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As Ayushmann Khurrana joins the Oscars club, here are five times when the actor made India proud
Ayushmann Khurrana was recently invited to vote on The Academy of Motion Picture Arts and Sciences (Oscars) for his path-breaking contribution to cinema. Along with him, other invitees from across the world included Gillian Anderson, Ariana Grande, Kamal Haasan and Mikey Madison among others. His inclusion in the voting committee for the Academy Awards to be held in March 2026 only further attests his choices for choosing films that create his brand of disruptive, progressive cinema in India.
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But that's not all, here are five times where Ayushmann made India proud, globally!
Invitation to The Academy of Motion Picture Arts and Sciences (Oscars)
The Academy of Motion Picture Arts and Sciences has invited distinguished artists from across the world for their contributions to motion pictures and cinema where they come together to vote for the awards, to be held in March 2026. Ayushmann joins the likes of powerhouse actors and artists like Gillian Anderson, Ariana Grande, Kamal Haasan, Mikey Madison, Jeremy Strong, Kieran Culkin, to name a few.
Only Indian celebrity to be honored twice by TIME in three years!
Ayushmann Khurrana has been honored twice by TIME Magazine – first in 2020, where he was featured in TIME Magazine's prestigious TIME 100 list, which names the most influential people worldwide where he was recognized for his bold choices in cinema and his efforts to normalize conversations around taboo subjects. The second time, he won the TIME100 Impact Award in 2023 in Singapore for using cinema as a tool for social reform.
Global Acclaim For His Films
Ayushmann's films have resonated with audiences across continents, not just resulting in box office numbers, but also being remade in foreign languages. Some of his films that created waves internationally include –
- Andhadhun - Andhadhun went on to become one of the highest grossing films globally making over 450 crore in international markets with 325 crores in China alone! Furthermore, it was even remade in Chinese, titled The Piano Player
- Article 15 - Article 15 was the opening film at the London Indian Film Festival (LIFF) and even went on to win the LIFF Audience Award, receiving praises internationally. Apart from this, it was also screened at the Melbourne Indian Film Festival and Singapore South Asian International Film Festival where it received immense recognition for tackling the subject of human rights with utmost sensitivity
Dua Lipa & Ayushmann's Iconic Moment at the Time100 Gala
Representing India at the Time100 Gala in 2024, Ayushmann looked dapper as he posed alongside global pop icon Dua Lipa, a moment which went viral on social media. From fan requests for Ayushmann to feature on Dua Lipa's next song to people rooting for Dua Lipa's Bollywood's debut with Ayushmann, social media frenzy was at an all time high!
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Only Indian to win the 'Future Leader for One ASIA' at the 22nd annual Unforgettable Gala
Ayushmann was awarded the 'Future Leader for One ASIA' at the 22nd Unforgettable Gala in 2024, presented by Character Media & Golden TV becoming the only Indian actor to bag this award after S.S. Rajamoulli in 2023. Other award recipients alongside him this year included nine time Oscar winner Chinese-American actress Joan Chen as well as globally renowned actor Hiroyuki Sanada, known for his works in Shogun & the John Wick franchise, among others.
