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
Panellist Hailey Willington (BPI), Roshan Chauhan (Daytimers), Indy Vidyalankara (UK Music/BPI), Kara Mukerjee (Warner Music Group), Mithila Sarna (Arts Council England), and Jataneel Banerjee (PRS for Music) at Lila’s “Future Unveiled” event, held at the BPI office in London on September 16, 2025
Only 28% of South Asian musicians in the UK can rely on music as a full-time income
Around seven in ten say they are overlooked or unseen in key industry roles
Artists face repeated challenges like family worries about stability, difficulty accessing money, and no guidance from mentors
The community agrees the path forward needs proper guidance, visible decision-makers, and financial support tailored to their journey
Surveyed artists work across multiple genres and aim for global audiences but face structural challenges
When the lights went down at the BPI’s London office for Lila’s “Future Unveiled” event in mid-September, speakers and delegates were not gathering to celebrate a triumph. They had gathered to confront a simple, brutal truth: the music industry was failing them. For South Asian artists and professionals, the dream of a lasting career was crashing against a set of measurable, stubborn barriers. The South Asian Soundcheck changed that. It was impossible for the industry to continue ignoring the data since it was evident and impossible to overlook.
Panellists Hailey Willington (BPI), Roshan Chauhan (Daytimers), Indy Vidyalankara (UK Music/BPI), Kara Mukerjee (Warner Music Group), Mithila Sarna (Arts Council England), and Jataneel Banerjee (PRS for Music) at Lila’s “Future Unveiled” event, held at the BPI office in London on September 16, 2025
Data reveals daily struggles behind the statistics
Statistics, however damaging they may be, cannot tell the complete story. Each percentage point represents a daily struggle. The survey, run by the non-profit Lila, gathered voices from 349 creators, managers, producers and industry workers, revealing a community bursting with talent but stranded without a map to sustainable work.
Financial precarity and invisibility
The numbers are stark and consistent. Consider the financial reality: only 28% can actually make a living from their music. For the vast majority, it's a side hustle. Compounding this is a deep-seated sense of erasure: nearly seven in ten (68%) feel they are either poorly represented or entirely invisible within the business. The study laid bare the personal toll.
Lila’s Data Consultant Sania Haq presenting the findings of the South Asian Soundcheck
The weight of stereotypes and family pressure
Imagine constantly being told what kind of music you should make, based purely on your name or skin colour; 45% of respondents face that very stereotype. Then there’s the pressure at home, with two in five (40%) navigating family concerns that this path is just too unstable. And cutting through it all is the blunt reality of prejudice: a sobering 32% have faced direct racial discrimination in their careers.
Beyond prejudice: the missing links of money and mentorship
These aren't abstract figures. They outline the reality of versatile professionals. Respondents said they work across an average of seven genres, yet are systematically shut out from the rooms where line-ups are decided, artists are signed, and real power is held.
The report also flagged practical barriers beyond prejudice. More than half, that is 54%, said they struggled to access funding, and similar numbers described gaps in industry networks and business knowledge such as contracts and rights. That combination; lack of money, know-how and connections is what stalls careers, not a shortage of talent.
Sophie Jones, CSO at the BPI, delivers the opening speech of the evening
The “Progress Paradox”
Lila founder Vikram Gudi framed the findings with a phrase the report uses repeatedly: the Progress Paradox. While 69% of respondents say they have seen improvements in South Asian visibility over the past two years, that perceived progress has not translated into representation where it matters: the boardrooms, A&R desks and festival programming committees that allocate budgets and define careers.
“Seventy-three percent earn some money from music, but only 27% earn enough to rely on it as a sustainable career,” Gudi told delegates, summarising a gap that numbers alone struggle to convey. The report also notes the headline figure of 28% who can rely on music full-time. Think about that. Nearly three-quarters are making some money from music, scraping together a living from their art. Yet barely a quarter can actually depend on it to pay the rent. That void, between grinding away and truly building a life, is where the real story lies.
Vikram Gudi presented key findings to label executives festival programmers and trade bodies
The invisible wall of representation
That gap is compounded by what respondents described as an “invisible wall”: the absence of people who look like them in positions of power. Two-thirds of those surveyed identified the lack of South Asian professionals in industry roles as the single biggest barrier to progression. Without visible senior figures, the path into senior programming, label deals and streaming strategy remains shadowy and difficult to navigate.
