you imagined?
Tusshar: I was a bit anxious at times, especially on the day of the delivery. The entire family stayed up all night. All the ‘Still a few days more’ just went out the window. But thereafter, I was quite prepared, with the nursery, with help. My biggest concern was losing out on life while wanting to be a hands-on dad. I asked my friends, ‘Can I go out? Will I be able to…?’ And nothing changes. You just have to manage your time well.

Imran: I didn’t know what to expect because, as I said, we had stumbled into it. Suddenly, she was pregnant. Suddenly, the baby has come. And I felt like it snowballed really quickly, and those first couple of months, we were both at a complete loss; we had a really rough time. Even though Imara from, like, day two or three would tend to sleep through the night, we’d be up in the night wondering, ‘Is she breathing? Is she suffocating?’ Both of us were nervous wrecks. It took us five or six months to really settle down and stop being so panicky. That was when I first started to really feel that, ‘Oh my god, I’ve lost my heart to this girl.’ And now I know what that mad parental love is.

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Imran Khan with daughter, Imara

What is that one moment in their lives that you’re waiting for?
Tusshar: I don’t want to miss watching him go to school and picking him up. My parents (actor Jeetendra and Shobha Kapoor) were never there to do that. I mean, they came for PTA meetings and my mom used to drop me off, watch me go to my class, crying. I don’t know if my dad remembered my birth date at that point in time, even though he remembered to wish me. The parents of the ’70s and ’80s (at least in my case) had their own issues. Working, trying to make a life for us. I want to be there for my child. I’ll dot the i’s and cross the t’s.

Imran: It’s a nightmare, haan. Every time I drop Imara to playschool, it’s ‘Papa, don’t go’. You’ll die on the spot because your baby is weeping and you have to leave her. I sit on the steps outside, listening to her cry, thinking, ‘Oh god, I’m a bad father. What am I doing?’

To answer your question, what I am looking forward to the most is the point when she will come and tell me things and make me laugh with her words, with wit — I think that’ll be something that will really make me proud.

Will you change anything in your parenting style from the way you’ve been brought up?
Imran: I love my mother (producer, director and screenwriter, Nasir Hussain’s daughter, Nuzhat Khan) and my mother loves me perhaps a little bit too much — so, I think throughout my life, she was a little over indulgent. That is why I have these notions that I want everything to be exactly the way I want it. This is not an ideal situation, so I would try to love my child a little bit less than my mother loved me.

Is there anxiety about missing key milestones with the nature of your work?
Imran: I was shooting a film from the time Imara was four to eight months old. I was a little nervous about not being there for big moments like if she were to say a word…. I would see her in the morning before I left, for a few minutes. And then the second I returned, I would spend time with her till she went to sleep. Avantika would come on set all the time with her. Luckily, I was there when she took her first steps. I consciously made an effort to not take on work when I knew that that was ‘baby Imara time’. For the past year, I have not shot for any movie. I have been home, with the baby. I’ve been travelling with her and I’ve been there for every major moment.

Tusshar: I’m a little anxious about what’s going to happen next month, when I start shooting. I hope it doesn’t really change things from what I’m doing now and what I’ll have to do then. The shoot, fortunately, is in Mumbai, so I will not be disconnected from my child completely. I’ll try to meet him before I leave home. If he’s sleeping after I’m back home, I’ll miss spending the evening with him; unfortunately there will be some moments that I’ll have to sacrifice. If you are worried you’re not going to be with your child, I think the child also senses that. If a parent is away, but trying their best to make it work, the child understands that and connects with that. And that’s love.

What’s the one thing you enjoy the most about being a father?
Imran: It’s the first time I’ve had the experience of wanting to spend time with someone — and not caring about other things. If the phone is ringing, you let it ring. If you’re late for something, you’re late — it doesn’t matter. If you’re hungry, you eat later. It just doesn’t matter. I also had that fear of my life coming to a standstill because I like to go places and do things. You’ll have a choice between spending time with your child or going somewhere else. And you’ll feel like you’d rather be with her because it’s more fun. It’s not a difficult choice. You’re not giving up anything.

Tusshar: It makes you very selfless. It calms you down, it’s very therapeutic. In a city like Mumbai, we’re clouded with issues and career ups and downs. I haven’t shot for a film at all this year. But, thank god. Since the baby’s come, I feel like I want to be at home with him, I want to spend time with him. And that’s the best part of being a parent — the maturity that comes with it. You rise above petty things that make you anxious. I think my child has taught me what fun it is to be on a playmat! I see his expression change and stop worrying about my work or about who’s inviting and not inviting me to some function or even about who’s calling or not calling back.

Tusshar, if your child asks, ‘Where is mom?’ what would your answer be?
Tusshar: I’m going to have to be very honest with Laksshya about him not having a mom. I’ll have to tell him exactly how and why he came into this world, so that he knows that he is a child born out of love and that I wouldn’t have been happy without him in my life — that he’s my everything. I will try and compensate and be what two parents can be to a child. It is just love that will make things work out.

So who fills the gap of a female figure?
Tusshar: The female energy at home comes from my sister (television and film producer Ekta Kapoor) and mother. I won’t be lying to Laksshya, telling him that his grandmother is like his mom. I don’t want to confuse him with that ideology. My mother has waited a long time for a grandchild. She gets to do so many things all over again, 40 years later. A large part of why I had this child is because my parents were going through a phase of depression; any parent would want to become a grandparent someday, so this is their dream come true. We feel like a very normal — and, I hope, happy — family, one where there’s enough attention from me as a father and enough female energy from my mother and sister even though there is no mother.

Imran, Imara’s obviously got you wrapped around her finger. Who’s the disciplinarian?
Imran: Avantika’s always on my case about not being a good disciplinarian. I can’t say no to Imara for anything. Whatever she wants, I feel like I have no choice but to give it to her. It’s not ideal, but I’m working on it.

Tusshar: That’s something I feel strongly about — I would hate to have a brat as a child. I’m going to be careful about not spoiling Laksshya, but my parents, bua, my sister and the nanny are always going to spoil him. Which is why it’s important that we (the parents) be the balancing factors. And the sooner, the better.

Imran: Yes, I will start today. Today, I am going to start disciplining!

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Who do you guys go to for parenting advice?
Imran: I’ve never asked anyone for parenting advice — not my mom, dad, or Avantika’s mom. I’ve never read any of those parenting books. Maybe I’m missing out on something, I don’t know, but I feel like Avantika and I just kind of figured it out between the two of us. You find your own rhythm.

Tusshar: I didn’t read any books or take any advice from anybody. But the people who’ve done surrogacy before — the family who took me to Dr Firuza Parikh — they helped me set up the nursery before the baby arrived and to deal with things like finding day and night nurses for Laksshya. For day-to-day questions, I got help from my mom and friends.

Who’s the one reading stories at bedtime?
Imran: Anything that is play-related, I’m the one. Building things with Lego, reading books, telling stories — that’s where I’m always first to jump in, saying, ‘Haan, don’t worry, baby, I’ll take care of it.’

Tusshar: Bedtime stories haven’t started for me. I sing loris to put him to sleep. I have some old Hindi songs that I just hum — and he loves it. If I stop humming, he starts crying.