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Time of India
28 minutes ago
- Time of India
After Prada Kolhapuri drama, Dior faces backlash over ₹1.67 crore mukaish coat with zero credit to India
Just when the noise around Prada's Kolhapuri chappal fiasco was starting to fade, another luxury fashion house decided to dip into India's rich heritage without so much as a shoutout. Tired of too many ads? go ad free now Yep, we're talking about Dior. And this one's got fashion fans (and a whole lot of Indians) side-eyeing the runway. Here's what went down: Jonathan Anderson, the newly appointed creative director for both womenswear and menswear at Christian Dior, made his grand debut on June 27, 2025, at Paris Fashion Week. The show was packed with A-listers like Rihanna, Robert Pattinson, and Daniel Craig, and naturally, it went viral. But while the buzz was strong, something else caught everyone's attention, a stunning gold and ivory coat with a sharp houndstooth pattern. Sounds luxe, right? Well, it was. It also came with a hefty $200,000 or INR₹1.67 crore INR price tag. Now here's where it gets interesting (and annoying). Fashion content creator Hanan Besnovic, known for his deep-dives on the Instagram page @ideservecouture, did a little digging. In a video post, he pointed out that the eye-catching embroidery on that coat? Yeah, it wasn't just some fancy European handiwork. It was made using mukaish, a traditional Indian embroidery technique from Lucknow, known for its intricate metalwork. Twelve artisans reportedly worked for 34 days to finish this one coat. That's over a month of meticulous craftsmanship. And yet, wait for it, not a single mention of India or the artisans involved. Tired of too many ads? go ad free now No nod to Lucknow. No appreciation for the cultural history behind the technique. Just a pretty coat with a jaw-dropping price tag. This all sounds a bit too familiar, right? Just days ago, Prada found itself in hot water after showing off sandals that were clearly Kolhapuris, but failed to mention anything about their Indian origins. Only after major backlash did they awkwardly add that their design was 'inspired by Indian handcrafted footwear.' Inspired, sure. Now, Dior is taking heat for doing the exact same thing, only this time, with mukaish, a dying art form from India that deserves far more love than it gets. So, what even is Mukaish? Mukaish is a type of metal embroidery that goes back centuries in Lucknow. It's made by inserting tiny twisted metal wires, silver or gold, into fabric to create delicate patterns. There are two main styles: kamdani, where the whole pattern is filled with metal thread, and mukaish (aka fardi ka kaam), where small dots are twisted in to form dainty motifs, usually floral or geometric. Traditionally, mukaish was used to embellish chikankari pieces like sarees and dupattas. But while chikankari became globally loved, mukaish stayed tucked away in the narrow bylanes of Lucknow, kept alive by only a handful of skilled artisans. Now suddenly, it's on the Dior runway, but without the backstory, without the acknowledgement, and without crediting the very people who made it possible. And yes, the houndstooth twist on the traditional technique is super unique, and it is stunning. But it doesn't sit right when a legacy craft from India is used to elevate a Western label's prestige and price point, yet the roots of the craft aren't even mentioned. This is exactly the kind of cultural erasure people are tired of calling out. At a time when conversations about appreciation vs. appropriation are louder than ever, it feels like major fashion houses still haven't quite gotten the memo. Drawing inspiration from another culture is not the issue, it's the silence around where that inspiration comes from that rubs people the wrong way. A model presents a look at the Dior spring 2026 fashion show in Milan in June 2025. (Simbarashe Cha/The New York Times) Here's hoping Dior makes it right. Because let's be honest, if 12 Indian artisans spent over a month hand-embroidering a $200,000 or ₹1.67 crore INR coat, the very least they deserve is to be named.


Time of India
43 minutes ago
- Time of India
Cooking Up a Storm: Desi Chefs Spice up the Big Apple
