RUBINA’S RADAR: PPE FUNDRAISER FOR MUMBAI’S MEDIA PERSONNEL ON THE CORONAVIRUS FRONT LINES

A conversation with a photographer friend of mine on Coronavirus news duty every single day since March 2020, impelled me into thinking about the health risks our Indian media was being exposed to, whilst I stayed safely at home, in quarantine and the lockdown, on government orders. I often wondered how they’d power through the weeks, and now months of the reportage on the pandemic everyday, which seemed endless then, and continues unabated with its relentless savagery on humans. Everyone’s lauding the first responders and medical teams, the police, the hygienists and the cleaners, and very rightly so, but nobody seems to be taking cognisance of the indispensable and crucial work photographers, videographers and journalists are doing on the ground, outside. They’re the people bringing in the news and visuals of the virus every day, and the heart-wrenching devastation and strife it’s inflicting on humans across the world. By going out and reporting from containment and red zones, they’re risking their own lives, and livelihoods, in an extremely uncertain and broken economy and that is saying something. Everything we know about the virus, right from the whats and the hows to the vaccine developments and trials, is through the eyes and lenses of the media as everyone’s in lockdown and quarantined at home. Even as some parts of the world are opening up ever so cautiously after months of isolation and physical distancing of late, their work carries on. It is their photographs and stories that tell us what the new world looks like, how human behaviour has changed and will continue to evolve in the years to come.

On April 20th, 2020, when I heard that 53 press personnel in Mumbai had tested positive for the Coronavirus, and were incapacitated and hospitalised, I just knew I had to do something about protecting them on duty as staying safe at home or working from home wasn’t an option for them. I couldn’t bear the thought of people I know and have worked with going out to work, risking their all for their jobs, without any protection from the virus.

On April 23rd, 2020, I spearheaded a fundraiser by reaching out to my network for contributions as a collective, humane responsibility to purchase Personal Protection Equipment (PPE) as a preventive measure for Mumbai’s news photographers and media personnel covering the Corona crisis on the front lines, to shield them. I am ever so thankful to the people – from all walks of life in India – that responded promptly and empathetically towards the fundraiser with their fiscal largesse like industrialist Ness Wadia, businesswoman Natasha Poonawalla (Executive Director, Serum Institute of India, Pune), filmmaker Karan Johar (Dharma Productions), actor Amrita Arora, film costumer Ana Singh, businesswoman Eesha Sukhi and jeweller Siddharth Kasliwal (Director, The Gem Palace, Jaipur). Since then, the fundraiser has received contributions from jeweller Queenie Singh, art patron Shalini Passi and filmmaker Gaurav Chawla, enabling the purchase of safety eyewear too for the media.

It is because of the financial support of these very people that the PPE’s reached Mumbai on May 5th, 2020 and were distributed to the media personnel from May 6th onwards. These PPE’s are certified by SITRA – South India Textile Research Association, Coimbatore for fabric and garment – and are for one-wear only. I feel the kindness of all the contributors needs to be highlighted and celebrated, and not go unnoticed as anonymous benefactors, because talking about them will go on to inspire many others to come forward in this crisis to help each other in our country. Every contributor has stepped up as a humanitarian to help our media community, and that is reason enough to laud any helping hand. All of them have made this little fundraiser of mine a bigger success that I ever envisaged it to be and the media community are ever so grateful for their kindness. The PPE’s and safety eyewear bought with the funds raised so far have been distributed to the Mumbai media personnel and I am in the midst of ordering more PPE’s from the second round of funding that has come around. I intend to keep raising funds to provide the PPE’s for as long as they are needed during the Corona crisis.

The PPE fundraiser has been chronicled in the Mumbai Mirror (07.05.2020 edition) and the kindness of the contributors has been sincerely appreciated. The PPE initiative was featured in the Urdu press and online, and I am grateful for people supporting the fundraiser. Encouraging words and tall praise from people I love and admire across the world has raised me up, gladdened my heart (which is rather dire nowadays!) and fuelled me to strive and do even more!

SHOBHAA DE: Rubina’ s spontaneous gesture to mobilise support and order the best quality PPE suits for media colleagues risking their lives to cover the pandemic, must be acknowledged as a gesture that led to many others following her example.

JACKIE SHROFF: The media has always been there on the forefront, come what may. The fourth estate are a brave lot and will have my respect, always. And, you keep shining Rubina!

FERN MALLIS: Rubina Khan is a Covid19 hero… as a photojournalist, she watched her colleagues out in the streets and in the trenches covering the story of this ungodly pandemic and no one had their backs… they put themselves in danger to keep us all informed. Her initiative to secure funds and thereby supply this vital press corp with all the necessary PPE’s was so smart, compassionate and right on. It’s now in its second round of providing more. Thank you Rubina from the epicenter of Coronavirus in New York City.

ANA SINGH: The press has always celebrated my work and my milestones and in this particularly grave time, I feel God chose me to give back to them and I feel grateful for the opportunity. When Rubina spoke to me about the PPE fundraiser, being a journalist and photographer herself, I got a sense of what the media personnel on the field were possibly going through and what it must feel like for them, and their families at home to work outdoors. Rubina’s empathy and concern for her colleagues made this fundraiser a success and she’s leading by example of how to get things done, even when you’re not out there on the field, without being self-serving.

ELEANOR COOKSEY: I am very proud to count Rubina as a long standing family friend. Her recent PPE fundraiser activity is testament to her diverse and unique skills; her thoughtfulness (it is too easy to forget about all those affected in different ways), her resourcefulness and her determination. Here in the UK, there have been endless discussions about how to secure adequate PPE’s with endless delays and excuses. This initiative was conceived and achieved so quickly – the funds raised and the PPE’s reaching the people who needed it in two weeks. A rare positive story amid all this fear and uncertainty.

PARRIS FOTIAS: During these surreal times where we are being constantly bombarded with fake news stories, we are more reliant than ever on responsible journalism bringing us the real facts. Yet no one really thought about the media and their fate during this pandemic. I commend Rubina for her foresight and determination to help protect her colleagues out on the front lines in Mumbai. We are all in this together so much thanks to you Rubina and your PPE fundraising efforts from Australia.

UPDATE: JUNE 2020
Ness Wadia has contributed generously towards the second round of funding end May and fashion designer Manish Malhotra and Delna Poonawalla in early June.

Disclaimer: Any part of the content on the rubinaakhan.com website cannot be reproduced without prior permission and crediting the website and the author.

©Rubina A Khan 2020

RUBINA’S RADAR | REEL IS WHAT’S REAL TODAY

We humans thought we lived in an adamantine world controlled by us, until an invisible contagion microbe – the Coronavirus – showed us all we obviously don’t. The virus is killing humans harder and faster than any missile across the planet, halting an extremely self-serving, consumerist world, dead in its Earth-abusive tracks. The Earth seems to have quit us, albeit temporarily, leaving us to quarantine in our designated spaces and countries for a while – a while that feels more like an infinite uncertainty than a finite timeline with each passing day.

For those of us who are fortunate enough to have a home to quarantine in, and socially distance ourselves from our families in separate rooms, with running water, food and the familiar warmth of our beds – it is an ineffable bespoke luxury, one that is incomparable to any in the world. Millions of our fellow humans across are homeless, with no roof over their heads, jobless with no money for food or clean running water to drink, let alone to sanitize and wash their hands with, multiple times a day.