How many diapers have you two changed? Of course, Imran, you’ve had more years to change them.
Imran: Yes. That being said, I’ve probably changed fewer diapers than Avantika has. My trick is this — you change diapers when people come over to visit. Then everyone thinks, ‘Look, this guy’s an amazing hands-on father.’ After that, I can hand it over to Avantika or the nanny.

Tusshar: I don’t know why everyone thinks that diaper-changing is it and why it stands for being a hands-on father. It’s the easiest thing to do. There are tons of other things. Do you know how to poop your baby on a flight? Do you know how to feed your baby? Do you know how to put your baby to sleep? These are my fears.

Imran: I’ve noticed you’re not answering how many diapers you’ve changed.

Tusshar: I’ve changed — to prove to myself — three or four diapers.

Dads today are breaking the stereotype of the Indian father. What do you think has led to this change?
Imran: Part of it just has to do with globalisation. We are now more exposed to international culture, with the way that it is in the US, UK, and Europe.

Tusshar: It’s not like somebody wrote a book about good parenting which everyone read and, therefore, the next generation turned out to be much cooler, better parents! I think my son is going to have some issues with my parenting, even though I’m doing my best. It’s a learning process: what you go through as a child, what you’ve seen your parents do for you and what you feel was left out. Then you make those changes; it’s a natural progression. Society changes, parents change, family settings change, and that’s what evolution is all about.

Story of a Watchmaker: At A Lange & Soehne’s atelier in Dresden

31 Sunday Jul 2016

Posted by sitanshi talati-parikh in Brand Watch, Features & Trends, Interviews (All), Interviews: Luxury Brands, Publication: Verve Magazine

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A Lange and Soehne, Atelier visit, Feature, Interview, Interviews: Luxury Brands, Verve Magazine, Watches

Published Verve Magazine, July 2016

Visiting the new manufactory of one of the world’s premier watchmakers, A. Lange & Söhne, in Dresden, Germany, to meet the people behind the scenes and find out what makes them tick

The girl is bent over in concentration, a magnifying eye glass strapped to her face…and when she looks up she takes a momentary glance at a candid photo of her family slipped into a metal wire stand. At another table, a man has a photo of the sunset staring at him, but if he were to look up, he would see, through large atelier windows, the lush green hillside on which the A. Lange & Söhne (pronounced ‘ah lang-eh’ and ‘zurn-neh’) manufactory resides, tucked away in the heart of Glashütte.

Germany’s prime watchmaking district, Glashütte (pronounced ‘glass-hoot-ey’), is an hour’s drive from the quaint Saxon town of Dresden and boasts 12 watch manufacturers of different calibres and hosts around 1,500 employees. These employees start their learning as early as the age of 15, and sometimes hail from different disciplines such as dentistry and porcelain making. They apply their fine motor skills expertise in watch manufacturing after undergoing at least three years’ training — including an extensive internal training — if they choose to work with A. Lange & Söhne. The people who work here are deeply passionate about what they do — their entire life revolves around their job.

The desks are pristine and clinical to a fault, except where you catch fragments of personalisation — a little bag of crisps or chocolate, kept neatly to the side — while the technicians work on tiny components with focus and sharp consistency, often not requiring the guidance of their computer screens that flash the exact technical procedure required at the time. The virtually dust-free and energy-efficient manufactory has individual ultra-modern workshops for the various processes — all the way from complications to engraving, from quality control to finishing and assembly. It takes a few minutes to a few hours to look over a single minutiae element; challenging ones can take up to a few days. The entire process of making a single handcrafted timepiece takes from six months to a year. It takes a person with a particular steadfast temperament and a great deal of passion for the job to have the staying power to continue in this vein.

And you can sense that as you walk through the spanking new manufactory that boasts a production area of 5,400 square metres, which can now house bigger and heavier machines, all entirely state of the art. You’re feeling like part of the establishment, clad in a crisp A. Lange & Söhne facility jacket and with machine-dispensed disposable plastic ‘socks’ on your shoe-covered feet. The double-skin walk-in facade has a climate-control function. Inaugurated last August, the facility, that cost in the double-digit tune of millions of euros, sees Saxony’s largest geothermal energy plant keeping the indoor climate pleasant year round. There is a serenity pervading the corridors and workstations, save for the sound of workmen putting the finishing touches to the new building. It is in this calm that perfection is allowed to thrive: an attention to detail, a rejection of that which doesn’t match their exacting standards.

Ferdinand Adolph Lange was the son of a gunsmith. The fire burnt strong in his belly for watchmaking, though, and in 1845 he managed to convince the local government to lend their support. He started in a small house on the Glashütte main street with a few apprentices. What had so far been a mining town was now poised to become the local centre of watchmaking. (His pocket watches remain highly coveted among collectors all over the world.) Despite managing to survive both world wars, he faced hard times in the 1850s and ’60s; and when, after the Second World War, East Germany came under the purview of the Russians, he continued manufacturing, though the A. Lange & Söhne name nearly disappeared into oblivion.

In 1990, F. A. Lange’s great-grandson, Walter Lange, took it upon himself to relaunch the brand. In 1994, their first collection was launched in Dresden Castle. He was recently bestowed with the Order of Merit of the Federal Republic of Germany (First Class) by German President Joachim Gauck in recognition of his services in re-establishing Saxony’s watchmaking industry. Two months after winning the award, he remains affable, charming and humble as he walks with us around the A. Lange & Söhne booth at the exclusive Salon International de la Haute Horlogerie (SIHH) watch fair in Geneva, talking appreciatively about Indian women and their outfits.

In just over 20 years, A. Lange & Söhne has developed 51 manufacture calibres, which has given them a prime position among the world’s finest watch brands. Their greatest successes include innovative timekeeping instruments such as the Lange 1 (with the first outsize date in a series-produced wristwatch) and the Zeitwerk (with its supremely legible, precisely jumping numerals). The jocular head of development, Anthony de Haas, identifies what has become key to most heritage watchmakers. “It’s very important for us as a brand to stay true to the identity we started with in the 1990s when we rebuilt the company. And it is a challenge to create something new with the A. Lange & Söhne identity that’s very recognisable. The Zeitwerk is a very good example of that — of pushing the limits, not only technically but also in design.”

Their showstopper Zeitwerk timepiece was launched in 2009. It hails from a German word, which means ‘time-movement’. Standing in the Zeitwerk workshop in Dresden, I am privy to the fact that the timepiece has 415 to 428 parts and 200 oiling points (with four different oils). Missing a single oiling point would lead to the watch potentially stopping — which leaves one thankful for the extensive quality control and assembly checks. The manufactory’s complication department is the vanguard of the brand’s prestige watches. The watchmakers who work there are responsible for a single timepiece from beginning to end (unlike the other watches that move from one specialised department to another). In a world where there is a heavy dependence on technology, it is astonishing to discover that in this case, machines are used for checking and not for making that change, as machines cannot make fine adjustments, like to the 100th of a millimetre!

Last year, the big noise was the minute repeater with the decimal; this year at SIHH, the talking point was the limited-edition (100 pieces) Richard Lange Jumping Seconds which has an integrated jumping mechanism that makes it possible to display the time in strict one-second intervals. Says de Haas, “This is a typical collector’s watch — and you need a bit of an understanding of what’s going on. It’s a technical highlight, but packed in a very elegant, discreet way. You can make complications but they need to be nice-looking and fit the identity of the brand. Don’t do crazy things. Don’t start making diving or pilot watches, because others can do it far better.