Tired of too many ads? Remove Ads Tired of too many ads? Remove Ads Tired of too many ads? Remove Ads At 7:30 on a sweltering summer evening in New York City, the Garment District is winding down. The frantic activity of the Big Apple 's fashion hub gives way to a quieter time of day. But the air still hums with the excitement of secrets to be revealed. Times Square is to the north with its bright lights and heaving crowds, while the Empire State Building is unmissable, awash with colour from the lights. The mannequins in the shop windows, draped in sequined fabric, seem glimmeringly sentient. Tucked away on West 37th Street, a storefront announces Chatti in a flamboyant italic script and, in smaller but no less confident font, By Regi is the celebrated Indian chef's toddy shop-inspired, Kerala-style kitchen. And it's part of a wave. New York is in the throes of a spice-sprinkled gourmet glasnost that is unapologetically city's Indian food scene used to be split, only half-jokingly, into butter chicken for the masses, molecular gastronomy for the those extremes lay an arid vacuum. The ground has shifted with a bunch of intrepid, creative chefs serving Indian food that's uncompromisingly hyperlocal and high concept to NYC. Diners can't get enough of it. And the food critics, powerful enough to make or break restaurants in this part of the world, are the first time in its nearly century long history, the New York Times anointed an Indian restaurant—Semma—as No. 1 in its Top 100 Restaurants in NYC South Indian fine-dining destination, helmed by chef Vijay Kumar (formerly of California's Michelin-starred Rasa) and backed by restaurateurs Roni Mazumdar and Chintan Pandya of Unapologetic Foods, has emerged as an unmistakable disruptor in fine dining. Alongside Semma, several other Indian restaurants made it to the Times' Top 100, including Dhamaka, known for its fiery, rustic menu from the Indian hinterlands; Masalawala undefined Bungalow , a newer entrant from celebrity chef Vikas Khanna blending artful plating with deep-rooted Punjabi flavours; and Dera, a Jackson Heights staple offering a rich blend of Indian, Pakistani, and Bangladeshi Foods is at the heart of this spice-splashed revolution. Pandya has also won the much sought-after James Beard prize for chefs. Most importantly, their growing empire—Semma, Dhamaka, Adda, Masalawala & Sons and Rowdy Rooster—doesn't pander to Western palates. Dhamaka and Semma are booked months in advance. Diners are lucky if they can snag a reservation on Resy.'The Indian food scene right now is as exciting as it's ever been in New York City,' says veteran food writer Andrea Strong. 'And that's in large part because of Chintan and Roni and Vijay.'Bungalow is Vikas Khanna's most personal offering to date.'This is my last restaurant,' he says, a culinary venture that caps off a 41-year career. 'New York is not an easy restaurant space, of course; it's the greatest, and it's also the toughest.'With Bungalow, he's reclaiming memory, an ode to what his late sister told him after admonishing him for 'chasing lists.''I have so many failed businesses where I could not break the code,' he says, but Bungalow is his York has had great South Asian food for quite some time, says Ryan Sutton, a food critic who has spent over two decades writing about food for Eater and now publishes The Lo Times. 'I remember going to a wedding at the original Junoon about a decade ago—probably the best wedding food I've ever had.'There was also Hemant Mathur's now-closed Tulsi, which had a Michelin star, like Junoon. 'And of course Indian Accent rolled into town a while back, and that venue (like the late Floyd Cardoz's shuttered Tabla) proved that New Yorkers were willing to pay a serious premium for really good South Asian fare,' remembers Sutton. But admittedly, what's going on is more exciting than just trendy amuse Chatti, the room is filling up fast. Within the hour, it's packed—tables claimed, voices rising in a familiar rhythm. For a moment, it doesn't feel like New York anymore.'For so long, people only knew one kind of Indian food,' says Mathew. 'People become like a community… good food in smaller portions. Now, they're discovering the flavours of Kerala. They're discovering our stories.'Stories that—until a few years back—weren't an option in the fine dining circuit of New York's food scene. These ideas were mostly pushed to the confines of the immigrant-reliant borough of Queens.'What's happening is not a trend,' says Pandya, who fired up the kitchen at Dhamaka, listed as a Michelin Bib Gourmand restaurant. 'I think it took a lot of crazy steps, almost, that didn't make logical or business sense for us to arrive at this point, and those were the breakthroughs that we needed.'What is happening differently with Indian food, and specifically in their restaurants, is that they are serving the real thing. 'Food we've been cooking for a long time—at our households, at our events—but it was never represented,' says March 2017, common friends had introduced Mazumdar and Pandya to each other. Pandya says Mazumdar was 'a crazy entrepreneur' who wanted someone to partner with.'We knew one thing—our cuisine needed a radical shift,' Mazumdar says. 