Platform Magazine by Shrishti Bhandari

PLATFORM

Creative Lifestyle

Issue 34

March | April 2017

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Editorial Our Fashion issue is not about what’s ‘trending’. It’s not about the hottest looks on the runway. It’s not about the must haves of the season and because of that, it will not be short-lived. Our Fashion issue is about the impact fashion has on our society and culture, the importance of sustainability, the questions we ask ourselves about genderless style and where fashion is headed. To help us put things in perspective, we interacted with influential individuals from the Fashion Industry. In our lead story, Mickey Boardman, Editorial Director, Paper Magazine, shares his journey from answering telephone calls to being one of the most important figures in the fashion world. He shares his thoughts on how technology is driving fashion and at the same time causing hindrance. How social media has affected fashion and how one should always use their skills to give back. Listed sees three strong and thinking voices, Bandana Tewari, Editor-at-Large, Vogue, Rajesh Pratap Singh, a celebrated fashion designer, and curator Mayank Mansingh Kaul—each hailing from a different branch yet connected to the same tree, they share their views and concerns about the fashion industry. And as always, we highlight the promising names in the fashion world that are on the road to greater things. Moving on, we catch up with Rahul Bose after a really long time as he gears up for the release of his directorial venture, Poorna. We discuss what took him 13 years to get on the director’s seat, and all that happened in-between. For the first time, we will see Suraj Sharma in an Indian production; he shares his experiences and the difference between the two worlds of Holly and Bollywood. Debut Director Shubhashish Bhutiani lets us in on his very poignant and intriguing film, Hotel Salvation, the story of a father who asks his son to take him to Benaras to attain Moksha. And lastly, no fashion issue can be left incomplete without a visual fashion narrative. We celebrate the youth with Gucci through a very edgy and hip photo-shoot by Kapil Das. And the incredible Bharat Sikka captures a story that highlights every nuance, rounding off our pages with more perfection.

Shruti Kapur Malhotra Editor in Chief

In this edition Art

Wardrobe Snacks Design

Kadak Fashion

Siddharth Dhanvant Shanghvi Music

Parekh & Singh Travel

Private Goa Film

Nitesh Tiwari Literature

Kohinoor + The Anarchy

Wardrobe Snacks

Shuttling between work and home and stuck in our routines as our life passes by us at warp speed, sometimes sitting down at a table for a meal feels almost a luxury. When Kelsey McClellan and Michelle Maguire spotted a commuter here or a lunchbreaker there grabbing a snack on the go, they decided to capture these wonted moments and re-interpret them. Wardrobe Snacks, their strangely satisfying photo series, features striking and tasteful images that lend a certain character to the unnoticed mundanities of daily life. Simple yet compelling, the series is imagined in a considered colour palette with an array of snacks – from a hashbrown tucked in a pocket, a donut resting on a napkin, to a hand holding an oyster. Photographer Kelsey and art director Michelle walk us through the series, their aesthetic and their collective, Dusty. Tell me a little about yourselves and your collective, Dusty. When and how did the both of you meet and start working together?

Art

by Ritupriya Basu

Michelle: We first met back in 2013 while working on Jeni Britton Bauer’s Jeni’s Splendid Ice Cream Desserts cookbook

here in Columbus, Ohio — I prop-styled a portion of the photos and Kelsey shot. Since then, we’ve created our own projects to shoot every chance we get — it allows us freedom to experiment and it’s always fun. We make a really great duo. Right now Dusty is crosscountry, with Kelsey based in San Francisco and me in Columbus. We’re constantly devising a plan to travel to each other’s homebase or meet somewhere in the middle for a shoot. The ultimate goal is to live in the same city again. Kelsey: We decided to form Dusty to showcase the growing collection of our joint projects. We wanted to create a name and space for the works that was more accessible to people - other than only sharing on our personal sites. We had been talking about it for awhile but we knew it was time once we had Wardrobe Snack prints to share! What inspired Snacks?

