GULSHAN EWING FEATURED ARTICLES FOR MODERN WORKING WOMEN IN HER TITLES
by AMIT ROY
GULSHAN EWING, who died last month, aged 92, from coronavirus at a care home in London, was photographed with the likes of Cary Grant, Gregory Peck, Alfred Hitchcock, Danny Kaye, Ava Gardener and Roger Moore when she was the glamorous editor of Star & Style, a film magazine in Bombay (now Mumbai) from 1966 to 1989.
She also met the Italian director Roberto Rossellini as well as Prince Charles and danced with Lord Astor.
She was simultaneously editor of a woman’s magazine called Eve’s Weekly, for which she interviewed Indira Gandhi in April 1975 – only weeks before the Indian prime minister locked up opposition leaders and imposed a state of emergency on June 25, 1975.
“That my mother helped so many young journalists get their first break makes me so proud,” her daughter, Anjali Ewing, 59, who has herself been a journalist in the UK but now gives private tuition to 11-plus pupils and offers yoga lessons and videos to schools, told Eastern Eye.
“The black and white pictures are very evocative of a 1940s-50s kind of Hollywood glamour,” said Anjali, who has been going through her mother’s collection of old photographs. “She didn’t go to Hollywood – these people must have come to India to promote something.”
Her mother became something of an icon in Indian high society. Eve’s Weekly became increasingly feminist and moved from covering recipes and fashion to “more powerful stories about working women”.
Anjali explained that Star & Style was a fortnightly magazine, which “covered showbiz and films, Indian and Hollywood. It had a gossip columnist called Devyani Chaubal, who was very, very good at her job. She riled all the actors and directors – she used to get amazing stories about what everyone was up to. They would get very angry and call my mother and shout and scream, and my mother would always back Devyani.”
Her father, Guy Ewing, a Scotsman who was born in Paris and had grown up in Manchester, met Gulshan Mehta, who was born into a Parsi family in Bombay in 1928. Just after Indian independence in 1947, when most British people were fleeing India to return to the UK, Joseph Dennis Ewing made the journey in the opposite direction. He left Manchester for a job in Calcutta (now Kolkata) as a financial editor of The Statesman, then the most distinguished paper in India. His son, Guy, 17 at the time, also began in journalism in the city before venturing to Bombay a couple of years later.
Anjali takes up the story about how her parents met: “My dad was outside the Strand Cinema in Bombay with a friend of his and he spotted my mother with a group of her friends. His friend, Charlie, said, ‘Oh, that’s Gulshan Mehta, she works at Current, she is a journalist.’
“My dad said, ‘If you know her, can you get us together? His friend said, ‘Come on, I will introduce you.’ My dad said, ‘No, no, not like this. Why don’t you throw a get-together of some kind?’
“So Charlie threw some kind of party and he invited my mum. And my dad monopolised her for the entire evening. Apparently, he proposed towards the end of the evening. My mother said, ‘Don’t be silly. You are tipsy.’ So, he promised to propose sober the next day which apparently he did do. They courted for a year, got married in 1955 and stayed on in India.
“My mother must have been very Parsi growing up but when she married my father, she got excommunicated from the religion – she couldn’t go to the fire temple. She was quite westernised, anyway. Being with my father, we all spoke English at home. It was a very English household in India.
“They came to live here in the UK with my grandparents for a year after their marriage – my mother worked with Air India – but then went back to India. My brother Roy was born in 1957 and I was born in 1961. After they retired, they came to the UK in 1990 and settled in Surbiton. My dad died in 2018.
“I have been here since 1983, working mainly as a sub-editor for the Asian Post and the Ealing Gazette, and then for the Daily Mail, the Sunday Times, the Telegraph, and for 12 years as a feature writer with TV Times magazine and for three years with Hello! where I covered Melania’s wedding (to Donald Trump).”
In retirement in England, her mother would be nostalgic about her days in Bombay. “She used to watch a lot of Indian movies and immerse herself in (film) magazines like Stardust.”
Anjali was with her mother in her last moments: “I was very lucky – I was with her when she passed away. She had no suffering, she had no distress, she went without any medical intervention or drugs of any kind so she had a ‘good coronavirus death’. I want to celebrate her life. She has had an amazing life.”
Affectionate tributes have been paid by many people in India who remembered Ewing from her time as editor of two influential publications.
Meher Castelino, who won the Miss India title in 1964 and was encouraged by Ewing to become a fashion journalist, recalled: “I can never forget her elegance. Cigarette attached to a long stylish filter in one hand, clad in beautiful, printed, chiffon saris, elegantly styled décolleté cholis and perfectly coiffured hair, Gulshan would float into a room enveloped in the most exotic perfume. She was the ultimate style diva of the days and in a coterie of male editors, she was a breath of fresh air.