A. Lange & Söhne never made watches to swim with, because the brand didn’t exist during the period when that became important. Also, with such a beautiful movement, with the sapphire case back, would I ever dare to jump in the water — even if I know it’s waterproof?”

A. Lange & Söhne has a tradition (started 150 years ago) of using German silver for their plates and movements, which requires two assemblies because of the delicacy of the metal. Despite the challenges associated with using this particular metal — not just limited to temperature and its sensitivity to humidity — it remains a speciality of the watchmaker for its beautiful golden, shining surface. It’s also symbolic of how the brand considers challenges and an indication of why it has so many movements to its name.

The watchmakers design their own tools for the intricate work. And it is intricate — as I soon realise when I am (as a surprise) taken to my own little private engraving workshop, where I am to sketch a design, then pick up a tool and work on a metal plate (which have both been made idiot-proof for newbies). I discover under local guidance that I am not entirely unforgivable at it, and I pass muster!

I get the hand-engraved piece returned to me in a box as a keepsake of the experience, which is nothing like the beautiful trademark floral engraving from Ferdinand Adolph Lange’s original pocket watches. Today, A. Lange & Söhne engravers undertake bespoke designs not just inside with specific creatives (like that of a royal family emblem, a motif or even a lover’s face) and initials, but also on the solid case back. You can place the bespoke order via your local boutique for a new piece and it then goes into the production process; while engraving initials on the balance cock can be done after purchase.

I walk over to the historic family building from 1873 (which once also housed production areas) and sit down for a light lunch with the director of press and public relations, Arnd Einhorn, who is eloquent about communicating the brand’s philosophy. There is a common speak and sensibility that pervades the brand and all associated personnel. De Haas (who incidentally had a stint at IWC before his 11 years at A. Lange & Söhne) was recently asked about making pilot’s watches. His response was simple and frank. ‘The Second World War for the Germans is a very black, dark period. Secondly, if we have companies like IWC who are masters in making a pilot’s watch, why should we do it, especially this year (the anniversary of the pilot’s watch)? To earn more money? To get more of their share of the market? That is not A. Lange & Söhne. We don’t decide on a market and then develop a product. We carefully develop the product families. And the marketing is merely our product, with the right information, with the right story.’

The developers and craftsmen in the valley who live in this placid, pristine environment, cut off from the machinations of the outside world, speaking only the local language, are the ones creating products for discerning people world over. The CEO, Wilhelm Schmid, is right when he says, “There is a certain German matter-of-factness, which can be perceived immediately.” De Haas identifies the quiet understatedness of the brand and the products as being influenced by the local area. “We are not so shiny, while we are fun. It’s very discreet; people are down to earth…with passion for detail. And I think that reflects in our products. We don’t come with pilots and spitfires and catwalks and Nicole Kidmans…it’s just us. And there are people who find it very boring, but we are how we are.” And he’s right. There is an atmosphere, in those quiet Glashütte hills filled with the sound of dedication.

The manufactory visit brings you closer to the heroes of these precision timepieces, affording you insight into a brand that believes in being subtly superior. The emotional connect isn’t with a clever marketing pitch, it’s with a labour-of-love marker of time.

A. Lange & Söhne consciously avoids having brand ambassadors — the watchmaker is the hero….as is the product.

5 things CEO Wilhelm Schmid wants you to know:

“Our first priority is that every new model is predestined to stand the test of time. This may lead to a classic design like the 1815 or more avant-garde concepts like the ZEITWERK Luminous.”

“Our second priority is recognition value. Even without the distinctive arched logo, an A. Lange & Söhne can always be identified. This is due to a combination of subtle features like the curvature of the lugs, the shape of the hands and the engraved look of the typography.”

“Our customers are quality-conscious watch connoisseurs, self-confident personalities who are seeking outstanding timepieces that reflect their individual style.”

“I am pleased to see that more and more women invest in our timepieces because they combine the best of two worlds: handcrafted mechanical excellence and timeless elegance. The majority of our watches are not designed for a specific gender but with a horological issue in mind.”

“Ever since we entered the Indian market in 2007, our timepieces have enjoyed growing popularity. We have, therefore, recently opened our fifth point of sale in Bengaluru.”

Quick Byte with Anthony De Haas, Head of Development

“Money talks, wealth whispers. Our watches are for whom wealth whispers. You are not buying an A. Lange & Söhne watch if you want to show off — when you buy a manually wound two-hand watch for 20,000 euros, you need to be a connoisseur. It’s very understated. Our sale of platinum watches is very high…why? They look like steel. So nobody recognises that you are wearing a watch that is worth 20-, 30- or 50,000 euros. But you have it for your own self. You know the inner value. Not merely the dial. The story is complete.”

The Barracks and the Beautiful

01 Tuesday Apr 2014

Posted by sitanshi talati-parikh in Features & Trends, Interviews (All), Publication: Verve Magazine

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Anuja Chauhan, Anushka Sharma, Army Background, Bollywood, Gul Panag, Interviews: Cinema, Milkha Singh, Neha Dhupia, Nimrat Kaur, Priyanka Chopra, Tarun Tahiliani, Verve Magazine

Published Verve Magazine, March 2014

These driven professionals have solid grounding even if they have lived a nomadic existence. Discipline, endurance, strong commitment to fitness, confidence and the ability to fit in anywhere are defining qualities of army brats. We find that their background is a strong player in their success

“In the services one defined themselves by what one did and stood for, and that does someone more good than being dependent on possessions, especially those handed down to you. Our self- confidence came from ourselves, it was partially a nomadic life, thinking was the best way to travel, movies could be watched under umbrellas in the rain, and one was inculcated with a sense of pride”. – Tarun Tahiliani, designer

Were you aware that the celebrated designer and his sister, Tina, who runs the country’s foremost multi-brand designer store, Ensemble, both hail from a defence background? Their father, Admiral Radhakrishna Hariram Tahiliani, served as the Chief of the Naval Staff of the Indian Navy and as the Governor of Sikkim. Far more than you may realise, the great names of art and culture, fashion and television, corporate anchors and CEOs owe their allegiance to a background of serving the country. (See box for Bollywood’s army kids)

When you observe the way in which these young men and women deal with the pressures of public life, the way in which they remain calm under crisis or criticism, and have the patience and wherewithal to continue on a chosen trajectory, is seems to have a direct bearing on their powerful upbringing. Indian cinema actor, Anushka Sharma’s ability to respond with grace and restraint over the recent public scrutiny or Priyanka Chopra’s strong-willed endurance could be attributed to their upbringing. Former Miss India and Indian cinema actress, who once considered becoming an IAS officer, Neha Dhupia, is strong-willed and not easily moved. “I’m very stable as a person: when my head packs up my body takes over and when my body packs up my mind takes over. My Mom always says, ‘If it doesn’t kill you it only makes you stronger.’ My Dad always says, ‘Don’t sweat the small stuff.’ My parents are humble, educated and unaffected by their surroundings. Being indecisive about things in life isn’t appreciated; it’s almost a sign of being foolish. It’s important to try – winning or losing isn’t important.”