Wardrobe

Wardrobe Snacks was inspired by diners lacking the luxury of being seated at a table: Michelle’s stepdad who rests his sandwich on his thigh in between bites (hell with a

plate!) while he blasts an action movie on his TV; a commuter cramped up on a crowded bus retrieving an item from a bag or pocket; a lunchbreaker on a park bench eating from her lap. They’re informal — perhaps even a bit awkward — spaces as far as eating is concerned, yet the diners always appear to be comfortable and perfectly satisfied with their chosen snack, almost zen-like. The series was kickstarted by the desire to re-create and stylize these small moments I’d observed.

Wardrobe Snacks grabs one’s attention with its clean, measured colour palette. How important is colour in your practise? Michelle: It’s everything, and in the case of this particular series, it is where each image begins. We start with a color — either muted or vibrant — then play around with subtle shifts in tint within the wardrobe, the edible prop, the backdrop. To be successful, the color palettes must feel good individually and also when paired with the rest of the group. Kelsey: Colour has always been a huge focus in our work. We were very careful to make sure the image accurately represented the true colours of the clothing and the food, while also being careful to keep skin tones consistent across the series. What informs your sensibilities when it comes to your work? How similar or dissimilar are your individual aesthetics? Michelle: I guess the same sensibilities that apply to my daily life: paying attention to details and finding beauty and humor and entertainment in even the most mundane goings-on. Kelsey: Our aesthetics are very similar, as far as what we are drawn 7

to in image-making as well as out in the world. We are both informed by what we observe and are drawn to, and both value humor within the commonplace. I can’t help but notice that a considerable chunk of your work deals with food. Why is that? Michelle: Aside from being such visually appealing props — so many wonderfully attractive forms and textures and colors — to slip into a composition, I associate food with pleasure. It’s an opportunity to create a sensory experience for yourself 3 to 5 times a day! I once heard a man say that if he could, he would just take a pill for his sustenance, rather than hassle to find food all of the time, which is completely insane to me. Kelsey: I think I am drawn to food because it is often very beautiful and can be associated with so many different things/memories depending on the viewer. Food can be very nostalgic for people and I really enjoy presenting it in small, idealized vignettes. What’s next for Dusty? Michelle: We’re going to keep moving with Wardrobe Snacks, shooting a few more pieces to round out the series while continuing to push its prints, and maybe eventually try to have a show — would love to see them BIG! And we’ve just been contacted by a really cool chocolatier who’s got an idea for a commission. It’s a really great feeling. Hopefully it all keeps leading to new things.

Kadak

Design Collective by Ritupriya Basu

When eight women living across the world came together to question through their art what it means to be a woman in India, Kadak was born.

Design

The design collective works with graphic storytelling, challenging preconceived notions about femininity and sexuality, and redefining the narratives that surround it. Inspired by a matchbox emblazoned with the name, Kadak defines not only their purpose but each of the eight women—strong, severe, sharp. ‘Kadak came together as a response to a call for submissions to The East London Comics and Arts Festival earlier this year. We realised we were a community of women graphic artists - which was a minority in and of itself, and additionally all from India, which narrowed the pool even more,’ says Akhila Krishnan, one of the cofounders. Conceived by Aindri Chakraborty, Janine Shroff, Aarthi Parthasarathy, Garima Gupta, Pavithra Dikshit, Kaveri Gopalakrishnan, Mira Malhotra

The Breeders by Janine Shroff

and Akhila, Kadak took ELCAF by storm, making its way into the graphic art scene. Aarthi strung together a zine from her webcomic series titled the Royal Existentials, which blends vintage Mughal art with contemporary social commentary, underscoring the stories of women plagued by patriarchy. Mira Malhotra’s Unfolding the Saree Zine is a miniature paper saree with 24 neat folds, hung on a hanger. The zine explores the saree as a symbol of female sexuality, with snippets from pop culture, politics and even religion which ultimately explain the saree’s modern relevance. Boy-cut by Garima Gupta is a graphic short story about how hair length defines gender and femininity, which draws from her personal experience of when she chopped off her hair on a whim, and the rippling reactions to it. Brainstorming over emails and WhatsApp conversations, they find their daily dose of inspiration in each

other’s work. ‘Everyone’s work has a sense of drive, purpose and meaning, which is really motivating: Aarthi is prolific and incisive, Kaveri’s drawings make me want to draw, Aindri’s research for her projects is a project in itself; Akhila’s drawings are fluid and emotive, Pavithra’s and Mira’s sense of design blows me away, and the way Garima captures nature makes we want to quit my job and move to Bali,’ says Janine. This year, the collective plans to extend the idea of The Kadak Reading Room which they created last year for Gender Bender—an arts project in Bangalore that invites fresh, innovative and new ideas that enable and further the discourse on gender. ‘India can always create beautiful, aesthetically pleasing work because we have generations of that behind, and around us. Carrying your art beyond that and coming from a space of enquiry is important,’ sums up Kaveri.