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Opera singer Andrea Bocelli looks on before his Easter concert at the Duomo on April 12, 2020 in Milan, Italy. Members of the public were not allowed in Milan’s Duomo Cathedral due to the ongoing lockdown to control the coronavirus outbreak. (Photo by Luca Rossetti, Courtesy Sugar SRL, DECCA Records via Getty Images)

I think the Coronavirus outbreak is the biggest performance art show of all time, where all human beings are a live act, me included, going about our lives in our tangible spaces and our paces. And, the world – a large canvas of pristine natural beauty and sounds stands still, watching us – the performative art on display. The lockdown takes me back to the first ever performance art exhibit I attended in the Hamptons in New York in 2013. It was Robert Wilson’s 20th Annual Watermill Center Summer Benefit called Devil’s Heaven. This was held at his performance lab for arts and humanities at the Watermill Center in Long Island. Devil’s Heaven was an unimaginable reality for me, with Lady Gaga, who I think is the quintessence of performance art herself and Marina Abramović, the most lasting of all performance art legends, in attendance.

Watching the various intense acts of stillness and exertion across the eight acre grounds, especially Trina Merry’s Magnolias and her Enchanted Forest silent performers slithering seductively around tree trunks, left me awe-struck, and wide-eyed. At the entrance of the event, two naked figures, stood statuesquely on a pedestal, embracing each other in silence, in glorious consonance, their male and female bodies painted with an almost Avatar-esque shade of teal with a pink floral design akin to the Indian lotus. This was Merry’s Magnolias that explored the clash between culture and nature – exactly what we are experiencing in the real world today.

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Trina Merry’s Magnolias at Robert Wilson’s Devil’s Heaven at the Watermill Centre, Long Island, New York. (Photo by ©Rubina A Khan 2013)

The Earth’s revolt – a silent warzone of microbial and economic devastation – has the human race feeling endangered for the very first time since its existence. Some of the models’ bodies, painted on to look like furniture, further conflated with material objects on the performer’s naked bodies, was Merry’s way of questioning human self-identities in relation to objects and the things humans own. Consumerist attitudes and human identities based on material things was almost entirely how the world ran before the Coronavirus outbreak. Merry seems to have latently manifested today’s unthinkable reality when it was anything but, seven odd years ago, when she created the series in New York, where she is based. Her artistic expression is a dominant, painful reality today and she flipped Oscar Wilde’s ancient notion from Life Imitates Art more than Art Imitates Life into Art Forsees Life perhaps! Never did I think, ever, that I would be living out my own performance act of a lifetime in these times. And, I am a non-conformist.

Art has always provoked us into a reactive state – be it shock, rage, bewilderment, exultation, agony, poignancy, exhilaration or just good ol’ gladdening. The Earth seems to have taken a break from us humans, to catch its own breath, whilst we are coming to terms with a new world – one that is brought to us by the eyes and the lenses of photographers across the world. Photography is art, frozen in time – almost like an entr’acte between the time when the photograph was taken to the current time of its viewing. Except today, all the photographs that we see are in real time of a very unreal, very unknown world that has fallen deafeningly silent and empty. In due course, these pictures will make for a historical archive for centuries to come.

The ability of a photograph to let one’s mind go back and forth, with meandering thoughts and shifting perspectives, never once losing the original, intrinsic essence of its frame is incredulous – it can be as active and as passive as you want it to be. Reel life is what’s real today. Apart from our first responders being doctors and health care workers who are on the front lines saving lives, it is the photographers who are risking their lives to bring the world to us, every single day. Images of empty streets and subways, empty places of worship, planes parked like Lego blocks in airport hangars, images of the heroic, live-saving first responders across the world from Wuhan to Italy to India to the US… are a reality thanks to the photographers out there, doing their job relentlessly, and serving humanity.

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An aerial view of the illuminated statue of Christ the Redeemer that reads “Thank you” as Archbishop of the city of Rio de Janeiro Dom Orani Tempesta performs a mass in honor of Act of Consecration of Brazil and tribute to medical workers amidst the Coronavirus pandemic on April 12, 2020 in Rio de Janeiro, Brazil. (Photo by Buda Mendes/Getty Images)

Mumbai-based photographer, Satyajit Desai’s imagery of the Janta Curfew in India on March 22nd to the stark containment zones in Worli after Mumbai’s lockdown from March 25th to the make-shift quarantine shelters in bus stands tells you the story of my city, and how the virus is affecting our lives, and our livelihoods, wherever you might be in the world.

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A bus stand in Versova, Mumbai, is converted into a temporary shelter for the homeless to quarantine and social distance in on April 5th, 2020. (Photo by Satyajit Desai / Mumbai Mirror)

SL Shanth Kumar’s shots Mumbai’s pride, the Queen’s Necklace, our Marine Drive – the most beautiful stretch of concrete, that languidly hugs 3.6kms of the Arabian Sea’s shoreline are breath taking. Gary Hershorn’s pictures of an empty Times Square and a lone Brooklyn Bridge in New York seem like the people have been photo-shopped out of it. Ollie Millington’s shots of the Shard skyscraper in London, lit up in blue in thanks and support of the National Health Service of the UK on March 28th as well as images of all landmarks in the US lighting up in blue from Boston to Vegas to thank their healthcare workers speak volumes of the intense work being done to contain the catastrophic virus everywhere.

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TD Garden is lit in blue on April 09, 2020 in Boston, Massachusetts, to show support for health care workers and first responders on the front lines of the coronavirus pandemic. (Photo by Maddie Meyer/Getty Images)

Right from the handout photo provided by Buckingham Palace of Queen Elizabeth II addressing the nation from Windsor Castle on April 5th in a special broadcast to the United Kingdom and the Commonwealth nations pertaining to the virus outbreak to Abdel Ghani Bashir’s sombre image of the Kaaba in Mecca, Saudi Arabia, devoid of any human life and movement, on March 5th is very telling of the Earth and the Universe calling time on humans.

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Queen Elizabeth II addresses the United Kingdom and the Commonwealth in a special broadcast in relation to the Coronavirus outbreak at Windsor Castle on April 5, 2020 in Windsor, England.(Photo by Buckingham Palace via Getty Images)

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The white-tiled area surrounding the Kaaba, inside Mecca’s Grand Mosque, empty of worshippers on March 5th, 2020. Saudi Arabia emptied Islam’s holiest site for sterilisation over fears of the new coronavirus, an unprecedented move after the kingdom suspended the year-round umrah pilgrimage. (Photo by Abdel Ghani Bashir/AFP via Getty Images)

Lillian Suwanrumpha’s pictures of new-born babies in Bangkok, Thailand wearing mini face shields are as endearing as they are frightening of a new world, of a new reality upon us. The heart-wrenching photos taken by every news photographer, of India’s migrant workers, rendered jobless due to the lockdown, walking miles from cities to reach their homes in their villages tell you the story of India’s divided landscape of the haves and the have-nots – the have-nots that make up for the largest portion of our 1.3 billion people. Unsettling, but devastatingly true.

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A newborn baby wearing a face shield at Praram 9 Hospital in Bangkok, Thailand on April 9, 2020. (Photo by Lillian Suwanrumpha/AFP via Getty Images)

Before Corona, advertisers paid top dollar to creative photography for digitally altered images of an empty Times Square or the Eiffel Tower for a fashion model to strike a pose against, but editorial news photography could never ever imagine shooting any architectural or historical landmark in the world, without people milling about in hundreds and thousands. I remember trying to take a frame in Beijing, China, of the Forbidden City without any people in it, and it was exhausting, and next to impossible! I cannot imagine not seeing the world with my own eyes, and I’m ever so grateful to my global community of photographers for bringing the evolving new world to us, at a personal cost to them that’s immeasurably invaluable, and very appreciated. This is art in motion, that’s unfolding every minute and every hour of every new day.

