logo
The Taste by Vir Sanghvi: The mad, medieval, Raj-era dress codes of Indian hotels and clubs

The Taste by Vir Sanghvi: The mad, medieval, Raj-era dress codes of Indian hotels and clubs

Hindustan Times21 hours ago
Do you think clubs, hotels and restaurants should have dress codes? I suspect that the answer is complicated. Of course, any establishment has the right to choose how it wants its guests to dress, but the restrictions it imposes often tell you more about the hotels and restaurants in question than the hotels themselves realise. Also read | The Taste by Vir Sanghvi: Why James Gunn's Superman is the best since Christopher Reeve The unwritten dress codes in Indian clubs and hotels: A relic of the past or a necessary norm? (Freepik)
Over a decade ago, my wife was refused entry into a club inside Dubai's Atlantis Hotel because the bouncer took exception to her top. It was a modest, and unremarkable top from Marks and Spencer so we couldn't see what the fuss was about. Of course, we always try and respect the sensitivities of every country we visit, so if the outfit had been vulgar or revealing, the bouncer's objections may have made sense. But that was not the case here.
When we questioned him it turned out that it was not propriety that was his concern. Quite the opposite, in fact. His problem was that the dress seemed 'ethnic' and they only allowed people in western dress.
There was nothing ethnic about my wife's top or the jeans she was wearing so he was wrong. But his objections raised a more serious issue: Was he saying that in Dubai they would refuse entry to anyone who wore anything that looked Arab to him?
It turned out that he was saying exactly that.
Would he have objected quite so much if a white person had worn the same top because then the effect would not have been 'ethnic?'( I wish I had kept a picture of that top; it looked roughly as 'ethnic' as Victoria Beckham.) Was he only objecting because, as Indians, we looked as though we could have been Middle Eastern?
The answer to that question is clearly: Yes.
He was reprimanded later, and Atlantis no longer has those kinds of policies. But my point is that he couldn't have been making it all up himself. Clearly someone had given him some instructions about not allowing Arab dress (in an Arab country!) and he had screwed up the implementation.
Indians will not find this story hard to believe. For decades, dating back to the times when India's so-called elite clubs were founded by the British, our clubs have looked down on Indian clothes.
Back in the 1990s, when I was editor of Sunday, a magazine published out of Kolkata, I would periodically hear stories about well known (and not so well known) figures being refused entry into Kolkata's 'elite' clubs because they were wearing kurta pyjamas.
Indian dress was not allowed but fat guys in terylene singlets that strained to contain their paunches and were worn above low hung baggy trousers were welcome. Even at formal events you could wear a suit cut by Ashok Tailor where the jacket would not button up and the trouser legs stopped a few inches above the socks. That was fine. But a guy in an elegant bandhgalla would not be allowed in/ treated as a bumpkin/ mistaken for a waiter. Also read | The Taste by Vir Sanghvi: Delhi welcomes new eateries, but dining experience falls short
I used to find all this deeply offensive and wrote angry articles about it. But nobody really cared; after all, I was the sort of man who wore kurta pyjamas to office! (I did. And I later discovered that I was referred to, behind my back, as either 'that santoor player' or mockingly as 'sarod master.')
The Kolkata clubs seem to have dispensed with all that nonsense now. I went back a year or so ago to speak at the Bengal Club and was relieved to see that it was full of normal people in normal dress and not overrun by the boxwallahs of old who ordered chhotta pegs and pretended that they were at White's or The Athaneum in London.
With hotels, it's a different story. There was a time when Bangkok's The Oriental had rigid dress policies. Around 15 years ago they relaxed them recognising that it was silly to insist on shoes and socks in the humid Bangkok heat. The hotel's flagship restaurant Le Normandie has thrown out its jackets-at-lunch policy and its two great Michelin starred local rivals, Cote by Mauro Colagreco and Blue by Alain Ducasse have a much more relaxed attitude to dress.
In India, hoteliers have decided that their job is really about toes. (Would that make it a toe job?) You can wear Hideously inappropriate sneakers or trainers to formal restaurants and no one will mind.
But showing your toes? Perish the thought!
To some extent, I can understand their reservations about flip flops. But even India's hoteliers, ignorant as they are of global trends, ought to know that fine leather sandals keep showing up in the summer collections in Paris and Milan. They are meant to be worn with suits and with elegant separates.
Of course, nobody in hotel management knows any of this because they are too busy to read newspapers or magazines. (Or even things on the internet.) As far as they are concerned there is no distinction between hawai chappals and high fashion sandals.
A relative of mine was recently refused entry into Vineet Bhatia's Ziya at the Gurgaon Oberoi on the grounds that he was not wearing closed shoes. He was with a friend, a top Dubai chef and restaurateur who was horrified. 'Can't you see they are Hermes?' he asked plaintively.
Last Sunday I got thrown out at tea time of the ground floor bar/ lounge at the Delhi Oberoi because I was wearing sandals. All I wanted was a coffee so I just moved to Threesixty next door where no one minded.
A few months ago they tried to move me out of the restaurant at the Chambers at the Taj in Delhi for wearing the same sandals. I explained to the manager that I was not wearing chappals or flip flops but proper sandals that were fastened from behind. He let me stay.
But somebody who runs a hotel chain will have to explain to me one day what purpose the no sandals rule serves. These guys are running establishments in India not in some mythical Mayfair of their dreams. (And in the real Mayfair, in any case nobody has ever objected to my sandals.) Why not recognise that this is a hot country and must make its own rules. (Bizarrely, if you wear sports shoes without socks to dinner, no Indian hotel objects.)
We run some of the 21st century's best hotels. Why spoil them by imposing dress codes from the 18th century? Foolishness and ignorance, I reckon.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Son of Sardaar 2 Movie Review : A big-hearted, high-energy entertainer
Son of Sardaar 2 Movie Review : A big-hearted, high-energy entertainer