The lifestyle, bordering on nomadic – as Tahiliani describes it – is bound to have repercussions – for most of them, the ability to make friends anywhere, to pick up and move on and remain disconnected from the trappings of setting roots, and treating it like an “adventure”, as stellar novelist, and Rajput army kid, Anuja Chauhan, puts it. It serves them well when dealing with fame, ephemeral industries, transitory jobs and new people. Indian cinema actress, Nimrat Kaur, who shot to fame recently with The Lunchbox, says “We never stayed in one place for more than two to three years. It keeps challenging your comfort zone. You need to make new friends and start afresh; you don’t have an identity you carry with you for years together.” Actor and activist, Gul Panag counts that she has been to 13 schools: “I’m still in touch with these friends. Having travelled so much, I do find it easier to view life as a wide canvas.” While Chauhan admits that “you get better at socialising, taking a deep breath, walking into a roomful of strangers and making friends with them”, she believes that not sticking around in one school impacts the chance of having deep friendships.

There is also a tolerance towards and the ability to deal with people, while fostering an innate sense of confidence and approachability. Says Kaur, whose father was a farmer’s son and didn’t have money for school: “The environment is extremely eclectic – people from all walks of life come in to the army to become officers. You are exposed to values from different cultures. Everyone has the same resources and furniture, is at the same level – it makes a difference to your worldview. As a girl I was never treated differently from the boys, you have the same responsibilities.” And they are definitely not shy talking to people. Chauhan agrees, “Army brats strut around a safe cantonment environment, and so they’re more confident – and more patriotic!”

Great mental strength and the ability to deal with situations bristling with tension give them staying power in industries that are cutthroat yet riddled with fragile and tenuous relationships. Gul Panag, whose father, H S Panag, is a general (retired) in the Indian Army, admits that having to deal with the fact that one of your family members may be posted to an area that is fraught with immense danger and dealing with the uncertainty that it creates, makes you mentally very tough. “The whole focus of putting country before self also creates a deeper sense of purpose and strength that is then evident in other areas of life as well – you are willing to take more risks, live life fuller and, of course, are also more grounded.” Perhaps this thinking gives Panag the ability to be outspoken on a public platform, the confidence to become an activist for social causes.

And along with that comes the actual physical strength – the training to keep going for long hours and withstand immense physical pressure. Army brats are all very outdoorsy, learning to swim and horse-ride at an early age, are automatically exposed to a wide range of sports and tend towards natural athleticism, even if all can’t eventually be the famous runner Milkha Singh or his golfer son, Jeev Milkha Singh. Or stunt star Akshay Kumar, for that matter! Panag started running when she was 16, inspired by her father’s passion for fitness. “He would often make an example of me to his unfit officers, comparing the fact that a 16-year-old girl could outrun them! The focus on fitness was certainly a way of life growing up, and it’s stayed with me always.” Kaur also stresses on the discipline that comes as a part of the culture, along with being physically fit – being physically on time! “My father was one of the fittest people I had known. It (the movie industry) is a physically exhausting field and being delicate takes that much longer to adapt to things.” Neha Dhupia is a regular in the Mumbai Marathon. “I never start or end my day without a run, even when I am travelling. Being in the (movie) industry you want to get away, to clear and relax your mind, not have it ticking like a time bomb.” Chauhan, who easily romanticises the cantonment life says, “I think the whole club-swimming pool-golf-course- embroidery classes-May Queen Ball culture is one of the best one could have those days.”

The regular social events in the barracks, which include participation in initial-level beauty contests such as the Navy Queen held at the Navy Ball, naturally prep the girls for thinking of pageants as a future option on a bigger scale. Dhupia changed her mind about becoming an IAS officer when an uncle suggested her entering her name in the Miss India beauty pageant. There was no looking back. From Sushmita Sen and Lara Dutta to Pooja Batra, there are a number of army offspring who have shone in beauty pageants and eventually gone on to become actresses. Panag admits, “I think every little girl dreams of being Miss India one day. I don’t know if it’s an army-specific thing. But certainly the outlook in the defence forces is forward looking and allows girls that freedom to dream and do.” But Kaur is quite vociferous in her anti-view, “My mother was never inclined towards beauty contests. I don’t subscribe to them personally. They are an easy way of making a mark. When Sushmita Sen won Miss Universe, or Aishwarya Rai won Miss World, everyone rejoiced. The novelty may have got diluted today – now there are other ways of being noticed.”

Being associated with a defence family also means dealing with the loss of life and coming to terms with insecurity about your loved ones. It also tends to make you value life more. Kaur, whose father was in the Indian Army and lost his life in a terrorist attack in Kashmir, has deep feelings about it. “Having seen death up close keeps your core strong. My inner strength or core comes from an upbringing I have seen – you can take everything away from me, but you cannot take away the upbringing. I have these values and they remain with me. I have seen extremely drastic times with losing my father on the field in Kashmir. I don’t know if being in any other profession would have changed things. Life is more fragile and you have experienced more dangerous situations. You don’t take things for granted; you value life and people. Things change without your control so rapidly. All you have is your conduct and how you treated people, and your goodwill.”

Without going deep into Francis Galton’s nature and nurture debate, and accepting that the ‘tabula rasa’ theory cannot be viewed in isolation, one must admit that one’s upbringing and surroundings have a strong and dynamic impact on our choices, thinking and personality. It defines whom you eventually go on to become and defines how you deal with circumstances. Army brats are given a solid foundation upon which they manage to make something of themselves – as so many people in diverse fields have proven. Galton’s half- cousin Charles Darwin’s ‘survival of the fittest’ is not too far from the truth when it comes to defining the success of these individuals from defence backgrounds. They are fit, determined and they often show us how it’s done.

BOLLYWOOD’S ARMY BRATS

Akshay Kumar
Anushka Sharma
Arjun Rampal
Celina Jaitley
Chitrangada Singh
Gauri Khan
Lara Dutta
Mohnish Behl
Pooja Batra
Preity Zinta
Priyanka Chopra
Sushmita Sen

Beauty From Another Border

09 Saturday Nov 2013

Posted by sitanshi talati-parikh in Features & Trends, Interviews (All), Interviews: Cinema, Interviews: Cover Stories, Publication: Verve Magazine

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Katrina Kaif, Trend, Verve Magazine

Published: November 2013, Cover Story, Verve Magazine

Indian cinema has become a multi-ethnic turf with the foray of Eurasian or non-Indian fair-skinned brunettes. The film industry continues to open its arms to a posse of beautiful foreigners, which may be a sign of globalisation or reverse exoticism….

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“I have never believed that I’m better at my work, more famous or more beautiful than my Indian colleagues, even if I look different.” Yana Synkova Gupta, Czech model and item number girl, formerly married to an Indian, once said to Verve. The Indian film industry continues to be a leveller, an industry of opportunities – allowing for the foray of international faces into its desi waters. Far before the country opened up its economic arms to globalisation, women from abroad found themselves trying to woo the Indian audience, with varying results.

Possibly the first grand entry into India cinema of a foreigner was that of ‘Fearless Nadia’, born Mary Ann Evans in Australia, but brought up in India. With her theatre and circus background she carved a unique spot for herself after being introduced to Hindi films by Jamshed Wadia of Wadia Movietone in 1935. The tall blue-eyed blonde ‘Hunterwali’, held her own in Indian cinema for over three decades. Raj Kapoor brought a Russian circus down in Mera Naam Joker (1972) and Kseniya Ryabinkina, the fair maiden therein who won his heart on screen, was one of the early entrants to Indian cinema, albeit in a blink-and-miss role. While women from the subcontinent have found presence for a long time, hardly any actress made a major impact, until two Nepalese girls who studied in India (though separated by decades) came to the fore: Mala Sinha and Manisha Koirala. It may have helped that they could easily be mistaken for local artistes (much like the Sri Lankan Jacqueline Fernandez today). And who can forget how Burmese actress and dancer, Helen Richardson, set the screen on fire with her sensational moves? With over 500 films to her name, she is the one who created a unique space for special dance or ‘item’ numbers in popular Indian cinema.