Without mentors who have lived the same experience, many feel they are learning the rules of the business in public. One anonymous respondent summed it up bluntly: “There are virtually no visible and successful South Asian artists in the mainstream, people simply do not know where to place us.”
A three-part solution
The Soundcheck does more than catalogue obstacles; in fact, it points clearly to remedies. So, what’s the way out? The response from the community was crystal clear. Roughly three-quarters agreed on a three-part prescription for survival.
First: mentoring that actually teaches you the rules and points you to decision-makers. Second: real representation in the rooms that sign, programme and pay artists. And third, they need dedicated funding and actual financial pathways that are accessible and understand their unique journeys.
The report makes it clear these aren't just items on a list; they are interconnected. Without funding, representation is an empty gesture. Without mentorship, that funding is likely to be wasted. Each element needs the other to actually work.
Suren Seneviratne from the DAYTIMERS Collective
The emotional cost of being boxed in
Respondents described the everyday consequences of those structural gaps. Artists who work across multiple genres said they were routinely typecast: an electronic producer might be nudged towards “Asian Underground” tracks; a classically trained musician expected to add bhangra flourishes regardless of artistic intent. For 40% of respondents, pursuing music means repeated conversations at home about financial security.
For many, the prize of mainstream validation remains distant, and the cost of trying to bridge that gap is emotional as much as economic. One participant put it simply: “All I want is to tell my mum I have been booked to play at my favourite venue and for her to be excited, but I cannot.” These testimonies are threaded throughout the report to give voice to the statistics.
The global ambition vs. local limits
The study also highlights a further artistic anxiety: 45% worry that specialising in South Asian music will limit their broader industry opportunities, and 71% believe the industry has limited acceptance for artists who do not fit traditional categories. In short: artists are ambitious and global in outlook, but the industry still thinks in narrow boxes.
Members of Warner Music’s ERG with some of the Lila TeamAudience at South Asian Soundcheck The Future Unveiled showcase at Tileyard Studios,London
Industry reaction and next steps
Industry bodies took the findings seriously at the launch. The Soundcheck is supported by major organisations including UK Music, the BPI, the Musicians’ Union (MU), Warner Music Group (WMG), the Music Managers Forum (MMF), Arts Council England and PRS for Music, and the research also consulted groups such as Bradford City of Culture and the Association of Independent Festivals. Lila unveiled eight key insights at Future Unveiled on 16 September 2025, in a preview hosted by BPI in partnership with Warner Music Group and Elephant Music, an assembly of partners that suggests the report has the power to move institutional levers if they choose to act.
From talk to tangible change
The survey reveals a tension that defines many of their careers: this gap between putting in the work and finding security shows why targeted help is necessary. After the report came out, the room’s discussion turned straight to solutions: pilot mentorship programmes, clearer access to funding, and real initiatives to bring in fresh talent.
The response from music publications and activist circles hasn't been an outright celebration, but wary optimism. Coverage in specialist outlets described the Soundcheck as the missing piece of evidence needed to shift diversity conversations from moral urgency to measurable targets. Commentators emphasised the report’s value in informing pilot programmes like mentorship schemes, targeted grant funds and recruitment pipelines, and in providing a baseline against which progress can be tested.
Members of Warner Music\u2019s ERG with some of the Lila Team www.easterneye.biz
The real test: action or another interim?
Implementation will reveal whether the Soundcheck becomes a catalyst for change or another well-documented interim. The report’s message to the industry is blunt: warm sentiments won’t cut it anymore. What’s needed are tangible, funded pathways. That starts with grant programmes and fellowships built specifically for South Asian artists, rather than asking them to contort themselves to fit outdated criteria. It means pushing the doors open, hiring programmers, A&Rs and commissioners, and making a real, public effort to find this missing talent.
And mentorship can’t be a coffee meeting that goes nowhere; it has to be a dedicated bridge, linking emerging artists with established figures who have the clout to actually pull them up. The ultimate goal is to plant champions in the rooms where it counts, people who grasp the cultural context and will fight for their work when the final selection is decided and the big money is allocated.
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