Sumiran Kabir Sharma SS 17

Sumiran Kabir Sharma likes to call himself a silhouette generation artist. Studying at a fashion school, sketching was a basic but that was something he never enjoyed. He used to work directly with fabrics. ‘I started draping fabric on myself, my friends, on mannequins, so performance art became a part of the design process. Hence the graduation collection was called Behrupiya, which is a dying art in South Asia. It means many forms…hence the collection was inspired from the duality of the lives we actually lead in todaay’s world and society. The garments had many forms.’ Peep into his art and you’ll see jackets becoming skirts, tops used as bottoms, gender-bending clothing—all for sustainable wear. Born in Shimla, Sumiran grew up in the hills and believes that he was born with an instinct for fashion. ‘I tried to study science, engineering, management, but wherever I would go I would be appreciated for my fashion and style. So in 2009, I ended up appearing for design school and got through Pearl Academy in Delhi. The design journey started there for four years.’ Sumiran Kabir Sharma SS 17

Sumiran Kabir Sharma

Through this opportunity, Sumiran was introduced to wool and it was like love at first sight. He worked with the material in the most unconventional ways, from draping it distinctly to cutting it on bias. Recently, he grew more conscious and started with sustainable fabrics— cottons, linens and mostly blends of the natural fabrics itself.

Fashion

by Hansika Lohani Mehtani

Sumiran graduated in 2013 to walk away with two top awards—the Best Design Collection Award Portfolio 2013 and the Woolmark Young Talent Award by the Woolmark company, Australia.

His fashion voice is androgynous and gender was never a filter. He picked this up from his sister who used to pair jackets with sarees and blazers with skirts. Currently, he is putting all his energies in a new collection based on consciousness. ‘We are working a lot of fashion psychology, it’s like being a fashion psychologist. Working on hand woven cottons and linens. It’s a lot of hard work and love that the weavers put into each piece of fabric. We should value all their effort and love, and should support slow fashion and the handloom industry.’

Parekh & Singh by Hansika Lohani Mehtani

They’re friends, enemies, neighbours, brothers. They wrestle, play table tennis, make music, eat, think, roam the streets. Parekh has been making music under his name and Jivraj too has carved out himself well as a percussionist. Recently they gave their six-year collaboration a new, shorter moniker; Parekh & Singh. Their recent sweet folk-inspired track took the internet by storm and has clocked close to three lakh views on Youtube. Its delightful colour palete and peculiar sensibility is making it the talk of the town. P&S tell us more. When did you guys first meet? We met in 2008, some common musical friends introduced us.

off. Tell us about how it all panned out and what are they bringing on the table for P&S. The label is Peacefrog, home to Jose’ Gonzalez and Little Dragon. We just sent them an email and they got in touch soon. It’s been great so far, they’re helping become a truly relevant international act. The machine of the industry is in swing. How important do you think are the aesthetics that one creates around the music they make? Aesthetic is pretty much all that matters. Everything else serves it. I read in an interview that P&S like messing around with the notion of you not being called Indian musicians. Tell us a little more about that. We are musicians from India. We don’t play Indian music, just like Tame Impala is a band from Australia that does not play aboriginal music. The distinction is in practice, not theory.