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Hagia Sophia and its surrounds are empty during a two-day lockdown imposed to prevent the spread of COVID-19 on April 11, 2020 in Istanbul, Turkey. (Photo by Burak Kara/Getty Images)

Once there is some semblance of the familiar to our new world that none of us have any inkling of right now, there are some things that will have changed forever, that we will be seeing through the eyes of photographers and their cameras yet again. For instance, a picture of two people shaking hands or kissing in public will be a coveted, unusual image as will that of aeroplanes taking to the open skies again. We might just feel like one of the Wright brothers when they sent up their first plane into the sky! Public spaces with people jammed in or huddled closely will make for unusual imagery too as will sport stars greeting each other without backslaps and hugs on a playing field when the games come back on. Bollywood’s come hither song and dance routines and Hollywood’s sex sequences will smack of sanitized physicality at its creative best, or worst, we don’t know. Personal space will be big on behavioural social etiquette amongst the human race, and it will be a prized priority that will dictate relationships at home, and at work.

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Grounded British Airways planes at Cardiff Airport on March 25, 2020 in Cardiff, United Kingdom due to the coronavirus pandemic. (Photo by Matthew Horwood/Getty Images

We stand stripped of our acquired behavioural nuances, our excessive indulgences, our obsessions with power and control and in the adorning of our external selves, in our raw, bare skin – bereft of any mask, in our private spaces. This reaffirms that we are all the same, never mind if you’re black, white or brown – if you are human, then you’re a locked target for the virus. We need to stop saying that we are stuck at home, and wonder when life will go back to normal because firstly, how can you feel stuck or bored in your chosen space that you call home, that you have nurtured over the years to make it a home, and secondly, life is never going back to what is was – it’s like wishing we could go back to our babyhood and giggle and gurgle at inanities with our parents. The world pre Corona has ended as we knew it, and we will all emerge as one human race, altered forever in world that will have evolved since the first outbreak, whenever that might be.

NOTE: The photograph of the Versova quarantine shelter for the homeless in Mumbai shot by Satyajit Desai (Mumbai Mirror) have been used only after procuring rightful editorial consent and permissions.  

©Rubina A Khan 2020

India’s Real Estate Adjusts To COVID19 Reality | Gulf News

The COVID-19 pandemic has irreversibly changed the world order as we know it, and the economy, forever. We thought we lived in an adamantine world controlled by humans, until a contagion microbe – that’s killing harder and faster than any missile – showed us we obviously don’t. Every human and business is hurting, held hostage in quarantine in the absence of a vaccine or cure, at least not yet. Real estate too, is an altered reality.

Indian realty witnessed an unequivocal shift in perspective, long before the virus struck. The enforcement of the Citizen Amendment Act beleaguered India, leaving a trail of bloodbaths and mayhem in New Delhi in its wake, with non-violent protests across the country since December 2019 being the norm. Unsure of the future of their inherent national identities and citizenship, the unrest and uncertainty propelled some Indians and NRI’s to re-evaluate their assets in the country, in particular real estate. Sale listings went up in Mumbai, in many cases because the of very concerns related to the CAA enforcement. These listings didn’t strictly adhere to the market’s competitive and demanding numbers, but veered more towards liquidating the assets at flexible, albeit profitable prices.

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Gateway of India Mumbai | Photo: Rubina A Khan

Virtual tours, an unheard of thing in Mumbai, have slowly started via FaceTime and WhatsApp, but it’s hard to say if that will become the norm. Virtual show-arounds will suffice for a preliminary showing, but to make a final decision, a physical tour is a must, particularly as the amenities are a big part of the tours. The innumerable fake listings for Mumbai properties that lure in susceptible renters and buyers, will cease to exist soon enough as the health clearance of a broker will become as vital as that of a prospective ROB (renter-owner-buyer).

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Bandra-Worli Sea Link Mumbai | Photo: Rubina A Khan / Getty Images

Brokers will by default have to become photographers and videographers, health screeners and learn how to disinfect their listed properties themselves. It will become standard practice for them to call a prospective buyer or a renter before a showing to make sure that he or she is feeling fine and has no cough or sore throat, and has not been out of the country recently – even after COVID-19 is contained. A short-term effect is that buyers will be less inclined to purchase or rent if they have no idea when they will actually get to visit the properties. The long-term effects are yet to unfold, but the virus will cripple sales despite lowered prices. There is no guarantee of buyers if self-isolation, travel bans and border closures continue indefinitely or intermittently.

I don’t see a likely upswing for the next two years at least. The economic uncertainty has sparked off a growing sense of unease and doomsday panic, and is likely to cost the global economy $1 trillion in 2020, according to the UN’s Trade and Development Agency (UNCTAD).

This feature first appeared in Gulf News on March 27, 2020

©Rubina A Khan 2020

RUBINA’S RADAR | INDUSTRIALIST NESS WADIA AT THE CN WADIA GOLD CUP 2020 RACE DAY

One of the most beautiful, earth-to-sky open spaces in Mumbai is the Royal Western India Turf Club’s racecourse at Mahalaxmi. The RWITC is one of the oldest and most well-known horse racing clubs in India. The landscape and architectural style of the oval-shaped 2400-metre Mahalaxmi race track is inspired by the Flemington Racecourse by the Maribyrnong River in Melbourne, Victoria (Australia). Flemington hosts Australia’s most famous thoroughbred horse race, the Melbourne Cup, the richest two-mile handicap in the world and one of the richest turf races, on the first Tuesday of November every year. The first race was held on its grounds in 1861.
gettyimages-1208482066-2048x2048The Mahalaxmi race track’s elite equestrian play has witnessed regal heads of state like Queen Elizabeth II of England attending its racing calendar in 1961, as also the Shah of Iran and the King of Saudi Arabia. The Mahalaxmi racecourse is of the essence in the architectural narrative of Mumbai, and the equestrian legacy of India. Founded in 1800 by Sir Charles Forbes, G. Hall, A. Campbell and P. Haddow as the Bombay Turf Club in the Byculla Club Grounds, it went on to being renamed the Western India Turf Club in 1864. But it was only when philanthropist and industrialist Sir Cusrow Nowrosjee Wadia donated 225 acres of land to the Western India Turf Club in 1878 and advanced an interest-free loan to the club to build the racecourse and grandstands, that it was built under the direction of Major J E Hughes, and horse racing shifted to its current and permanent home in Mahalaxmi in 1883. HRH King George V, the then Emperor of India, allowed the club to add the prefix ‘Royal’ to its name in 1935.

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Industrialist Ness Wadia at the CN Wadia Gold Cup 2020 Race Day on March 08, 2020 in Mumbai, India. (Photo by Rubina A. Khan/Getty Images)

March 8, 2020 saw industrialist Ness Wadia in attendance, with his nephew Jah and niece Ella, at the 76th edition of the CN Wadia Gold Cup. The CN Wadia Gold Cup is held every year at the racecourse in Sir Cusrow Nowrosjee Wadia’s honour for his largesse and equestrian patronage. Sir Cusrow was born to Nowrosjee Nusserwanjee Wadia (August 30, 1849 – December 19, 1899) who’d established the Bombay Dyeing & Manufacturing Co. for textiles in 1879. Nowrosjee was awarded the honour of Champion of the Indian Empire (CIE) by the British government in 1889 for his business strengths and extensive socio-economic philanthropy and his wife, Bai Jerbai Wadia, built baugs or housing colonies in Mumbai between 1908 and 1956 on more than 35 acres of land for lower income groups in the city. Inspired by their parents, both Cusrow and Ness, the sons of Nowrosjee and Bai Jerbai, built the Nowrosjee Wadia Maternity Hospital and the Bai Jerbai Wadia Hospital for Women and Children in their memory and continued the philanthropic legacy they’d inherited till they were alive.