India.com

time7 minutes ago

  • India.com

Son of Sardaar 2 Movie Review : A big-hearted, high-energy entertainer

The Sardaar is back and he is unstoppable. Ajay Devgn is back as Jassi, and this time around is even swaggier than last time. Helmed by Vijay Kumar Arora, this ultimate joy-ride is packed with amazing performance, exotic locales, stellar ensemble, and outsntaing music, an ultimate high-energy enterainer of the year! Ajay Devgn as Jassi, has plans to visit his wife Dimple (Neeru Bawaj) in London. He is excited and full of hopes, as he jets off for a reunion, but his trip doesn't go as planned. Dimple has found love in someone else, she has a boyfriend, and she wants Jassi to move out and she wants a divorcee, and with that she kicks Jassi out of her house. Out of luck and without a roof over his head, Jassi's life takes an unexpected turn when he meets Rabia (Mrunal Thakur), a spirited Pakistani career-woman who runs a company of wedding dancers. The duo strike a connection and Rabia offers Jassi help. Now what starts off as an accidental encounter quickly turns into an unexpected adventure ride, when Rabia ropes Jassi into a plan, with all the good intentions, but it spirals out of control pretty soon. Rabia's colleague Danish (Chunky Panday) daughter Saba (Roshni Walia) is in love with Goggi (Sahil Mehta), the son of the Raja Sandhu (Ravi Kishan), an ultra-traditional man, and he wants a traditional Indian wife for his son. Now entire team of Rabia hails from Pakistani, only member around her is Jassi, who is an Indian. Rabia comes up with a plan only commercial Hindi cinema could pull off, she convinces Jassi to pretend that he is Saba's Indian father, an ex-army officer with traditional values, to impress Raja Sandhu and his family. What follows is a delightful mess of mistaken identities, hilarious misunderstandings, and a wild web of lies that somehow manages to stay heartwarming throughout and keeps on getting complicated and funny. Ajay Devgn as Jassi, steals the show. He is the Sardaar we all need in our lives. He is the heart and soul of SOS 2. His comedy timing is pitch perfect, especially during the scenes where his lies are about to get exposed but he maintain a straight face through the madness. The is the first ever commercial film for Mrunal Thakur, and she manages to ace it. She manages to blend warmth, and strength without going overboard with loud emotions. A special shoutout of Deepak Dobriyal, who played the role of Gul, a transgender. It would be difficult to picture him as anything else after SOS 2. Bhojpuri superstar Ravi Kishan along with Sharat Saxena, Sanjay Mishra, Ashwini Kalsekar, Mukul Dev, Vindu Dara Singh, Dolly Ahluwalia, Kubbra Sait, Chunky Panday, Roshni Walia, and Sahil Mehta, the makers have managed to give space to every character, which is a difficult task for a commercial family drama. Every character in the movie feels needed, and offers something incredibly unique and hilarious. Music Album, is outstanding. The film is packed with soulful and foot-tapping numbers. Songs such as Pehla Tu Duja Tu, Nazar Battu, and Nachdi, captures the spirit of the film perfectly. The film is a treat visually. The story travels from India to London and Scotland, every country is captured beautifully. Produced by Devgn Films and Jio Studios, the film understand its audience and delivers accordingly. If you're in the mood for a feel-good film that will make you laugh, Son of Sardaar 2 is exactly the movie to watch! Director – Vijay Kumar Arora Cast – Ajay Devgn, Ravi Kishan, Mrunal Thakur, Deepak Dobriyal, Kubbra Sait, Chunky Panday, Sharat Saxena, Mukul Dev, Vindu Dara Singh, Roshni Walia, Sanjay Mishra, Ashwini Kalsekar, Sahil Mehta, Dolly Ahluwalia, Neeru Bajwa, Rating – 4