Today, the roster of international faces hails from all over the world including remote Eastern European countries to the big Western ones. In Thomas Friedman’s ‘flat’ world, you find markets becoming interchangeable: Hollywood is realising that India is a huge audience for their films while Indian cinema is growing all over the world because of the number of Indians living abroad. Globalisation and the exposure of Indians at home to foreign cinema and television over the last couple of decades have provided access to visual material featuring people of different races – making it more acceptable to be admiring of or drawn to them.

WHY INDIA?
India’s thriving film industries are a big market for aspiring actresses. International, non-Indian models already here, like Yana Gupta or Giselli Monteiro, are looking for opportunities to break into the small or big screen – in the way Saif Ali Khan’s former-love interest, the Italian Rosa Catalano, once attempted. Those who are ‘discovered’ from abroad, like Rockstar’s Nargis Fakhri and Madras Town’s Amy Jackson are willing to take a chance to become popular in a foreign country. Jhalak Dikhhla Jaa runner-up, the American Lauren Gottlieb, who is a natural brunette, says most people wonder whether she has any Indian roots. Add dark hair and good looks to the Indian desire for fair skin, and you’ve got a Katrina-Kaifesque winning combination. It is harder to stand out in one’s own country than it is to gain exotic recognition abroad.

Hindi cinema director, Imtiaz Ali, who has cast foreign faces in two of his movies, believes that signing an actress from abroad can be more economical than hiring an established actress from India. “What you would pay a foreigner would be the same as a new person in India, with the added advantage of a fresh face. The only difference being, if you have specially invited the person here for an acting role, you would be responsible for providing them their life here – the travel, the lifestyle.”

So you have Eurasians, women with Indian roots or origin, eager to give it a shot, even if they, like the Indo-German Evelyn Sharma, have been discovering their roots for the first time (and for the longest time believed that biryani was a German dish).

SPEECHLESS NO DOUBT
Unlike Kalki Koechlin (born and brought up in India to French parents), most actresses of foreign origin struggle with the language issue. Hindi – or any Indian language – isn’t easy to learn. It isn’t remotely like any other foreign language and tends to form a natural barrier to success in Indian cinema. Brazilian model, Giselli Monteiro, played the role of an Indian in Imtiaz Ali’s Love Aaj Kal (2009) because she had no major speaking role. Ali points out: “Speech makes a huge difference; while feelings are much the same way in any part of the world. Punjabis felt that Monteiro really looked like a local girl.” The success of this casting probably led Ali to offer Pakistani-Czech model Nargis Fakhri a chance to play the lead role in his next venture, Rockstar (2011). A complete unfamiliarity with the language and culture led to Fakhri floundering in the lead role and facing a lot of flak. In the recent Madras Café though, she moves forward to play an English-speaking Indian girl from London, therefore with an admissible accent. Lisa Ray, born in Canada to an Indian father and Polish mother, had her stint in Hindi and South film industries, but her inability to speak Hindi possibly deterred her from moving further, leading her to English-speaking cinema, including working with director, Deepa Mehta (Water).

Except for South Indian cinema where dubbing is more acceptable – British model, Amy Jackson, regularly has her lines dubbed – it is likely that language will continue to play a major hindrance until Indian films are made in English. As Koechlin points out, “It is fine in the beginning, a beautiful face and then somebody else’s voice; but it becomes tough to relate to the celebrity who doesn’t speak your language and that’s when they lose contact with the audience.” Born in small-town Germany to a German mother and Indian father, Evelyn Sharma, who didn’t know a word of Hindi when she came to India, underwent exhaustive Hindi training to know it well enough by the time she started her first movie, From Sydney With Love (2012).

And what about body language? In an inherently visual medium like acting, the body language plays an important role in conveying the character’s emotions. Imtiaz Ali admits that the criticism he received on casting Fakhri – while he still stands by his casting decision – is that her body language was innately Western. “She wasn’t Hindustani. The way her mouth shaped and moved when speaking the local language was innately alien and disconcerting. When she was talking in English it was fine, but the rest of the time, the cultural heritage was missing. So in general, a foreigner can’t be as believable when speaking in a foreign language. Janta can’t accept ki yeh hamari ladki hai.”

AH, KATRINA
A British model who spoke not a single word of Hindi and couldn’t dance at all now reigns supreme in the Indian film industry. Born Katrina Turquotte, the arresting girl began her modelling career in Hawaii at the age of 14 and made her debut in Kaizad Gustad’s box-office dud, Boom in 2003. (Incidentally, a year after, Kaizad Gustad faced jail time for the accidental death of British-Pakistani crew member Nadia Khan, on the sets of his film Bombay Central).

Working in South Indian films and in Hindi cinema, Kaif clawed her way up the movie reels through sheer grit, determination and – if such a thing exists – luck. And yet, while she has turned detractors into admirers, is considered a bankable star, has made it to Power lists (including Verve’s 2013 power cover) and has heavy endorsements; industry insiders (like director, Imtiaz Ali) doubt that she can hold her own against an Indian Kareena Kapoor Khan when it comes to the quality of roles offered, because Khan is a local girl who gets all the local nuances.

There has been speculation of Kaif’s origins – despite being a gorgeous brunette, there are talks that the Kashmiri link doesn’t actually exist, it’s just a clever marketing ploy to not alienate the Indian audience and create a foundation of acceptance. Which may be why there is a surge of Eurasians attempting to try their luck in Indian cinema. Even Ali admits that Fakhri’s Pakistani lineage played a significant part in casting her as the lead in his movie, Rockstar (2011).

With support from her then boyfriend and industry stalwart, Salman Khan, and a fierce desire to succeed by observing her co-stars, Khan and Akshay Kumar, Kaif has the learnt the ropes and knows how not to drop the ball. She has a fierce regime – exercises brutally, never stops her dance practice, has managed to master Hindi far better than Sonia Gandhi in a far shorter time and is her own best PR manager. So is Kaif an anomaly or an inspiration? She is both. There possibly will be many years before another Katrina Turquotte may become the Indian superstar Katrina Kaif, but she will serve as inspiration to many aspirants until that happens.

REALITY-SHOW DIVAS
Foreigners undoubtedly add the great masala element and exotic appeal to reality television and hope to have it kick-start their celluloid career – in much the manner that Shilpa Shetty managed to work the British Celebrity Big Brother 5 television show in her favour. While Indo-Canadian adult film star, Sunny Leone’s racy presence in the Bigg Boss house led to her being cast in Hindi films, Yana Gupta became a household name after Fear Factor – Khatron Ke Khiladi (2008) and Jhalak Dikhhla Jaa – 4 (2010) despite being introduced way back in 2003 with the Babuji song in Dum.

But the greatest success story in recent times is possibly that of professional dancer and choreographer, Lauren Gottlieb, a finalist in Jhalak Dikhhla Jaa 6. The hit American reality show, So You Think You Can Dance (2005) star and Hollywood actress got a break in Bollywood with UTV Motion Pictures emailing her to play the lead in Remo D’Souza’s 3-D dance film, Any Body Can Dance (2013). She hasn’t had a moment to look back since.