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Zavaray Poonawalla, Chairman of the Royal Western India Turf Club (RWITC) with industrialist Ness Wadia and his niece, Ella Wadia at the CN Wadia Gold Cup 2020 Race Day on March 08, 2020 in Mumbai, India. (Photo by Rubina A. Khan/Getty Images)

Mr Zavaray Poonawalla, Chairman, Royal Western India Turf Club (RWITC) lauded Wadia’s philanthropic pursuits and thanked him profusely for his family’s continued patronage of the racecourse. Poonawalla also honoured him with a commemorative trophy to mark the occasion. The CN Wadia Gold Cup 2020 (Gr. 2) was won by seven-year-old Vulcan, ridden by A. Sandesh, who also won three other races on the day.  

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Industrialist Ness Wadia with young survivors of cardiac ailments treated by the Bai Jerbai Wadia Hospital for Children, at the CN Wadia Gold Cup 2020 Race Day at the Royal Western India Turf Club (RWITC) on March 08, 2020 in Mumbai, India. (Photo by Rubina A. Khan/Getty Images)

After the race, children afflicted by heart ailments, who have been successfully treated by the Bai Jerbai Wadia Hospital for Children, performed a little song and dance routine in the paddock – a heartening moment for all. The little kids looked healthy and happy, and cheerfully posed for pictures in the warm, afternoon sun.

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Ella Wadia, Ness Wadia and Jah Wadia at the CN Wadia Gold Cup 2020 Race Day on March 08, 2020 in Mumbai, India. (Photo by Rubina A. Khan/Getty Images)

The CN Wadia Gold Cup is supported by the Wadia Group and their companies – Britannia Industries Ltd, Bombay Dyeing & Manufacturing Co, GoAir, Bombay Realty, Bombay Burmah Trading Company Ltd, National Peroxide Ltd, and the Wadia Hospitals.

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Industrialist Ness Wadia at the CN Wadia Gold Cup 2020 Race Day on March 08, 2020 in Mumbai, India. (Photo by Rubina A. Khan/Getty Images)

“It is a moment of pride for me to represent the Wadia Group on this special occasion to commemorate the immense contributions made by Sir Cusrow Nowrosjee Wadia, not only as a successful businessman, but as a custodian of the legacy of philanthropy his parents left him. A keen horseracing enthusiast, Sir C N Wadia was instrumental in giving Mumbai it’s first and only world-class racecourse, which is one of Mumbai’s greatest architectural landmarks. The lasting legacy left behind by him has been a huge responsibility for successive generations of the Wadia family to carry on, and I am certain that our future generations will continue to walk the path laid down by him,” said Wadia of his presence.

Disclaimer: Any part of the content on the rubinaakhan.com website cannot be reproduced without prior permission and crediting the website and the author.

©Rubina A Khan 2020

RUBINA’S RADAR | THE SABYASACHI INTERVIEW

Sabyasachi is India’s most exalted fashion designer, and he knows that. But he’s not lost to his own nous in vanilla vanities and egotism, with the veneration around his fashion métier. Sabyasachi the person, remains grounded, but Sabyasachi the brand, has taken flight, kissing open skies, with the launch of Sabyasachi Jewelry on October 22, 2019 in Mumbai. Sabyasachi Jewelry is his first standalone jewelry store in the country, located three flights up from the Sabyasachi Calcutta clothing store in Kala Ghoda. His bridal collections have played the role of a bride’s confidant for two odd decades, but his jewelry, in his own words, has turned Sabyasachi into a girl’s best friend today. His business smarts have expanded the realms of his brand rather successfully as his couture loyalists can’t quite get enough of the bejeweled lust box he’s opened up. They’re now seeking appointments for couture and carats, both.
gettyimages-1194484606-2048x2048Life-sized giraffes, fresh red roses, vintage artefacts, armoires and furniture in brass and solid wood, glimmering chandeliers, floral carpets, velvet drapes, tchotchke, conversational wall art in Hindi and Arabic alongside his framed jewelry sketches, with Chinese, African and Indian art and design collectibles make up the grandiloquent design speak of the store. In the artistic polarity of it all, the pièce de résistance are the gleaming emeralds, sapphires and rubies that seem to be telling stories of empresses and emperors of sovereign worlds gone by. Lilting American soul plays in the background at Sabyasachi Jewelry, which is in sharp contrast to the melancholic strains of Indian music that waft through his Sabyasachi Calcutta clothing stores across India. Invoking nostalgia is the couturier’s masterstroke, and it works.
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Edging steadily onto the global playing field with heterogeneous collaborations with Christian Louboutin (Paris) in 2015, Pottery Barn (USA) in 2016, L’oreal Paris (France) in 2018 and Thomas Goode (UK) in 2019, Sabyasachi is an insatiable man, who seeks immortality through his work. In a world where commitment is precious luxury, he’s the only Indian designer to have committed fans – a hallowed dominion so far reserved for Bollywood and cricket personalities in India. Sabyasachi can neither play cricket nor act, though at best, he thinks he’s a good mimic. And he is indeed.

Rubina A Khan converses with Bengal’s very own tiger, Sabyasachi Mukherjee, at Sabyasachi Jewelry in Mumbai:

The opening of Sabyasachi Jewelry is a portentous moment in Indian jewelry history. How are you feeling?
I feel relieved as the store is finally done – it took us about eight months to, actually not to do the store, but to collect everything, all the collectibles because I wanted Sabyasachi Jewelry to look like a modern museum…a bit of Indian art and craft, a bit of global craft, furniture from all over the world. We had a 16-foot Ming vase that had to hoisted up into the store through a crane as it couldn’t come through the elevator or the staircase. And I was very worried that it would break. It’s a very fragile, temperamental store. And I’m glad that the grand end worked out.
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What attracted you towards the business of making jewelry in an economy where clothing giants are shutting shop globally due to slack sales?
I have a theory that when the economy is down, people do what is called smart shopping – they don’t shop in depth; they shop in width, which means they buy new things. But they shop in exceptional width, which means they will buy something that is really important and something that is spectacular and I think my jewelry brand, Sabyasachi Jewelry has all of that to offer people.
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Are successful luxury brands like Sabyasachi Calcutta immune to the economical slowdown? Or do you think inherent brain genius and strategic marketing can override anything?
You know when there is a slowdown, like I said, people don’t stop spending money, they’re just careful about how they spend it.  And if you give exceptional value to them, no amount of marketing bullshit is going to help you override a failing economy. But if you give your customer great value and a unique, bespoke product, you will be able to convince them to spend their money.
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What made you invest your mind, and your own money into this opulent jewelry store?
When you sell important things, you have to give your customers respect. I think today, shopping for something that will stay with you probably for the rest of your life, because jewelry is not really perishable, the experience needs to also leave an indelible impression in your mind. It needs to create a beautiful experience, full of wonderment, that you’ll never forget. When you’re shopping for weddings or special occasions, where you shop and how you shop is as important as what you shop.
gettyimages-1194525486-2048x2048Do you have a favourite stone yet for your jewelry?
I love sapphires, yellow sapphires because old Indian jadau jewelry used to made with pukhraj, even white sapphires for that matter. I love rose cut diamonds – I love mutual cuts (old mine cuts) they are not brilliant cuts, so they have a little bit of softness and warmth in them – rounded and beautiful and soft. I don’t like jewelry with too much bling and shine as it takes the personality out of the jewellery. As us Indians have brown skin, I hate diamonds set in white gold because I think Indian people need warmth because it makes your face glow. When you wear diamonds set in white gold it makes your face ashen, but when you wear diamonds, actually mutual diamonds, which are slightly more softer, set in yellow gold, not rose gold… it just gives you that old world, rounded beauty. I think the problem with jewellery and stones in India is that people just want to blindly ape a tradition that has been created by the West and they don’t really buy what looks good on them. So if you ask me, I prefer stones with warmth that’s why I like sapphires. I don’t like the rubies that you find in the market right now, because once you start liking Burmese rubies, not even pigeon blood, the pomegranate color with a slight brown tinge in it, it’s like having good wine. It’s a one-way education and once you get exposed to good things in life, there’s no turning back.
gettyimages-1194495289-2048x2048Do you sketch your pieces like your clothes?
Absolutely. You can’t make mistakes with jewelry, but what I also do is that I keep my sketches in my jewelry very organic. A lot of jewelry is completely dependent on produce. When I make jewelry, I don’t assemble the piece till the last moment because there’s always a little tweaking, which I call the ‘Sabyasachi tweaking’ that I like to do. I’d love to combine emeralds which are expensive with aquamarines and turquoise, same color family, but with a huge difference in prices, or I’d like to put rock crystals and diamonds, which is a little unheard of, with white sapphires, all together because beautiful jewelry is also about audacity and courage. Otherwise you’re just one of the pack and that doesn’t interest me.

What is the most desirable piece of jewellery in the store? And what does this desirable piece of art sell at?
Desirable always doesn’t have to be very expensive. I am not a jewellery person – but it’s something that I would wear – it’s an old pendant, an old mutual cut diamond pendant with a single line of basra pearls and it’s not very expensive – it about INR 9.5 lakh, but it’s just so delicious and evolved. It’s like a character that comes without a pedigree, but someone that you’d love to marry and take back home because it’s just so special.
gettyimages-1194491248-2048x2048Are diamonds still a girl’s best friend?
Rubina, ask the ladies. Many of them tell me Sabya is a girl’s best friend.

How does it feel to be the biggest Indian designer brand, and perhaps the only one to succeed on the global playing field?
I don’t know if I am the most influential or the most popular, but I just know that I am onto something big in my life and I will work very hard till that dream comes true.

If you ever sought outside investment, what would be the reason for you to do so? Strategy. I would never pick up investment for money because I think the business generates enough cash-flow for us to be able to fund ourselves for the next 20 years and grow. But, I am not going to be there forever, so I want to consolidate this business in such a way that it lives far beyond my lifetime. Nandana Sen had given me an issue of Vogue for my birthday, a 1920 issue I think… 150 odd pages and the only name I recognised in it was Tiffany and I realised that in 100 years, so many brands have come and gone, and I don’t want that to happen to my brand. I love the way Chanel has been built beyond Coco Chanel’s lifetime and I think that I’ll find my own Karl Lagerfeld along the way who’s going to take the business from me, to future generations.
gettyimages-1194478437-2048x2048You’ve reached a stage where your creativity is not dependent or driven by money anymore. So what makes you chase the next new collaboration or expand your revenues streams with your creative energies?
I want to grow the business in such a way that it can help consolidate craft and create a lot of employment, and also probably help communities and enable us make the world a better place to live in. The beautiful thing about being in design is the fact that you create tremendous positive inspiration for people; you create hope. Beautiful design makes people happy and there’s a big debate about whether so much is necessary or not, but I think as long as you can create a brand that inspires people to become better versions of themselves, you should keep growing and that’s how I want to grow Sabyasachi Calcutta.

You’re the dream couture designer, definitely in India. Having seen so many blushing brides and grooms, do you know what the color of love is? Or what it even feels like?
Well, they say that the color of love is Sabaysachi red but I am just being arrogant! But I’ll you, I am personally touched by love every day of my life because I am a very positive person. Love does not have to come from one person. It can come from everything that you touch and everything you do and everything that I imbibe around me. I am a very loved person is all I’ll say.
gettyimages-1194480317-2048x2048Would you describe yourself as a ruthless businessman who loves the arts but is uninhibited and unabashed about stating and claiming his creative price?
I don’t know if I would call myself ruthless, but I would probably call myself exacting. And when you call yourself exacting, a lot of people label you ruthless. I wouldn’t have it any other way actually, because for me, if I have to do something I have to do it well or I wouldn’t do it at all. There’s no price to my creativity – I would do something for you if I was inspired enough to do it. Money is inconsequential for me, but of course, the money that we charge, if it helps us create something that can build a larger community or create bigger businesses that employ more and more people, it’s very exciting. For a lot of people who think that because I make such lavish clothing and jewels, truth be told, I wear a lot of simple clothes. A lot of my clothes actually come from Uniqlo. Money is just a number for me and it feels great to make money, because in many ways it is a marker of success. But I don’t do things for money. I do things for growth – tangible and intangible. And intangible growth is far more important to me.
gettyimages-1194477822-2048x2048Given your heart and soul are not for sale by what you just said, what would you sell your brain for?
I’d sell my brain for a minority stake at Apple or a majority stake at Amazon!

Disclaimer: Any part of the content on the rubinaakhan.com website cannot be reproduced without prior permission and crediting the website and the author.

©Rubina A Khan 2019

Indian Real Estate Has A Toxic Problem | Gulf News

The cardinal constituent in realty is location and it has been dictating the price index and value of developments, with unmatched absoluteness. But that seems to be going up in the air now, quite literally, in India. The hazardous concentrations of particulate pollution that engulfed Mumbai in November this year, measured a PM 2.5 of 320. But Delhi witnessed a PM 2.5 of above 900, that was way beyond the maximum of 500 and went into “extreme mode” terrain, compelling the government to declare a public health emergency in the capital.

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Red Fort in New Delhi | Photo by Rubina A. Khan/Getty Images

When inhaled, PM 2.5 affects the human body’s natural defence, going deep into the lungs and even the bloodstream, causing serious health disorders like asthma and increasing the risk of heart attacks and strokes. Clean air and water is a constitutional human right, but that right seems to have been drowned out by the drilling drone of the innumerable developments and their construction dust, vehicle exhaust and industrial emissions that make up the toxicity in the air. State governments ignoring the Supreme Court’s orders to limit agricultural burning isn’t helping either, endangering human lives even further.

Air quality is the new “prime location” and health is the new “amenity” that people are starting to look at when it comes to real estate today, not just an exclusive address or city. It is their lives at stake after all. ‘What good is buying a home in an elite neighbourhood in a metropolis that will leave you breathless’ is the common refrain in India since. The address people choose to buy in, or rent in, needs to be healthy and fit for human living, and conducive to their mental health and overall well-being, not herald a life ahead with disease and hospital bills. Sustainable is the word of 2019 – forget the fashion industry being the biggest pollutant globally – it has come down to sustaining human life in India in 2020 with fresh air and water and taking measures to rein it in. Instead of developers selling spaces highlighting the ‘heart’ of a city, it’s time they advertised the ‘lungs’ of a city to get people to buy.