“Gulshan Ewing was decades before her time. The subjects magazines cover now were visualised by her along with fashion features years ago. For me, Gulshan will always be the ultimate editor who had elegance, style, grace and above all a personality, which was not only friendly, warm and memorable, but also unforgettable.”
Gulshan Ewing née Mehta, was born in Bombay (now Mumbai), on March 20, 1928. She died in London on April 18, 2020
A new mural by street artist Banksy has appeared on the Royal Courts of Justice building in central London.
The artwork depicts a judge hitting a protester, with blood splattering their placard.
It comes days after nearly 900 arrests at a London protest against the ban on Palestine Action.
The mural has been covered and is being guarded by security; Banksy confirmed authenticity via Instagram.
Banksy’s latest work at the Royal Courts of Justice
A new mural by the elusive Bristol-based street artist Banksy has appeared on the side of the Royal Courts of Justice building in central London.
The artwork shows a judge in traditional wig and black robe striking a protester lying on the ground, with blood depicted on the protester’s placard. While the mural does not explicitly reference a specific cause or incident, its appearance comes just two days after almost 900 people were arrested during a protest in London against the ban on Palestine Action.
Security and public access
Social media images show that the mural has already been covered with large plastic sheets and two metal barriers. Security officials are guarding the site, which sits beneath a CCTV camera.
Banksy shared a photo of the artwork on Instagram, captioning it: “Royal Courts Of Justice. London.” This is consistent with the artist’s usual method of confirming authenticity.
Location and context
The mural is located on an external wall of the Queen’s Building, part of the Royal Courts of Justice complex. Banksy’s stencilled graffiti often comments on government policy, war, and capitalism.
Previous works in London
Last summer, Banksy launched an animal-themed campaign in London featuring nine works. The series concluded with a gorilla appearing to lift a shutter at the London Zoo. Other notable pieces included piranhas on a police sentry box in the City of London and a howling wolf on a satellite dish in Peckham, which was removed less than an hour after unveiling.
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Works are painted on bark cloth from Lake Victoria
Artist Shafina Jaffer presents a new chapter of her Global Conference of the Birds series.
The exhibition runs from 7–12 October 2025 at Mall Galleries, London.
Works are painted on bark cloth from Lake Victoria, combining spiritual themes with ecological concerns.
Exhibition details
Artist Shafina Jaffer will open her latest exhibition, Whispers Under Wings (Global Conference of the Birds), at the Mall Galleries in London on 7 October 2025. The show will run until 12 October 2025.
This practice-led series reinterprets Farid ud-Din Attar’s 12th-century Sufi allegory, Conference of the Birds, reflecting on themes of unity, self-realisation and the idea that the Divine resides within.
Material and meaning
Each work is painted on sustainably sourced bark cloth from the Lake Victoria region, using natural pigments, minerals and dyes. Large panels are formed from the bark of single trees, aligning material ecology with the spiritual narrative.
The series weaves together sacred geometry, Qur’anic verses and depictions of endangered bird species, underscoring the connection between ecological fragility and spiritual awakening.
Previous recognition
Whispers Under Wings follows earlier presentations in London and Dubai, extending the project’s message of peace, unity and environmental care.
A central work from the series — the Simurgh, conceived as a symbol of light (Noor) — was recently acquired by Prince Amyn Aga Khan for the new Ismaili Centre in Houston. A feature on the exhibition also appears in the September edition of Twiga, Air Tanzania’s inflight magazine.
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Each character in the set has been carefully designed to reflect cultural narratives
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”
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Aditya Chopra (right) with his father, Yash Chopra
BOLLYWOOD filmmaker Aditya Chopra was last Thursday (21) named among the nominees of the UK Stage Debut Awards for his Come Fall in Love – The DDLJ Musical, performed at Manchester’s Opera House earlier this year.
Chopra delivered a blockbuster in 1995 with Dilwale Dulhania Le Jayenge, popular as DDLJ, with Kajol and Shah Rukh Khan in the lead roles. It was adapted to a theatrical production and had its UK premiere in May.
Chopra reprised his role as director of the English stage production, which revolves around the love story of Simran and Roger.
Shah Rukh Khan visits the cast of Come Fall in Love The DDLJ Musical during rehearsals in London Danny Kaan
“This year’s nominees embody the future of British theatre, and I can’t wait to celebrate their achievements,” said Alistair Smith, editor of The Stage theatrical publication.
“This year there are several individuals with south Asian heritage being recognised for their excellence in directing: among the nominees is Amit Sharma for Ryan Calais Cameron’s Retrograde (in the Best Creative West End Debut category),” said the awards panel in a statement.
Also nominated are Adam Karim for Guards at the Taj at the Orange Tree Theatre, London, and visionary Indian filmmaker Aditya Chopra for Come Fall In Love at Manchester’s Opera House, who are both in the running for the best director category, the statement added.