'Chintan had spent his whole career in fine dining. I came in with a disruptive mindset. That's where we connected. We didn't have a white paper or a protocol.'It was uncharted territory. Indian food had never really worked in this city. 'So we asked, what do we do about it?'Whether that meant serving gurda kapoora (goat kidney and testicles) or refusing to do takeout at the pandemic-born Dhamaka.'The very first time when you open the lid of a freshly cooked dish and that steam comes out—that's a dhamaka,' Pandya says. 'I cannot recreate that in a plastic container.'Currently, Semma is what every Indian wants to talk about. Kumar has taken the city by storm, given that it's unprecedented for a Tamil food-centric restaurant to get a Michelin Kumar wasn't hired to build Semma. He had written to Mazumdar when Rahi launched, saying he would love to join them he finally joined the kitchen at Rahi, his dishes stood out. At that point, Mazumdar said if they end up serving this, they would end up confusing Rahi's core consumers. So Semma was born. Rahi has since closed.'Semma showcases Tamil Nadu. Masalawala brings Kolkata. Dhamaka brought offal. This isn't about fusion or elevation. It's about recognition,' says says: 'The food is spicy, it's loud, it's rowdy, and it's fun. There's an energy to it that's similar to what you'd find in Bombay or Calcutta.'Unapologetic Foods is planning to open an Adda in Philadelphia and a fast-casual Kababwala in NYC by the end of this at Chatti, Mathew is busy attending to guests at every table—explaining toddy shop culture. Khanna says there are nights he sees scores waiting outside. 'They're just coming as a part of a pilgrimage. Agar restaurant ye create kar sakta hai, it means there's so much more.'For the first time, Indian food in New York isn't whispering. It's making noise—and it's not asking for permission. It's unapologetically Indian.


Economic Times
an hour ago
- Economic Times
Semma to Chatti and Bungalow: Desi restaurants in Big Apple do a Dhamaka
Indian restaurants in New York are going unapologetically hyperlocal New York: At 7:30 on a sweltering summer evening in New York City, the Garment District is winding down. The frantic activity of the Big Apple's fashion hub gives way to a quieter time of day. But the air still hums with the excitement of secrets to be revealed. Times Square is to the north with its bright lights and heaving crowds, while the Empire State Building is unmissable, awash with colour from the lights. The mannequins in the shop windows, draped in sequined fabric, seem glimmeringly sentient. Tucked away on West 37th Street, a storefront announces Chatti in a flamboyant italic script and, in smaller but no less confident font, By Regi is the celebrated Indian chef's toddy shop-inspired, Kerala-style kitchen. And it's part of a wave. New York is in the throes of a spice-sprinkled gourmet glasnost that is unapologetically city's Indian food scene used to be split, only half-jokingly, into butter chicken for the masses, molecular gastronomy for the those extremes lay an arid vacuum. The ground has shifted with a bunch of intrepid, creative chefs serving Indian food that's uncompromisingly hyperlocal and high concept to NYC. Diners can't get enough of it. And the food critics, powerful enough to make or break restaurants in this part of the world, are the first time in its nearly century long history, the New York Times anointed an Indian restaurant—Semma—as No. 1 in its Top 100 Restaurants in NYC list. The South Indian fine-dining destination, helmed by chef Vijay Kumar (formerly of California's Michelin-starred Rasa) and backed by restaurateurs Roni Mazumdar and Chintan Pandya of Unapologetic Foods, has emerged as an unmistakable disruptor in fine dining. Alongside Semma, several other Indian restaurants made it to the Times' Top 100, including Dhamaka, known for its fiery, rustic menu from the Indian hinterlands; Masalawala & Sons, a nostalgic tribute to Bengali home cooking; Bungalow, a newer entrant from celebrity chef Vikas Khanna blending artful plating with deep-rooted Punjabi flavours; and Dera, a Jackson Heights staple offering a rich blend of Indian, Pakistani, and Bangladeshi Foods is at the heart of this spice-splashed revolution. Pandya has also won the much sought-after James Beard prize for chefs. Most importantly, their growing empire—Semma, Dhamaka, Adda, Masalawala & Sons and Rowdy Rooster—doesn't pander to Western palates. Dhamaka and Semma are booked months in advance. Diners are lucky if they can snag a reservation on Resy.'The Indian food scene right now is as exciting as it's ever been in New York City,' says veteran food writer Andrea Strong. 