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Peddar Road in Mumbai | Photo by Rubina A. Khan/ Getty Images

Newer realty developments are definitely hit with the unprecedented pollution levels in Delhi, and it will be a detriment going forward in 2020 for buys in the capital. Mumbai is not far behind either. Unless of course, the deals are lucratively priced to lure people in, with the promise of fresh air and improved Air Quality Index by the government. Non-Resident-Indians have a choice to wait it out and not invest in India till the air clears up, especially the ones living in the United States, that has some of the cleanest air in the world, but do resident Indians have a choice? Not really, barring buying homes in Goa and Rishikesh and that is quite indicative of the buying trend in 2020 for resident Indians.

Indian realty is obviously unprepared for the AQI factor that will very soon be a dominant determiner for property buys and sells in the country. After all the regulatory laws that shook up the business since 2016, this is another deterrent for the sector, especially with the large unsold inventories in the country. A war on pollution needs to commence in India now to accord  its taxpaying citizens a basic human right to breathe clean air and stay healthy.

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Lonavla | Photo by Rubina A. Khan/ Getty Images

2019 saw the introduction of the Model Tenancy Act 2019 as part of the first budget of the second term of the Narendra Modi government. Like its earlier reformist counterpart, RERA, introduced in 2016, the Model Tenancy Act 2019 too reads great on paper, but has yet to step up on accelerating the implementation of the same. I see an Air Quality Act being passed in 2020 but then again, it’s the implementation of it that looks hazy, just like the Mumbai and Delhi skies right now.  

This feature first appeared in Gulf News on December 13, 2019

Thank you AD Kilachand and Bina Ramani for your time and thoughts. 

©Rubina A Khan 2019

MANDARIN ORIENTAL DOHA, QATAR – A Culturally Coherent Regnant Of Qatari Design & Heritage

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DOHA, QATAR: The main entrance of the Mandarin Oriental, Doha in Qatar.

The Mandarin Oriental, Doha opened in March 2019 in Msheireb Downtown Doha, a planned, smart-city district in Qatar, and the world’s first sustainable downtown regeneration project. The sand-hued hotel overlooks the enchanting Barahat Msheireb Town Square, the largest open-air covered town square in the Middle East, encompassing 7000 sqm with the biggest retractable, climate-controlled cooling roof in the region. The design concept of the golden square references the welcoming and luxurious sitting rooms of traditional Qatari homes, and the backlit onyx cladding at night in translucent honey tones, echoes the inherent spirit of the desert. Msheireb Downtown Doha, developed by Msheireb Properties, whose Chairwoman is HRH Highness Sheikha Moza bint Nasser, adheres to the highest standards in green building in re-creating a way of indigenous Qatari living and culture, in the centre of the capital city. Qatar is not just kicking ball by hosting the 2022 FIFA World Cup, it’s venerating its history and heritage through artistic avant-garde advancement in every sphere. This 11,000 km desert kingdom is on its way to becoming a nonpareil cultural capital of the world.

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DOHA, QATAR: The Mandarin Oriental, Doha overlooks the Barahat Msheireb Town Square in Msheireb Downtown Doha, Qatar.

The Mandarin Oriental, Doha is not a glass and glimmer skyscraper tearing into the blue skies, as one is wont to think of luxury hotels in the Middle East, blazoning the apodictic wealth of the country. It confutes the very notion the second your car rolls up the narrow, stone-cobbled alleyways, especially designed thus to give you a feel of old Qatari residential neighbourhoods, but not without a distinct, contemporary finesse befitting of a luxury hotel. Brick, mortar, wood, metal and a whole lot of soul make up the architectural and design language of the Mandarin Oriental, Doha that is culturally coherent with Qatari living and the heritage of the desert nation. The ferej, an intrinsic part of Qatari homes, built to provide shade from the desert sun and for air circulation (a natural air-conditioner so to speak) for respite from the heat, makes its modern-day presence felt in the hotel’s corridors and landings.

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DOHA, QATAR: A street view of the main entrance of the Mandarin Oriental, Doha, Qatar.

The shifting shapes of sand dunes inspired the key design element for the interiors of the property. Right from the imposing entrance pillars to the walls, marble floors and ceiling reliefs, an artistic representation of sand dunes runs through the hotel consummately. The design is as conspicuous and as unobtrusive as you want it to be. If you want to see it, you can see it everywhere and if you don’t, well, then you don’t. But the sand dunes of Qatar are there, hearkening the travelling bedouin origins of Qatar to the current day on your calendar.

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DOHA, QATAR: A general view from the Mandarin Oriental, Doha of the ferej or narrow alleyway sstreets in Doha, Qatar

The fretwork sand dune panels, with a painted eggshell finish on the ceiling, with a brass veil, influenced by the awnings and canopies of Arab dhows and ocean waves, designed by the David Collins Studio and Alexander Lamont’s straw marquetry adorn the lobby of the hotel. The brass veil, alongside the straw marquetry, is a breathtaking design genius.  Lamont used dried straw stems, spliced open and flattened, inlaying them individually on wood, creating a sustainable quintessence of his own. The straw fibres reflect light, changing with the time of day in the lobby and the Baraha Lounge, lending a natural sheen to each panel.

Apart from the fretwork sand dune panels that run through the entire hotel, the rooms and bathrooms resonate with elements from the rich seafaring, maritime history of Qatar, albeit subtly. The metal studs on the walls are a contemporary interpretation of the old wooden beams that extended horizontally from the walls of Qatari homes called danshal, procured with great difficulty by the bedouins due to the lack of natural vegetation in the region, to build sturdy roofs for their clay homes. The beautiful lamp shades are asymmetrically shaped, inspired by Arab dhows and the mirrors in the bathroom hang from ropes that were used at sea for fishing and pearl-diving. The black and white tile work wall behind the bathtub and jacuzzi honours the weaving traditions of Qatari women. I love the heady fragrance the Atelier Cologne Rose Anonyme bath line, a Rose Oud, that’s congruous to the landscape’s Desert Rose crystal formations, used by Qataris as talismans for protection and spirit guidance.

A serene sense of calm envelops you, once you’re inside the pristine and quiet (I loved that!) of your room, and the plush bed is meant for sleeping, especially after an exquisite Oriental Essence treatment at the Spa with its very own indoor swimming pool. Flight fatigue what? Though I worked through most nights on my bed, and that was snug and restful too. Imagine discovering a yoga mat, a jaanamaz and a hair straightener (not just a hairdryer) in your room, not to mention the mini-bar snacks packaged in exclusively designed tin boxes bearing palm trees – this is artistic design commingling with human desires and essentials in a manner most natural and decorous.