BEST FRIEND, VAMP OR ITEM GIRL
Jerry Pinto’s Helen: The Life and Times of an H-Bomb examined the unequivocal charisma that the Burmese dancing sensation brought to the fore. ‘Helen was the desire that you need not be embarrassed about feeling…because there was something about her that transcended the tawdry clothes, the bizarre make-up, the invasive camera angles, the inane lyrics and the repetitive choreography and suggestive movements.’

Today, the foreign girls that are a part of Indian cinema often get relegated to risqué roles, or the best friend, or the vamp with one sensational item number. In the recent Prakash Jha film, Satyagraha, Eastern European model, Natasa Stankovic, is introduced in a dull number and an equally dull performance. A choli, a bare midriff and gyrations do not a successful item girl make. Actresses like the Arab-Brazilian Bruna Abdullah have been relegated to smaller roles – the hero’s fling in I Hate Luv Storys (2010) and item numbers like the popular Subah Hone Na De from Desi Boyz (2011); while the Mumbai-born, foreign-raised Indo-Australian Lisa Haydon got recognition as a model and is now finding small roles in movies like Aisha (2010), where she plays a New-York return to explain away the accent.

Through popular demand, Sunny Leone gyrated to Laila, an item number in this year’s Shootout at Wadala. Even the Sri Lankan beauty queen, Jacqueline Fernandez, does a choli-and-ghaghra number with Jadoo Ki Jhappi in Ramaiya Vastavaiya, in an attempt to woo over the local audiences. Is an item number a foolproof method of instant recognition, or does it relegate them to sleazy status? It’s a fine line between maryada and besharmi that very few manage to get the better of.

GOING BIG TIME OR STAYING SMALL
Are these women being relegated to item girls because they have a particular kind of body and are more likely to wear skimpier clothes? Does it appear that they would more easily be cast as the lead actress’ best friend or the girl the hero has a casual fling with, because our version of Western morality being such, Indians are likely to be more convinced that the foreigner is of easy virtue? Indian actresses aspiring to become leads may also be less willing to ruffle the feathers of the audience’s ethics – they would like to be thought of as pavitra; leaving a greater opening for foreigners to capitalise on to become the audience’s fantasy.

Evelyn Sharma initially wondered whether people would accept her in Indian cinema – “Even though I had signed five different movies I was worried people might slot me into the ‘foreign girl’ role.” Even Koechlin admits that she had to refuse a lot of film offers that had come her way because they were the background dancer or the vampy extra white girl. It was only after proving her acting prowess in edgy and risqué roles in movies like Dev D (2009) and That Girl In Yellow Boots (2010) that Koechlin began to play strong character roles in mainstream Indian cinema like those in Zindagi Na Milegi Dobara (2011) and Yeh Jawani Hai Deewani (2013). In a move that suggests that she is the only actress to successfully shuttle between playing Indian, semi-Indian and foreign roles, she is soon to essay the role of Victoria Ocampo, Rabindranath Tagore’s Argentine writer muse, on stage in Manav Kaul’s Colour Blind, speaking in five languages.

CAN ANYONE MAKE IT HERE?
Whether you face judgements from the audience or you have to work doubly hard to prove your mettle, it isn’t as simple as talent reaching great heights. Lauren Gottlieb, who probably has had to counter more challenges than others, says, “I don’t think anyone can make it anywhere. You have to view everyone individually. You have to have the guts, determination. It’s one thing to be a good-looking face and try to make it but when you have dedicated your life or career to something and studied for it, that’s when you rise. It doesn’t matter where you are in the world; I was rising in Hollywood – I didn’t know I would rise over here! You have to be fearless. I’ve been challenged with rapidly adapting culturally, language-wise, dance-style-wise…. It’s scary sometimes, but if you tackle it, you can succeed.”

Geographical barriers are one thing. Culture and language is another. The former is pretty much redundant; the latter can be circumvented. In a country that is exorbitantly heterogeneous with an inherent love for things foreign, there can only be more opportunities for the ones that strive to make it here. Maybe all that’s required is what Raj Kapoor popularised in Shree 420:

‘Mera Joota Hai Japani,
Yeh Patloon Englistani,
Sar Pe Laal Topi Rusi,
Phir Bhi Dil Hai Hindustani’.

SHORT-TERM IMPORTS
A brief moment in Indian cinema

1. While Uruguayan-Mexican model and actress, Barbara Mori set the screen on fire in Kites (2010), there was no room to have her back because she was introduced as a foreigner.

2. British roses Rachel Shelley (Lagaan) and Antonia Bernath (Kisna) only served to play a specific foreign part in their respective films.

3. British models Aruna Shields (Prince) and Sofia Hayat (Diary of a Butterfly), South African model and Playboy cover girl Candice Boucher (Aazaan) debuted in Bollywood but have yet to make their presence felt.

4. The Norwegian-born, Iranian actress Nigar Khan known for the Chadti Jawaani video and the Australian actress Tania Zaetta (Bunty aur Babli and Salaam Namaste) haven’t had any takers so far.

5. The British model with an Indo-Mauritian mother, Hazel Keech, who acted in Bodyguard (2011) and Tamil film Billa (2007), popped into Bigg Boss 7 last month; but beat an early retreat.

AMY’S WAY
Verve cover girl, British model, Amy Jackson on becoming a desi heroine

“It is unbelievable that I was asked to play top lead roles in films where my lines have to be dubbed!”

She’s petite for a British girl, has stunning eyes and a persistent sniffle at the cover shoot in Kashmir. When she turned 21, she felt she was growing old – and yet, she’s just embarking on a journey in Indian cinema.

The fresh-faced Amy Jackson got noticed in Hindi cinema for her role in Ekk Deewana Tha (2012), where she played a Christian girl opposite Prateik. While the movie didn’t make waves, it served to bring Jackson, a British model, to the attention of the local audience. The 22-year-old equestrian was discovered by model scouts at the age of 15, soon after which she became a Miss Teen World (2008) and Miss Liverpool (2010), seeing her modelling career track across UK and Europe.

South-Indian-cinema director, Vijay (who thought she resembled Kate Winslet in Titanic), spotted one of her pageant images on the Internet and traced her to London. She was auditioned for the Tamil film, Madras Town/ Madrasapattinam (2010), in which she played a British girl. The movie was a super hit. It led to another film, Thaandavam and Jackson is now doing Telugu films, Yevadu (due to release soon) and Shankar’s Ai. “Ever since I got the taste of acting as the leading lady, I’ve never looked back,” she says.

Jackson travels all over for her shoots but has set up home in Bandra, Mumbai. She has made friends from the fashion industry and regards the South directors as her mentors. “When I first arrived I’d just turned 17…I missed my family and friends. I’m very lucky to have a supportive family: my mum travels everywhere with me, my dad has flown over to watch me shoot. For my first ever movie, my friends organised a premiere in my hometown, Liverpool, and that was the first time they ever watched an Indian movie…they loved it!”