Music

Individually, when did your interest in music begin? Tell us the story and your first memory of music. This answer could fill a book. The short answer is that music has always been an element of our lives, our parents were always active and passionate fans of music. So, listening to music subconsciously was a feature of our What is your music sensibility like as childhoods. P&S? It will be more wholesome, focused and What informs your sensibility as a playful! musician individually? You both are from the Salt Lake City, We are first and foremost interested in what are the acts you follow from there design in all things artistic – music, food and what’s your take on the city? or movies. We like a good script, a good It is the city that only sleeps. Its home. story, a good evolution. The journey attracts us. What’s the way ahead for the duo? More music, more videos and playing You’ve been recently signed up by a big across the world. UK label that no one knows the name 16

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Private Goa

My favourite shack: Tell no one about Palm Grove but I guess everyone knows anyway: with a backcloth of pine trees and a foreground of sea, the cottages at Palm Grove in Morjim are the best place for a honeymoon — or to conduct the sort of affair, you pack handcuffs into check-in luggage. Palm Grove, run by the talented and clever Eva, also doubles as my informal beach office: I have a computer plugged on a perch, there’s beer on the side, and a switch that automatically explodes all my exes as they stroll by. I’ve been lucky to meet with curators and artists here, resulting in shows as varied as Sooni Taraporevala’s upcoming exhibition at the Whitworth, commissioned under the auspices of Maria Balshaw [the new director of the Tate, a regular to the same beach]. The cement IPS flooring, the canechairs, and kind staff from Nepal make Palm Grove a boho fave. Also, importantly, this course of beach has excellent buttcrack karma because you see such little of it unlike Baga, or as it’s known as in my circles: Plumber Row. Design Stores: The Paperboat Collective has a splendid curator in Bhagyashree Patwardhan, who works closely with a crew of NID grads, genius drop-outs, and young fashion folks to pull together a nifty line of clothing wear, a home collection, and my favorite line of body care products [the rose scrub is entirely responsible for the little sensual life I enjoy]. A short drive away is home boutique Freedom Tree, which enjoys the supreme location for a store in Goa: an old house thoughtfully converted into founder Latika Khosla’s best outpost for her design dens. Freedom Tree has the top drinking glasses in town as well as a groovy range of furniture—the sofas will nurture generations of lazy people. A restaurant on

Travel

by Siddharth Dhanvant Shanghvi

Despite being the most popular holiday spot in India, Goa is seldom done right. We get an insider’s view from a much-loved resident writer who knows it well enough to tell you what’s really worth the go.

the premises, Mustard, with its heroically inept staff, warrants an immediate menu rethink—you don’t need mustard in everything you eat, certainly not dessert. Food and Drink: The Rice Mill, my new and totally cricket swingto bar, located at the end of a tiny lane in Morjim, has a vaulted red tile roof, cement floors, distressed walls, and super sly cocktails [I was married to the Lemongrass the evening I visited]. While the menu is limited—I wolfed down their blackened tofu, which was delectable, and the prawns in a sullen whisper of tomato sauce— the location of The Rice Mill is magic: with a dodgy looking gym next door [‘Breeding Bouncers Since 1967’] and the view of a dusty chapel in the distance. It’s exactly the sort of bar you want to stop by after a day on the beach for drinking hour, which in Morjim commences at 11 am. Maria Grazia, who runs Baba’s Wood Café, is an Italian committed to her wonderful restaurants, one in Panjim, the other in Calangute. I am loyal to the salmon carpaccio with arugula and pomegranate and her tiramisu is the finest in Goa [chef Alessandro at Mumbai’s Cellini in the Grand Hyatt is still President of the Nation of Tiramisu]. Maria Grazia frequently has antiques for sale—I bought an entire Italian dinner set, a joyous extravagance, with its deckle edge of gold and slightly chipped charm. A fine host and arbiter to a robust kitchen— call for their fish ravioli—this is a place I return to frequently in Goa. Gunpowder, in Assagao, is a classic and dearly beloved;

their Malabar parathas are anti-depressive although not anti-fat, and if I want to feel like a jaded hippie I always grab adrink at Sakana’s bar where the sushi is not exactly rock-and-roll but there is so much else to love on the menu including their marvellous miso soup. While glamour resort W is still finding its feet in Goa— the management is novice, to say the least—it enjoys a spectacular location, with the Chapora Fort soaring above it and sweeping views of the sea on the other. Tanveer Kwatra, easily one of India’s most talented executive chefs, heads the kitchen. I was dazzled by his playful calibrations