Dhadak 2 movie review: After Saiyaara, the passion in Triptii Dimri and Siddhant Chaturvedi's feels performative
Dhadak 2 movie review: After Saiyaara, the passion in Triptii Dimri and Siddhant Chaturvedi's feels performative

Indian Express

time7 minutes ago

  • Indian Express

Dhadak 2 movie review: After Saiyaara, the passion in Triptii Dimri and Siddhant Chaturvedi's feels performative

Dhadak 2 movie review: A little group, sitting outside their tiny homes, is swapping stories. The tone is civil, but the matter at hand, clearly hypothetical, is deadly serious– about a group of starving humans turning into cannibals, and a victim who gets devoured. Someone says, 'agar Dalit hota toh bach jaata, koi chhoota tak nahin' (If it was a Dalit, no one would have touched him). This line hits hard. Or, it should have. But it stays a throwaway, and we don't really feel the impact as much as we should have. That single dialogue encapsulates centuries of caste-discrimination and exploitation and the almost inhuman resilience that a group of Indian citizens have been forced to live with. But in Shazia Iqbal's 'Dhadak 2', we hear it, and before we could absorb the enormous weight of it, it's gone. I felt the similarly torn while I watched the film (a spiritual sequel of the 2018 Ishaan Khatter-Jhanvi Kapoor 'Dhadak'), where it can be seen reaching for emotional highs, and you will it with all your might to get there, and then along comes another speech-to-camera, another declarative dive, which undermines the moment, and the cumulative drama. It is in the in-between moments that this adaptation of Mari Selvaraj's 'Pariyerum Perumal' comes alive. Set in a city which looks like Bhopal but is never named, a law college becomes the site of the conflict, just the way it did in the 2018 original. Neelesh (Siddhant Chaturvedi) and Vidhi (Tripti Dimrii) are students in the same class, but there's an invisible hawser-like line which divides them: he cannot even pronounce his surname 'Ahirwar' out loud because he will be 'found out' as lower caste, whereas she never has to, as she belongs to an 'upper caste Brahmin' family. The film doesn't draw back from scenes set in squalor, even if those visuals come wrapped in a Neelesh's outburst as he 'introduces' Vidhi to his lived reality — look, that neighbour is a sweeper in homes, that one cleans gutters. We aren't shown the people up close ; they are blurs in the distance. The Tamil original would have stayed on those faces till their outlines became clear, but the Dharma production's focus is the attractive lead pair, artfully made up to look unmade : is that a slight hint of brownface on Neelesh? A romance flowers between the two, but the passion feels a trifle performative. Coming off from 'Saiyaara' where the two young lovers burn up the screen, about the only really effective thing about that film, you feel this even more intensely. Individually, though, both make us watch, and in some places, Dimri more than Chaturvedi. Does the clearly 'privileged' Vidhi (yes, writers Iqbal and Rahul Badwelkar make her use that word for herself) not realise the differences herself? There's a lot of tell underlining the show : Neelesh's initial helplessness at the constant gross humiliation heaped upon him –people literally pissing on him, muck being thrown at him– turning into the mantra of 'maaro ya maro', which finally becomes his only recourse. Watch Dhadak 2 movie trailer here: The instinct for survival kicking in, and the struggle for ceded space, is a reflection of the sentiments coursing through the veins of his mother (an effective Anubha Fatehpura) and college principal (Zakir Hussain). And Neelesh BA LLB at last finds himself arrayed on the side of his people, shown the way by a fighting-for-the-cause senior student, one spot on a front class bench, one push back at a time. A couple of other threads crop up, crowding the canvas. A vigilante (Saurabh Sachdeva) who goes about 'eliminating' the 'gandagi' from the 'samaaj' is hard at work, and turns into one of Neelesh's roadblocks, along with Vidhi's violent cousin, hate-filled chacha, and a newly-married sister (Deeksha Joshi) who is there to tell us that compromise and good matches go hand-in-hand : providing garam puris will always be the domain of the bahu. Neelesh's father (Vipin Sharma) whose job as a cross-dresser dancer is also his vocation, is a matter of shame, which needs to be addressed. This is a film which is clearly on the right side of many of the hot button issues we need to be pressing: casteism, classism, feminism, sexual identities. While at it, you can see an awareness of the wrongs and injustices which have made, and continue to make headlines. A student suicide on campus after his fellowship is stopped because of his 'activism', reminds us of the Rohith Vemula case. Vidhi talks of 'noodles and jeans and cellphones' as things 'good girls shouldn't have'. Her uncle talks of the danger of 'padhi likhi ladkiyaan', and her father (Harish Khanna) is shown as weak, unable to take a clear stand, like so many of us. When Neelesh cries out, can't you see how things are, he is not just calling out Vidhi's blindness– 'mujhe laga yeh sab gaon mein hota hai, yahan nahin'– it is all of ours. Even though the film is never as searing as it could have been, it is miles ahead of the original 'Dhadak', which in turn was an adaptation of Nagraj Manjule's 'Sairat', a blockbuster which redefined the contemporary young love story in Indian cinema. Maybe it is us, the audience which refuses to be repelled, which is to blame, with filmmakers shying away from showing the true depths of discrimination. But it is still important and timely, and as political as a mainstream film is allowed to be in these times, opening with Thomas Jefferson's famous line 'when injustice becomes law, resistance becomes duty'. Dhadak 2 movie cast: Triptii Dimri, Siddhant Chaturvedi, Saad Bilgrami, Aditya Thakare, Harish Khanna, Zakir Hussain, Vipin Sharma, Deeksha Joshi, Manjari Pupala, Saurabh Sachdeva, Anubha Fatehpura, Abhay Joshi Dhadak 2 movie director: Shazia Iqbal Dhadak 2 movie rating: 2.5 stars