She finds scripts from the South to be more exciting as they offer lead and meatier roles. “While they are beautiful actresses and great dancers, I wouldn’t like to be known as merely an item girl. Maybe after I have established myself as an actor I would consider it.” The young girl who turned vegetarian overnight enjoys a dash of Indian food – minus the spice. “On a Sunday I like to chill out and watch movies all afternoon. My Indian favourites include Jab We Met, Hum Dil De Chuke Sanam and Ghajini.” While she offers that she is currently single, she laughs, “Male attention is the same world over.”

India has been “life-changing” for Jackson. “India excites me. There’s no place like it in the world, and my favourite part about it, is the people. The energy; the fact that Mumbai is constantly alive and buzzing. Even if it’s 3 a.m., I know that when I look out of the window I’ll never feel alone. It’s exhilarating! It’s such a welcoming place; I love calling it my home. When I am away, I also miss the sun…after all, we don’t get much of it in England!”

“I don’t see how an actress’ race or origin determines getting ‘propositioned’. I believe that things like that happen based on your character and how you portray yourself.”
– Amy Jackson, model and actress

Verve Man: The mysterious appeal of these men…

16 Tuesday Oct 2012

Posted by sitanshi talati-parikh in Features & Trends, Publication: Verve Magazine

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Bollywood, indiancinema, Karan Johar, Men, Politics, Salman Khan, vervemagazine

Published: Verve Magazine, October 2012, Verve Man supplement

The Mysterious Appeal of These Men: Salman, Chetan, Rahul, Karan and Sachin. (Admit it – you knew their last names as you read it.)
In a perfect world, we want to see people who are famous because they know their craft exceedingly well – the ones who are untouchable because you can’t surpass their talent. It puts them on a pedestal of excellence and it silences detractors. Sometimes there are those who may or may not have talent, but have an x-factor, which makes them incredibly appealing to a large number of people. Sitanshi Talati-Parikh decodes the controversial appeal of five successful men across industries

Salman Khan, actor
In a recent TV interview, Salman Khan said something that sounded ridiculously ostentatious. But if you take it in context of who he is as a person – simple and direct – you would understand that he was just stating the obvious. Ek Tha Tiger’s release and people’s reaction to that movie and others before it, Dabangg and Bodyguard in particular, lend complete strength to the fact that Salman Khan exists in the industry for his fans. (And he has many of them.) As he points out, if you need an actor to play a role, there are many people to choose from. A director and producer will think of Salman Khan, only when they want the full Salman-Khan-ness in a particular film. He’s unapologetic about who he is or what makes him popular among the masses. He’s also matter-of-fact about his popularity, without being self-propagandizing. It doesn’t matter whether the movie has a story, or whether the film is completely OTT, or even that the character does the strangest things – like manage to pop the buttons of his shirt as he struts. His style of dancing – not updated over the years, but true to form with certain pelvic thrusts or iconic hand gestures; his action sequences, where he isn’t a hero, he is a super hero; his romancing – which is stilted and subdued; are all aspects of the Salman Khan phenomena that his viewers expect. It’s suggested that he dresses like James Dean and picks nuances from Dharmendra; two actors he believes should be closely watched. And in his smile, lies his resemblance to Dean, though he doesn’t smile enough – off screen and on it. While his cinema may be regressive in it’s form, it’s appeal – rather his appeal – remains eternal. He has consciously chosen to be a performer and entertainer, and removed himself from being an actor. And yet, maybe it was his cleverest move, the secret formula to being one of the biggest movie stars of the Indian film industry. Behind his rather simplistic appeal, quotes and choices, lies a sharp brain that has managed to find a bankable spot in the industry. He has, very possibly gauged his strengths and weaknesses, and put his money in just the right place.

Chetan Bhagat, writer
Some time ago, on an episode of Love2HateU, the celebrity guest was Chetan Bhagat. The poor girl – the ‘hater’ – stood no chance against Bhagat’s generous Gandhi-ism, so beatifically patronizing and condescending. But that’s Chetan Bhagat – a huge icon and idol to some and an even huger eyebrow raiser to others. Bhagat’s success – and he is astonishingly successful – is because he has crawled through the cracks and found his target audience. And what a target audience that is. The non-readers. Instead of churning out a highbrow book filled with beautiful metaphors and aiming for the Booker-reading intellectuals, Bhagat does what he does best – appeal to those that have admittedly never read a book before. And therein lies his claim to fame. Bhagat has automatically found his safety in numbers. While Bhagat makes no pretentions about his literary aspirations, he basks in his own stupendous success, often lying on a raft of self-appreciation. And what irks people is that his raft never, ever capsizes. Top models can have a bad hair day, brilliant directors can have a box office flop, the Sensex can crash, but Chetan Bhagat only goes from strength to strength. As he smugly states, ‘I’m happy to be on this show (Love2HateU) because my new book has just released and I want to know that there are people who don’t like what I do, not just people who enjoy my books.’

Rahul Gandhi, politician
Is it possible to bank a country’s future, its political aspirations on a set of irrepressible dimples? While our democracy is far more discerning than that (we hope) it is true that as the younger Gandhi scion grew up, a great deal of hope was vested on his future. He had the political pedigree, and most importantly he looked the part. It didn’t really matter what he said – or didn’t say – he was just so easy on the eye. Every woman could imagine him at the helm of India, attending the topmost international discussions and global summit roundtables looking stupendous representing India. And yet, that hasn’t really played out well for him – while remaining a member of Parliament, he hasn’t proven himself as a strong candidate for the topmost office of the country – despite the looks. Whether he manages to get any further, we can only wait and watch, and hope that there is more depth to him than his dimples, or India may end up having her own frat-boy-politician in the making, served up American style.

Karan Johar, director
You watch Dilwale Dulhaniya Le Jayenge and you see that plump friend of the hero, put there so that the hero can shine. A school misfit, no one would have guessed that Karan Johar would become a phenomenon. Johar has lived his high school misses through his films – creating the candy-floss make-believe world that he would have liked to be a part of, making his protagonist (more often than not played by his buddy Shah Rukh Khan) the popular kid in school. The kid Johar should have been, going by his current personality. What he may have been unable to achieve in his school years, he’s more than managed in his adult life. He is the force behind one of the biggest production houses in Hindi cinema, Dharma Productions, his movies do record business, he can make or break an actor or director, and often can control the future of a movie star, as evidenced by his power over the future of one top actress who wound up in his bad books. His talk show became an iconic talking point at every Koffee-table conversation. His rapid-fire questions allowed for his sharp wit, humour and personality to shine through, even if he did demonstrate that he lives happily in his own industry bubble. Only on Simi Garewal’s show did any of his vulnerability come to the fore. Johar is a complex animal, but his success is because of these complexities and layers to his personality. With Student of the Year in the offing, we wish we would move beyond the chasm of his youth to the brilliant success of his grown-up years in his directorial offerings. But would that be a cathartic story worth telling?