with Asian food—if you admire Bangkok’s Nahm then you will notice odes to David Thomson here in north Goa. With organic produce and ‘fresh only’ as the driving philosophy, Natty’s Natural is an adored café for many Bangalore upcyclers and banker hippies from Saket—you can shop for Moringa powder and apple cider vinegar [‘with mother’] while you wait for a delectable tartines, salads and your mug of kombucha. More frequently than not, they’ll have run out of avacados, which only adds to its robust charm: I’d recommend a

clean brunch here after a night of critical partying. Natty, who heads the place, is an exuberant wealth of information, offering her space to healers and yoga teachers, creating an informal intersection of ideas, treatments, and knowledge. There’s a boutique on the property, run by designer Tia, who once asked me to drive out to her old outpost in Morjim for a fitting and then shamelessly flaked on the appointment without as much as a regret text #totallyavoid. Out in Siolim is Rare Republic, owned by Spaniard Natalia and her husband Sunny, a couple so welcoming I’m amazed folks don’t squat on their premises. I mean, they’d emerge out of duffle sacks and rise to the smartest omelet in town beautifully teamed with cold coffee served out of a jar. Natalia also takes on private catering and I’ve enjoyed her selection of quiches [ask for tomato and spaghetti filling] as much as her sense of humour [check out the Rare Republic parking signage, one reads ‘Parking Only for Hookers’].

Mapusa Market is the best place to pick up tourists. No, I mean literally ‘pick them up’, I’ve seen so many fall over piles of saris, rows of oranges, fountains of fragrant white flowers, stacks of locks and chains [for general home locking not for our buddies from BDSM.com]. Noisy, dirty, and so full of communal perspiration that if this was a Marquez novel I’d half expect to be swept away in tropical torrents of sweat. Luckily, it’s also Authenticity Central in a changing Goa where I only see malls coming up like ugly dildos of corporate greed. Mapusa Market is also antidote to the rubbish flea markets like Anjuna, now peopled with Kingfisher swigging tourists radiating a mid-morning belch mist of rawa fry kingfish indigestion. When I took the artist Roger Ballen to the market to shop, he bought rat cages from Mapusa; if you see a dented rat cage in one of his future photographs you can guess where it came from. Visit on a Friday: it’s so crazy you’re bound to pick someone up. Just not yourself.

Nitesh Tiwari

Film

about directing kids. Going forward, Bhoothnath taught me a lot about special effects…I’d always do my Director, Dangal homework and come to set so that I wouldn’t appear ignorant. It helped improve my skills in a different As we witness India’s golden age direction and that also came in very of sports, a filmmaker is making the handy in Dangal, because Dangal celebration bigger this week. But not takes vfx to another level. in a biopic of the clichéd, glorified, jingoistic kind. For Nitesh Tiwari, What inspired you to direct Dangal? humour has always been a very It was brought to me by my friends at important part of life and hence, no Disney, Manish and Divya, and they struggle must come unspiced with narrated the story brief in about four it. The director says that, perhaps, is lines. When I heard the basic premise what distinguishes Dangal from its of the plot, it kind of intrigued me sermonic forerunners as he takes us but I was not very sure. I told them behind all the groundwork that went I am interested, let’s at least go and into it and making the leap from his meet the people concerned, and maiden Chillar Party to the million- let us write the story and then see dollar playfield. how it goes. That is when we went to Patiala, Bhiwani and Bhowali Take me through your journey in for the initial 10-day research and filmmaking. interviewed everyone—the Phogat For me, the journey has just begun. sisters Geeta and Babita, Mahavir I never consciously walked into Singh-ji, his wife, his cousins…for becoming a filmmaker. It started the first time I saw the wrestlers as an experiment between me in sand and it was awe-inspiring; and Vikas [Bahl], the co-director of nothing like what you’ve seen Chillar Party. We just stumbled upon before. You have a different image a good story and wrote it together, in mind, but it’s an eye-opener we never really wanted to direct it. when you really see it happening. We were looking for directors but I saw how the girls trained at the nobody was willing to do the film National Sports Institute, I spoke because it had 10 kids and one dog to coaches…and when we finally and no stars. So we were left with managed to collect the ingredients, no choice. I had to convince myself we thought we were setting out on to leave my advertising job for something very rich. After the initial 5-6 months to direct a feature film research trip, we thought we had without having any real experience. enough to come back and start the But I realised there was nothing to script. Then we kept going back and lose. Now, I’m glad that I took that forth as we developed the story...we plunge. Chillar Party taught me a lot, made calls, went again, interviewed especially the technical stuff, and