AR Rahman Meets KJ Yesudas in Dallas, Calls Him ‘Childhood Favourite'
AR Rahman Meets KJ Yesudas in Dallas, Calls Him ‘Childhood Favourite'

News18

time31 minutes ago

  • News18

AR Rahman Meets KJ Yesudas in Dallas, Calls Him ‘Childhood Favourite'

A.R. Rahman expressed his admiration for K.J. Yesudas, and shared that he is truly amazed by his dedication to Carnatic music and the depth of his research work. Oscar winner and one of India's top music directors A R Rahman, who called on legendary singer K J Yesudas at his home in Dallas, has said that he was amazed by the iconic singer's research work and his love for Carnatic music. Posting a picture of himself with Yesudas on his Instagram page, the Mozart of Madras wrote, 'Met my childhood favourite at his place at #dallas #yesudas …amazed at his research work and love for Indian classical (Carnatic) music !!" A R Rahman was accompanied by several singers at the time of the visit. For the unaware, A R Rahman is currently in North America for The Wonderment Tour. The Wonderment Tour is believed to be Rahman's biggest North American tour ever and the ace musician is to perform in over 15 cities all across America. The first concert was held at Vancouver on July 18 and the last concert, as part of the tour, is to be held Boston on August 18. View this post on Instagram A post shared by ARR (@arrahman) Singer Shweta Prasad, who accompanied Rahman and the other singers to Yesudas's home, also posted a picture of herself with the legends and wrote, 'A blessed and cherishable morning in Dallas #shwetamohandiaries #TheWondermentTour Singer Rakshita Suresh too was another singer who posted about their visit to Yesudas's home. Taking to her Instagram page, she wrote," What a blessed morning! Met the living legend Yesudas sir at his house along with @arrahman sir, and sang a few lines. Still shaking." View this post on Instagram A post shared by Shweta Mohan (@_shwetamohan_) View this post on Instagram A post shared by Rakshita Suresh (@rakshitasuresh) Legendary singer K J Yesudas has sung over a whopping 50,000 songs in various Indian languages including Malayalam, Tamil, Telugu, Kannada, Hindi, Odia, Bengali and Tulu. Fondly called Gaanagandharvan, the ace singer, who has won the National Award for Best Male Playback singer eight times, holds the world record for having sung and recorded 16 new songs in four different languages in a single day. First Published: Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store