The location of the Mandarin Oriental, Doha is enviable, given it’s a short 20-minute drive from Hamad International Airport and is adjacent to the Amiri Diwan, Qatar’s seat of government and the Emir of Qatar, HRH Tamim bin Hamad Al Thani’s palace. It is a five-minute walk to the Msheireb Museum and the redeveloped and very lively (not noisy) and alive Souk Waqif, with its Falcon Souks, a Camel Pen and of course, the Gold Souk. The Museum of Islamic Art, designed by the late I.M. Pei and the National Museum of Qatar, designed by Jean Nouvel to look like the natural Desert Rose crystal formations that are found in Qatar, with inward-curving disks, intersections and cantilevered elements, with 1.5 kilometers of gallery space, giving voice to the unique story of Qatar and its people in an immersive and experiential manner in three chapters — Beginnings, Life in Qatar and The Modern History of Qatar are a short drive away and stand testament to the invested vision of the country’s love and liberal furtherance of the arts. The recherché National Museum of Qatar is a must visit. To give you perspective, the Metropolitan Museum of Art in New York’s annual budget for new acquisitions is USD 30 million and the Qatar Museums’ is USD 1 billion, chaired by HRH Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani.
gettyimages-1188450522-2048x2048The food is exemplary at all the four restaurants in the hotel, and at the Mandarin and Baraha Lounges. My first meal was an Angus Beef Burger at Aqua, the alfresco rooftop restaurant and bar that serves up easy-sharing dishes like Arabic mezze, sliders and pide.  Mosaic, the specialty nine-kitchen restaurant on the eighth floor is where the vibe is relaxed and the sun filters in through the metal grills inspired by traditional windows with intricate lattice panels called mashrabiya. Even the lifts bear a prominent pearl motif on the metal grills in honour of the pearling history of the country. Volcanic Torched Tuna Sushi, the Thai Beef Salad with a Lucha Libre cocktail here are to live for! I had a Turkish Pide (flat bread made of wheat flour) with Beef Pepperoni and Olive with Oregano and Parmesan for the fist time, and it was great. Mosaic is also where the elegant Qatari ladies breakfast and that says a lot about the food. I loved the Malika Honey, a delicious Qatari honey that’s harvested from the Busaif Apiary, of which 15 beehives are owned by the Mandarin Oriental, Doha as part of their sustainability program. It’s something that should really be sold to the guests at the hotel, it’s that good. The cream-filled Pistachio and Red Velvet Croissants, the Apple Detox Water, the Beef Cecina and all things beef honestly made me extremely happy to breakfast at Mosaic everyday.

Izu, the Mediterranean cuisine restaurant facing the Barahat Msheireb town square, with three seating areas – an indoor ground and mezzanine level and the popular outdoor terrace is where the culinary artistry is at, led by Nigerian chef, Izu Ani. Chef Izu is beyond gifted – Fried Organic Eggs with Foie Gras and Truffle Sauce, the Wagyu burger, Slow Braised Beef Short Ribs with Padron Peppers, the Burrata with Cherry Tomatoes and Basil, Watermelon and Feta Salad, the Mandarin Gelato, the Le Verger drink made with fresh basil leaves, lemon and apple juice – there’s a discernible Izu addition to the simple classics, that takes his creations to a whole new level of delectable, and memorable flavours. He’d Izu’d everything I ate and drank, and loved, from the very first bite and swill to the very last! You have to be Izu’d at Izu people.

The English afternoon tea service at the Baraha Lounge, overlooking the Barahat Msheireb town square, and at the Mandarin Lounge from 2-6PM everyday, is immensely popular with the Qataris and locals. Gilded cakes, pink rose madelines and savouries with bespoke blends anyone? Gelato, the frozen dessert and gelato restaurant, also overlooking the Barahat Msheireb town square hits everyone’s sweet spot with its vast array of flavours, from vegan chocolate to Arabic coffee to anything your heart desires. If The Secret Bar at Izu is rather rad whilst Ambar is its sophisticated equal to quaff in at the hotel.

Newer luxury hotels, unlike the Mandarin Oriental, Doha, aim to make you feel like you could be anywhere in the world once you’re inside, and that just does not cut it for me. I have my own bed at home where I can imagine such inanities in my pyjamas on my own time, thanks, but no thanks! I don’t need to take a flight to Doha to imagine that I am in the Seychelles! Every morning, when I woke up and had my morning Nespresso, I knew I was in Doha and not in a ‘home away from home’. I so despise that sell! Everything in the room, and outside my window overlooking the modern ferej, told me so and this is what I loved the most about staying at the Mandarin Oriental, Doha. I felt like I was invited into the luxe confines of a Qatari home that’s most certainly not mine, or like mine, and I am a treasured guest of theirs for the weekend. And that’s how you feel like you ‘belong’ innately to a new place. The Mandarin Doha team is ebullient and professional, led ably by their General Manager, Martin Schnider.

No evening at the Mandarin Oriental, Doha felt complete without looking out at the molten glow of the Barahat Msheireb town square or a ‘cool’ walk around it, literally. Doha will always be ManDOHArin for me!

Disclaimer: Any part of the content on the rubinaakhan.com website cannot be reproduced without prior permission and crediting the website and the author.

@Rubina A Khan 2019

 

Italian-American Cuisine At The BlueBop Cafe, Mumbai

Rubina A Khan reviews The Bluebop Cafe, Mumbai: “Italian-American gluttony with live jazz performances.”

The Bluebop Cafe is a new jim-dandy of a bar cafe in Mumbai, serving Italian-American cuisine along with a musical side of jazz blues and bop, live. Inspired by the musical evolution of jazz, which came to mean jazz music in Chicago, USA, around 1915, and bebop, which is a style of jazz that came to be in the United States of America in the 1940s, Eesha Sukhi, the owner and creator of The Bluebop Cafe, decided to name her first independent culinary space thus.

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The Bluebop Cafe entrance | Photo: Rubina A Khan

The restaurant is located right on Linking Road, Khar, and not on some long-winding inner bylane with the dreaded no-entry signages. As you walk into the inviting, verdure (a rare sighting in Mumbai) courtyard with wrought-iron benches and an old Peepal tree leaning into it, you are instantly drawn in. I can just imagine myself sitting on one of the benches on a December night, breathing in fresh oxygen from the Peepal tree.

I loved the Asparagus and Polenta that set the tone for the Italian-American food gluttony ahead – the crunch of the freshly sautéed green asparagus spears, along with the polenta and the manchego cheese was delicious. There’s grits of the American South, and then there’s the vegetarian, Indian version, of the classic Italian polenta right here in Mumbai at Bluebop.

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Asparagus & Polenta | Photo: Rubina A Khan

The Spaghetti Aglio Olio was flavoursome, as was the creamy Mushroom Risotto, accompanied by a Citrus Spritzer cocktail. The New York style pizzas, and I’m not a pizza person at all (I owe all my indulgent allegiance to burgers and fries) were great. I tried the Goat Cheese and Spinach as well as the Jerk Chicken pizza and it’s the dough that really makes all the difference to the overall taste as it is made in-house.

The Matcha Mousse is innovative, and the Tiramisu is made for the Indian sweet palate. Bluebop sources all its produce locally and makes a sincere effort to keep its dishes authentic to the regions of Italy and America that they originate from. 

The wine-hued walls, patterned flooring, cane-backed chairs with arm-rests and seating booths lend a 70s vibe to the cafe, but not entirely, as the illuminated bar breaks away with its contemporary design, with mixologist Dinesh Mondkar concocting and crafting the heady cocktails. The culinary team is led by Chef Saurabh Raturi, who interestingly, also moonlights as a musician (a guitar hangs above the kitchen entry) when he’s not developing and perfecting a new dish for the cafe. The Bluebop team is knowledgeable, curious and willing to adapt, without a trace of the “I know it all” affectations, in an ever evolving and extremely competitive business.

The BlueBop Cafe is open all days, from 12:00PM-1AM.
Sunday Brunch: 12PM-3PM.
The BlueBop Cafe
318, Linking Rd, Khar West,
Mumbai 400052 India
+91 22 62366444 | 93 722 02586

Disclaimer: Any part of the content on the rubinaakhan.com website cannot be reproduced without prior permission and crediting the website and the author.