more people, cross-checked the facts. It’s only when you’re really writing that you need to know the next event in complete detail, so we kept reworking that till we thought we had everything right. The family has been very helpful, and each event that unfolded in the process of recreating the story was inspiring for us. How did Aamir come into the picture? It was Aamir who picked Dangal rather than the other way. The screenplay was ready in about a year after going to and fro with specific facts needed to build the story, and it was like a very serious subject so we very consciously wrote it to sound light-hearted. I think when we went and met Aamir sir, he was already aware of the story of Geeta and Babita Phogat and was pretty impressed with the way we had treated the story as writers. He said, ‘Oh it’s motivating and inspiring but not so serious. It’s got everything but most importantly it’s not a heavy film,’ and

I think that’s what made him say yes to it. I do believe that’s true, the humour is very important both in life and film. Every struggle offers its share of things to laugh at. Can you share a little about your creative process? I always write with my team. I don’t think I’ve written any screenplay on my own. I’m a firm-believer in teamwork—if we have more minds working on something, we have more options to choose from. Thankfully I had the luxury of picking my co-writers Nikhil [Mehrotra], Piyush [Gupta] and Shreyas [Jain], who’ve been on my team since Leo Burnett. There’s a great comfort level and we know how to work together. What is next? I have a few subjects that I am toying with, but it’s too early to talk. Honestly, I don’t really make a conscious call…it’s the subject that chooses me.

Kohinoor + The Anarchy William Dalrymple

Literature

Why do you write non-fiction? I remember this one fiction story I wrote as a young boy, and it was terrible! So I turned to non-fiction. But I didn’t start with history. My first three books are all travelogues. I only started writing history when I had children and I no longer travelled. I was drawn to non-fiction particularly in the Indian context when I started out 30 years ago. 1989 is the year that I first came to live here. It was a very odd situation; India was producing very little non-fiction despite having a fascinating history. In the 90s, non-fiction was being written by firangis, and there was no literary non-fiction coming out of India. The likes of Rushdie were going to Penguin; there were often expats doing novels and representing Indians. And as recently as 2004 when I moved back here, there was very little before Maximum City was published that year. It was only later that Basharat Peer wrote Curfewed Night, and Namita Devidayal did The Music Room. Tell us a bit about Kohinoor, the story of the diamond, as you trace it. Kohinoor is a collaborative work between me and Anita Anand, who wrote a book on Maharaja Duleep Singh’s daughter, Sophia. I’m doing the story till the death of Ranjit Singh, and she’s taking the story up from his son Duleep Singh in the second half of the book. We know that the Kohinoor was taken by Nadir Shah, but no one knows how it was acquired by Ranjit Singh or how the British wickedly extracted it from Duleep Singh. It’s a more complicated story than we know. It 25

is my first joint project, but this is a small book. There is another big book I’m doing. Can you tell us about your big book? It is a five-year project which is a book on the rise of the massive East India Company. It was the first multi-national corporation with unprecedented global power, and it con- trolled not just India but the world. Basically, it was militarised trading...The East India Company had an army twice the size of Punjab! The book is called The Anarchy and it traces the fascinating story of the battle between the states and the corporation between 1756 and 1803. It was the first massive example of the misuse of corporate power. This is a corporation whose tentacles are the great octopus that changed history. It’s a vast story, and I love the detective work. You should see it a year from now. What are your thoughts on historical writing in India? For some reason, in India you have a very odd divide where- by you have serious historians only writing in ugly academic prose, and then you have some popular authors who are not academically qualified, but are writing the hero-worshiping stuff. You are only just beginning to get serious nonfiction in India written for a general audience which is a product of four-five years of research and internationally valued. Like Ramachundra Guha’s India Before Gandhi or Srinath Raghavan’s India’s War. And while we see at least one Indian in Nobel Prize shortlists and certainly in long lists, there has rarely been an Indian non-fiction book I know to have made it to the lists...I only know of Samanth Subramanian’s book on Sri Lanka, This Divided Island, being nominated recently. What this means is that India is not writing non-fiction to the international level. But that is definitely changing.

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