Sachin Tendulkar, sportsman
The Master Blaster. Anything said against him is akin to blasphemy. How did a supremely talented teenage kid manage to bear the weight of a nation’s hopes on his young shoulders? One who should just concentrate on the game is made to feel like the savior of the country. Every poor man’s hopes, every rich man’s dreams are with Sachin Tendulkar as he takes strike after strike. As if that were not enough, he had to attempt captaining the Indian cricket team. It’s a wonder he didn’t retire early, just to find inner peace. He has dealt with it all with equanimity – reminiscent of great players like Roger Federer in tennis – where nothing sways him. Victory brings a smile
, and when he’s down, he’s generally outwardly calm. Children are named after him in quick succession, he is revered to the point of blind faith, and he can do no wrong. Even if he gets out in duck thrice in a row, it’s okay because he has given us many centuries before. People cannot be logical around Tendulkar, he is more than human, he is God. With anyone else it would be dangerous, this blind idolization. As Wright Thompson in an insightful study on his charisma pointed out – Tendulkar’s meteoric rise took place in parallel to India as a country and economy opening up. He symbolizes everything we dream and wish for, all that is balanced and good. He steadies our racing hearts; he lives our greatest hopes. And he does it all with a clean chit. He makes people feel good – about themselves and their country, and he gives people a sense that we can be better, that we can be the best. And he forms the bridge – between the insecurity of the past and the brash confidence of the future.

Spa Thoughts: Scrubbed, Wrapped and Polished? @VerveMagazine July 2012

10 Tuesday Jul 2012

Posted by sitanshi talati-parikh in Features & Trends, Humour, Publication: Verve Magazine

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Published: Verve Magazine, July 2012, Features

We’ve taken great strides in the personal pampering space. Gone are the days of the kashti-sari-wearing maalishwaali bais. Herald in the age of exotic, fragrant scrubs, anti-ageing wraps and BlackBerry massages. But it’s not all fun and relaxation in the spa-going netherworld…

Upper-class Indians have inherited a special gene (assisted by years of sedentary lifestyle and ghee-chawal-laddoos) that contribute to their bodies becoming so packed with soft adipose tissue that they find it difficult to withstand a good maalish. When the bai turns up with her sari tucked out of way, her glass bangles tinkling and her tobacco in place, you know you are in for one major masochistic-ride. Knots you didn’t know existed get squeezed, muscles you should have used but never got around to working out, get plummeted and your bones actually creak. They make tuk-tuk noises as if sighing under the pressure of pressure. Your skin is rubbed so hard it turns red from the friction and it automatically sheds its dead cells and self exfoliates under the angst. The bai’s hands are now hot from all the massaging and your skin gets a quick-and-ready spot sauna simultaneously. For a perfect steam-finish, keep the tropical air in and switch the air-conditioner off.

Those who can’t withstand the tender care – or sadistic advances if you please – of a home-grown maalishwaali bai, prefer to make their way to the chic spas dotting the landscape with a masala mix of herbal tea, soothing music, water fountains, dim lights and carrot scrubs or honey wraps. And nope – that’s not an accompaniment with the tea to nudge the stomach into a contented stupor, as the motherly-types of yore would have suggested. A wrap is a less layered sandwich and more be layered and sandwiched as you begin to look, feel and smell like a smoothie that no one will ever venture near. These are meant to do something clever and wonderful to your skin – on the exfoliating path – which would make you glow and shine like a beacon. It’s no wonder that soon-to-be-married girls flock towards being wrapped before they are unwrapped.

You lie down on a bed (which would have a thermal blanket) – we are back to the spas and away from the mating ritual – and then a wrap product would be smoothed onto your body. The products could be anything from eucalyptus, honey and rosemary to mud, butter or clay. Or you could have minerals or special ‘vitality’ or ‘anti-ageing’ solutions. Then you get wrapped in plastic sheets. Wraps started with linen and have ended up with plastic – much like most of the world, and to the great stress of environmentalists. (Maybe they could use this treatment to de-stress?) The great spa eyewash is all that talk about mud wraps in the same breath as weight loss – not exactly a proven fact. While the loss of bodily fluids (through the heat/sweat) makes you feel lighter, you put all that weight back on the next time you eat or drink. So – a word of advice, spa-goers – when you choose your treatments, remember that it’s about being pampered – not about losing weight. A wrap on your body isn’t going to fix the problems started by the wraps you eat. Just cotton down to the fact that you are going there to relax and make your skin feel completely moisturised.

‘Moisturising’ is the kind of term that always has so many implications. It never fails to remind me of a sensational experience, related in shocked whispers by a dear friend. She was sold on this excellent mud bath spa, celebrating the open air and nature among the undulating Californian hills. Pre-paid package for two, and terribly romantic at that. At a rather delicate stage when they were escorted to the actual treatment area, she balked at the fact that she was to get into a big mud pond, in her birthday suit. The best part being – every other person who had had the treatment previously had also been in that very same pond. Sitting in there for the better part of an hour. Maybe even experiencing an odd call of nature…or two? Shuddering as she related the tale, she bathed and re-bathed and bathed again, trying to mentally and emotionally scrape off the ‘moisturisation’ that her skin had just experienced. Maybe that’s why scrubs became an important addition to the spa-going experience?

I’ve never quite understood the charm of body scrubs. Freshly (you hope) grated and mashed edible items layered on the entire body and slowly finding their way in orifices they should never be introduced to, setting up a massive itch and tickle which you try to combat with wriggling…. Your upper limbs are of no use – they would just scatter more of the food material around if moved. So you lie there in the semi-darkness, hoping whatever the products are supposed to do to your skin are working their magic rapidly, and hoping even more that the helpful lady who quietly and gently buried you under all that food – enough to feed a few hungry children – would soon reappear and save you from this self-inflicted misery. You actually get the time away from your smart phone to think – about your life, your choices, and who you really are as a person. It is a really cheap price for so much potentially destructive self-reflection. Or maybe the whole point of a scrub is to actually work on your will power – to make you a stronger person from within, while the veggies your mama told you to eat are now decomposing on your body. Call the food police! Now!

At what stage these treatments become de-stressers, I have yet to figure out. These over-priced lie-there-and-relax spa elements are always more complicated than they look and more trouble than promised. What about all the time and effort you have to put into washing yourself after? You can’t help but imagine the spa staff – after having swiftly completed the layering and covering – all gathered in one little corner snickering about another sucker. After all, there’s nothing like a good scrub or wrap to give them a nice long tea-break – and a hefty tip. So basically, it’s all about who’s smarter. The ones who get massages obviously know how to get their money’s worth. It’s a cut-and-dry deal that requires no reading between the lines or dreaming about stabbing someone. You pay for a massage, you get a massage. The ones who choose gently exfoliating scrubs and ultra-trimming infinity wraps are the benefactors of society and the patrons of the good life – they have truly discovered the mysterious worth of paying for just lying there covered with substances that you can’t see – just feel and smell.

Massages are all about getting things just right. The room temperature, the volume of the instrumental music – they never have music with lyrics, it’s as if they want to exhume the inner poet in you as you lie there deftly putting words to the lilting melodies. And most importantly, what has to be just right is the pressure. Working out those knots developed over years of laziness and excessive use of digital devices is a painful task. As you spend hours hunched over that elusive Excel spreadsheet on your laptop while attacking your smart phone simultaneously for the night’s dinner plans, your shoulders and arms are slowly ageing – this was not the workout they expected. Technology has impacted the world in so many ways – and particularly the spa industry. Masseuses are in demand and propound the benefits of BlackBerry massages for your hands, hot stone therapies and tension-relaxer points. Ideally, they should mildly suggest more time playing a sport and less time Facebooking, but it wouldn’t quite be in their place to do so. Instead, you find, it is a great opportunity to market their annual massage and pain-containment packages. Sometimes, you miss the good old maalishwaali. She would grin with her half-broken tobacco-stained teeth and soothingly coo at your aches and pains and suggest taking it easy.