@Rubina A Khan 2019

RUBINA’S RADAR | FASHION DESIGN COUNCIL OF INDIA’S QUATERNITY FINALE AT LMIFW SS 2020

The Spring Summer 2020 edition of India Fashion Week, presented by the Fashion Design Council of India, culminated with a grand finale on the 12th of October, 2019 at the Dhyan Chand National Stadium in New Delhi. Rajesh Pratap Singh, Manish Arora, Schulen Fernandes for Wendell Rodricks and Anamika Khanna made up the finale quaternity that was as disparate a show as it was a rousing one.

All four designers showcased lines that were quintessentially reflective of their unequivocal fashion nucleus. Actor Kangana Ranaut broke Rodricks’ tribal whites and blues, Khanna’s embroidered conglomerations, Singh’s effervescent fluoro pops and Arora’s pink-dominant psychedelic synchronisation, in a black and white number, with leather accessories. Ranaut’s runway strut in the crisp ensemble lent the very coveted Bollywood sheen to the inherent shimmer of the polki diamonds around her neck.

Getting them to close an inclusive week (four days actually!) of fashion together, was spearheaded by Sunil Sethi, President of the FDCI. “I feel it worked out well. It is difficult to please everyone but LMIFW SS 20 was definitely a success. I am very happy,” said an obviously elated Sethi from Bhutan, where he’s keeping royal company with the ruling family of the mountain kingdom.

NEW DELHI, INDIA – OCTOBER 12: Schulen Fernandes, Anamika Khanna, Wendell Rodricks, Kangana Ranaut, Sunil Sethi, Nitin Passi, Manish Arora, Rajesh Pratap Singh and Dipin Passi at the Lotus Make-Up India Fashion Week Spring Summer 2020 Finale presented by the FDCI on October 12, 2019 in New Delhi, India. (Photo by Rubina A. Khan/Getty Images)

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NEW DELHI, INDIA – OCTOBER 12: Kangana Ranaut at the Lotus Make-Up India Fashion Week Spring Summer 2020 Finale presented by the FDCI on October 12, 2019 in New Delhi, India. (Photo by Rubina A. Khan/Getty Images)

Inclusivity, with the hashtag MyFashionMyTribe sent out an assured energy to everyone that fashion is really about you exercising your power to express yourself just the way you are, and want to, without any fear or inhibitions. Every kind of person was celebrated by the designers on the runway in their collections – acid burn victims, curves, transgender… and that is really what the world is rightfully leaning in towards, steadily.

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Here is the FDCI presented Lotus MakeUp India Fashion Week Spring Summer 2020 finale in pictures:

SCHULEN FERNANDES FOR WENDELL RODRICKS

RAJESH PRATAP SINGH

ANAMIKA KHANNA

MANISH ARORA

Disclaimer: Any part of the content on the rubinaakhan.com website cannot be reproduced without prior permission and crediting the website and the author.

©Rubina A Khan 2019

RUBINA’S RADAR | INDIAN FASHION’S NEW CURRENCY – COUTURE CARATS

This month has been rather august for Sabyasachi with his jewellery line pulling in some colossal coin for the fashion house. And, I am not using the word ‘colossal’ airily here. An exhibition of heritage and fine jewellery by Sabyasachi, comprising of gold, uncut and fine diamonds and coloured stones was held at the Taj Mahal Palace hotel (a favourite Taj of mine!) in Mumbai on the 13th & 14th of August, 2019. Over the two day exhibit, the jewellery sales brought in an unexpected and staggering double digits for the label. “We had good sales at the jewellery exhibit, but it’s not dignified for us to flaunt figures and it’s not a good business practice either,” says Sabyasachi.

Ever since he launched his jewellery line, it has compelled every fashion designer in India to view diamonds and precious stones with a design perspective, never mind the naysaying and economic slowdown whinging all around. Sabyasachi brides and grooms now have the added luxury of getting their bridal dreams realised in totality, in both fabric and stones, at any one of his flagship stores across India. And with the high numbers that the Mumbai jewellery exhibit brought in, it goes without saying that Sabyasachi definitely knows how to pull his weight not just in khadi and chiffons, but in molten gold and diamonds too! And his loyalists are only queuing up for more.

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Sabyasachi Heritage Jewellery | Photo: Sabyasachi Instagram 

Emboldened by the response to his private jewellery viewings over the past two years and the multiple city exhibits across India this year, the couturier is now ready to open his first jewellery store, situated on the third level of his flagship store in Kala Ghoda in the festive quarter of 2019 in Mumbai. If the bejewelled whispers are anything to go by, the store will be a blinding sight to behold.

Manish Malhotra, fresh off Maahrumysha, a shimmering velveteen of an alluring show, that kicked off Lakme Fashion Week’s Winter/Festive 2019 edition, is launching his new jewellery line this year. Malhotra’s show on August 20th at Famous Studios, Mumbai had models wearing Raniwala 1181 jewels on the runway, including his showstopper, actor Katrina Kaif, and some of his favoured Bollywood front row regulars and social lights. It was a lucent teaser of what is to come from his jewellery design board.

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Katrina Kaif in Manish Malhotra’s Maahrumysha line | Photo: Katrina Kaif’s Instagram

“I have been carrying a Raniwala 1881 line, curated by me, in my Mumbai store since August 3rd, 2019, with some pieces at the Delhi store. But our next collection together will be the one I am designing for them. I chose to collaborate with Raniwala 1881 as they have years of expertise behind them, making genuine, good quality jewels,” says Malhotra of his upcoming jewellery line that will be available come November 2019.

Not one to conform to perform, Tarun Tahiliani is not launching an eponymous jewellery line this season, but he intends to. Having had a peripheral jewellery collection in the past, not a full-fledged one per se, he is serious about launching one going forward.

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Tarun Tahiliani’s Tarakanna couture collection | Photo: Rubina A Khan

“I am always wary of selling things that I can’t verify unless there is a buyback guarantee. I’ve heard too many horror stories of people who are buying things that are not what they claim to be. The problem lies in the quality of coloured stones and heating versus natural and the like. So I approached the World Gold Council as they took the guarantee, and they also have a buyback guarantee with the person I dabble and work with. Only if the World Gold Council and the Gold Standard have certified something, will I lend my name to it. My reputation and brand integrity are of paramount importance to me and if I don’t have the necessary tools to verify something, I don’t want to sell it bearing my name,” says Tahiliani.

As far as jewellery lines go, not surprisingly, Rohit Bal has been there and done that. “I’ve done a jewellery line before, though it wasn’t an entire collection. And I am not saying no to launching one either in the coming months,” says Bal of a possible jewellery collection.

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A model in Rohit Bal couture | Photo: Rubina A Khan

Given that India’s biggest couturiers have successfully launched their own jewellery collections, or are planning to soon, it won’t be long before every designer in the country will be selling a bridal outfit, replete with its own essential accoutrements in couture carats. No doubt some of them will be decidedly questionable on the couture and carat fronts, but it definitely won’t be a deterrent for any designer aspiring to follow the successful business expansion models of India’s biggest couture houses in a bid to rise up in the fashion ranks.

Jewellery collaborations have always been a part of India’s bridal business, but couture carat collections seem to be the new fashion currency for Indian designers. In a business that is as plagiarised with a knock-off on every street as it is, designing couture carats is a fiscally viable way forward, complementing their couture collections. Couture and carats designed by your favourite designer is a win-win for everyone. Brides and grooms couldn’t ask for more now or could they?

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©Rubina A Khan 2019