What goes into making a bridal outfit?

Draped in Dream Designs

What goes into making a bridal outfit? Time-intensive craftsmanship, sometimes gold, emeralds and rubies, and at times a weaver’s life-long work. India’s leading bridal-wear designers talk about their favourite bridal design

Anita Dongre This lehenga from my India Modern collection truly exemplifies ‘India Modern’. While the lehenga is red—a traditional colour, the treatment and style is modern, which resonates with the style philosophy of a modern-day bride. She is non-conformist, free-spirited and independent, yet she likes a hint of traditionalism in her bridal ensemble. This lehenga, which took about a month and a half to create, is made from raw silk, embellished with gota patti. The crop-top style choli paired with this lehenga, is a beautiful blend of the traditional and contemporary look. Tarun Tahiliani A triumph of layering, a gorgeous silk trellis is created and fastened on to tulle, which acts as a base for floral thread work and gota flowers, which are interspersed with soldered Swarovski crystals in a multitude of subtle colours including new developments in topaz, silk and the current trend of opals creating a dull and watery glaze. The lehenga starts at the top in a beige gold and drips into an ombre of rust orange velvet border. On this is a panelled long odhna veil which trails the skirt, embroidered through which is a lehriya pattern that has a spine of three dimensional Swarovski crystal. Ritu Kumar For Kareena Kapoor’s wedding outfit, the antique, traditional joda passed down to Sharmila Tagore was recreated by the craftsmen, whose family belonged to the era of Wajid Ali Shah, the exiled King of Oudh. We used gold Banarasi fabric, which was woven in the likeness of the fabrics used for the original ensemble. The traditional bridal attire consists of a kurta, farshi pajama and dupatta made of rust and gold tissue, which contrasts subtly with the soft-green satin gota at the hem. The odhni is original from the time of the last century and was recreated to form the final part of the ensemble.

Australia “invited the world to dinner

An Epic Epicurean odyssey

A nine-hour dinner that pampered all her senses, teased her intellect and blew her mind. Rashmi Uday Singh is seduced by the Australian gastronomic experience

Recently, Australia “invited the world to dinner” and declared that for this path-breaking occasion, three of its top chefs would be cooking together. I confess, initially, I was skeptical, but sure, I was flattered and thrilled to be invited as one of the 80 (only 80) “global food influencers” by Australia. I was going to be in fabulous company...superstar chefs like Heston Blumenthal, Alice Waters, Matt Preston, Maggie Beer, writers like AA Gill and many others. It was not a dinner, but an epic that is best explained in chapters. Chapter 1: A 15-MILE-LONG DINNER We begin 'the' day on a sunny, windswept pier in Hobart, Tasmania, with the finest and fleshiest oysters pulled fresh from the ocean, complemented by House of Arras sparkling wines and a live orchestra. We are then ushered onto speedboats, zipping through bracing icy winds to a picturesque rocky island dotted by fire pits and pink flowers. CHAPTER 2: ON AN ISLAND We are now on the island, at Ben Shewry's restaurant, Attica, coddled in the warmth of soft blankets, as we devour the freshest of seafood being grilled by Australia’s greatest chefs—Neil Perry, Ben Shewry and Peter Gilmore. Amidst fire pits and indigenous storytellers, the three head chefs of Restaurant Australia treat the guests to the first of many creative courses—King George whiting in paperbark and grilled baby corn with forest anise from Ben Shewry; Peter Gilmore’s charcoal-grilled West Australian marron with wasabi butter and roasted wallaby tail broth; wood-roast Tasmanian lobster with kombu butter and charcoal-grilled Tasmanian abalone with liver, sake and mirin dressing by Neil Perry. They were all complemented by outstanding Australian vintage sparkling bruts. CHAPTER 3: DINING IN THE MUSEUM We then sail across in a huge boat to the iconic Museum of Old and New Art (MONA) and fireworks light up the sky as we climb up the fortress. MONA, which sprawls across eight acres, is also home to a winery, brewery, restaurants, luxury accommodation and much more. Here, the main courses are served on a gargantuan snake-shaped table. We are seduced by amazing flavours and textures of the freshest produce (be it beef, seafood or kangaroo). At MONA, the three chefs blurred the lines of cooking and art, each presenting a unique course served with six matching Australian wines. Ben Shewry presented salted South Australian red kangaroo and bunya bunya; Peter Gilmore prepared a dish of smoked and confit pig jowl, black lipped abalone, koji, fermented grains, shitake and seaweed; Neil Perry served grilled sirloin, braised cheek, oxtail and tea- smoked oyster red curry. CHAPTER 4: ROVING SWEET AND STICKY CELEBRATION After non-stop eating, as we walk down to a lower floor of the museum for the dessert course, we see bird nests on mock trees, each with sweet white eggs. Here Ben Shewry sits behind his ice-cream cart and serves us dollops of seduction—his famous Blue Wren eggs. Peter Gilmore serves fresh lychee, vanilla, rose, coconut prune, salted caramel, jersey cream; while Neil Perry’s date tart mango, pandan and coconut thrills us. We also sample the first raw milk blue cheese to be produced in Australia, King Saul by South Australian cheese makers, Udder delights. The experience was rounded off with a decadent cheese board, which is produced by Bruny Island Cheese Company and Holy Goat. A dinner that spanned nine hours, sure it was epic!