'And that's in large part because of Chintan and Roni and Vijay.'Bungalow is Vikas Khanna's most personal offering to date.'This is my last restaurant,' he says, a culinary venture that caps off a 41-year career. 'New York is not an easy restaurant space, of course; it's the greatest, and it's also the toughest.'With Bungalow, he's reclaiming memory, an ode to what his late sister told him after admonishing him for 'chasing lists.''I have so many failed businesses where I could not break the code,' he says, but Bungalow is his homecoming. New York has had great South Asian food for quite some time, says Ryan Sutton, a food critic who has spent over two decades writing about food for Eater and now publishes The Lo Times. 'I remember going to a wedding at the original Junoon about a decade ago—probably the best wedding food I've ever had.' There was also Hemant Mathur's now-closed Tulsi, which had a Michelin star, like Junoon. 'And of course Indian Accent rolled into town a while back, and that venue (like the late Floyd Cardoz's shuttered Tabla) proved that New Yorkers were willing to pay a serious premium for really good South Asian fare,' remembers Sutton. But admittedly, what's going on is more exciting than just trendy amuse bouche. Inside Chatti, the room is filling up fast. Within the hour, it's packed—tables claimed, voices rising in a familiar rhythm. For a moment, it doesn't feel like New York anymore.'For so long, people only knew one kind of Indian food,' says Mathew. 'People become like a community… good food in smaller portions. Now, they're discovering the flavours of Kerala. They're discovering our stories.'Stories that—until a few years back—weren't an option in the fine dining circuit of New York's food scene. These ideas were mostly pushed to the confines of the immigrant-reliant borough of Queens.'What's happening is not a trend,' says Pandya, who fired up the kitchen at Dhamaka, listed as a Michelin Bib Gourmand restaurant. 'I think it took a lot of crazy steps, almost, that didn't make logical or business sense for us to arrive at this point, and those were the breakthroughs that we needed.'What is happening differently with Indian food, and specifically in their restaurants, is that they are serving the real thing. 'Food we've been cooking for a long time—at our households, at our events—but it was never represented,' says March 2017, common friends had introduced Mazumdar and Pandya to each other. Pandya says Mazumdar was 'a crazy entrepreneur' who wanted someone to partner with.'We knew one thing—our cuisine needed a radical shift,' Mazumdar says. 'Chintan had spent his whole career in fine dining. I came in with a disruptive mindset. That's where we connected. We didn't have a white paper or a protocol.'It was uncharted territory. Indian food had never really worked in this city. 'So we asked, what do we do about it?'Whether that meant serving gurda kapoora (goat kidney and testicles) or refusing to do takeout at the pandemic-born Dhamaka.'The very first time when you open the lid of a freshly cooked dish and that steam comes out—that's a dhamaka,' Pandya says. 'I cannot recreate that in a plastic container.'Currently, Semma is what every Indian wants to talk about. Kumar has taken the city by storm, given that it's unprecedented for a Tamil food-centric restaurant to get a Michelin Kumar wasn't hired to build Semma. He had written to Mazumdar when Rahi launched, saying he would love to join them he finally joined the kitchen at Rahi, his dishes stood out. At that point, Mazumdar said if they end up serving this, they would end up confusing Rahi's core consumers. So Semma was born. Rahi has since closed.'Semma showcases Tamil Nadu. Masalawala brings Kolkata. Dhamaka brought offal. This isn't about fusion or elevation. It's about recognition,' says says: 'The food is spicy, it's loud, it's rowdy, and it's fun. There's an energy to it that's similar to what you'd find in Bombay or Calcutta.'Unapologetic Foods is planning to open an Adda in Philadelphia and a fast-casual Kababwala in NYC by the end of this at Chatti, Mathew is busy attending to guests at every table—explaining toddy shop culture. Khanna says there are nights he sees scores waiting outside. 'They're just coming as a part of a pilgrimage. Agar restaurant ye create kar sakta hai, it means there's so much more.'For the first time, Indian food in New York isn't whispering. It's making noise—and it's not asking for permission. It's unapologetically Indian.