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2021 PRAVASI BHARATIYA SAMMAN PRESENTED TO DR SIDDEEK AHMED

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Riyadh, Kingdom of Saudi Arabia

At a special ceremony held at the Indian Embassy to mark India’s Independence Day, Eram Group Chairman and Managing Director Dr. Siddeek Ahmed, was officially presented with the 2021 Pravasi Bharatiya Samman Award (PBSA) by the Ambassador of India to the Kingdom of Saudi Arabia, H.E. Dr. Ausaf Sayeed.

Conferred by the President of India as a part of the Pravasi Bharatiya Divas (PBD) Conventions organized annually since 2003, this award acknowledges august members of the Indian community and their tangible contribution in social and humanitarian upliftment. This year, Dr. Ahmed was one of only 4 recipients from the Middle East and the only one representing the Kingdom. The pandemic didn’t allow for the more elaborate ceremony that is usually held in New Delhi annually every year, but the sense of occasion and sentiment was palpable at the embassy.

Dr. Ahmed spoke of how he extended his vision and outstanding technology in the sanitation sector with the launch of an R&D-based social enterprise, Eram Scientific Solutions, aimed at developing indigenous technology tailored to local requirements. The result was the innovative ‘e-Toilet’, which is an automated public sanitation solution in line with the Swachh Bharat Abhiyaan. This initiative was duly showcased at the UN Innovation exhibition and recognized by the United Nations country representative for its game changing potential.

The patented e-Toilet has had more than 12 million users till date and an average of 15,000 daily users. Eram Scientific Solutions has already won more than 44 national and international accolades for its inspiring contributions in introducing high-end, future proof and scalable technology in the sanitation space. Dr. Ahmed also received the Toilet Titan award from Indian Prime Minister Narendra Modi at the Safaigiri Summit in 2015, a salute to the Eram work ethos and the dedication of its 8,000 plus employees from over 20 plus countries.

Lauding Dr. Ahmed’s unwavering commitment to addressing the critical challenges faced by humanity, Dr Sayeed noted that the company’s innovative products and services had made many a Smart Cities safer, cleaner, smarter and prouder making him a worthy recipient of this eminent award.

Expressing his gratitude to Indian President Ram Nath Kovind and Prime Minister Narender Modi for the honor and thanking the Pravasi Divas committee, not to mention Dr Sayeed and the Indian Embassy in Saudi Arabia, Dr. Ahmed took this opportunity to acknowledge the importance of having a strong base.

“Thanks to strong partnerships, the unwavering commitment of our team, and their industry, Eram Scientific Solutions has installed 4,000+ eToilets across India, Kuwait, Nepal and the MENA region over the years. Being headquartered in the Middle East where foresight and change are encouraged is a plus. Initiatives like the Kingdom’s Vision 2030 or the UAE’s hosting of Expo 2020 have buoyed Eram Group’s mission and with the support of regional government entities, we are looking forward to extending our footprint in the Kingdom and across the GCC with our innovative approach to infrastructure development.”

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It took me 2 years to get my first collaboration: Shweta Tanwar Mukherjee

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Lifestyle Influencer Shweta Tanwar Mukherjee recently joined NewsX for an insightful conversation as part of NewsX Influencer A-List. In the exclusive conversation with NewsX, Shweta spoke to us about her leap from the corporate world to digital content creation, reason behind her relatability factor among the audiences and much more. Read excerpts:

Speaking about her journey as a lifestyle influencer, Shweta said, “It came pretty organically to me when I was expecting to quit my job. Instagram was my escape so I thought starting clicking and posting. I have been very vocal, in terms of my preferences, choices and experiences. I started sharing all those things with my audience. That time, I didn’t had an audience but I just started posting it frequently on Instagram. It started getting a good response. People used to relate with me. They started messaging me and saying that, ‘This is also something I am experiencing.”

When asked what is it that makes her content relatable, she added, “I just delivered a baby. As I was expecting, I quit my job because during my pregnancy, I wanted to take care of myself and give undivided time to my child. I started sharing my ‘new mom’ experience, to be specific. The kind of lost womanhood I was experiencing, I couldn’t go out with my friends, I was at home, just taking care of the baby. All those challenges, the beautiful moments, the cries, the laughter, I just started sharing with all of the people out there. I was just pouring my heart out. They were very honest thoughts of mine. When I saw that there were a bunch of women out there who are exactly feeling the same and are also in the same space, we connected. There is a beautiful tribe out there of new moms and moms. You become good friends. It was not about content at that time. It was just an experience-sharing. Later on, I think it took a shape of a content, which is more refined, more mindful, now ofcourse, it is more planned. It started with a very organic experience sharing but now the shift is there.”

Talking about how long did it take her to monetize the content and whether she is happy with where she is, Shweta expressed, “It took me roughly 2 years to get my first brand paid collaboration. I struggled. At times, it was quite demotivating but I think consistency is the key. When I say, “Today I want to be a digital creator, you just can’t become one like that.’ There is a lot of hard work, which goes into it. There is a lot of creativity and it is at a evolving pace. You have to be there all the time. As I said, it took me 2 years to get my first collaboration. The more you are honest, the more frequent you are, the more consistent you are, the more creative you are, it counts. When it comes to content creation, there is no looking back to it. If you think, ‘Today I am posting something, it will be viral and there will be net breaking thing happening on Instagram, It doesn’t work that way. It takes a good amount of hard work and consistency from you. The very important thing of content creation is that you ideate, you create, you post and just forget it. You move onto next.”

Check out the entire interview on NewsX:

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‘It was a one-time thing’: Shereen Sikka on her brand name ‘Shereen Love Bug’

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Shereen Sikka, popularly known as Shereen Love Bug, recently joined NewsX Influencer A-List for a candid conversation. Redefining fashion in digital space, Shereen spoke to us exclusively about the inspiration behind her brand name, ‘Shereen Love Bug’, what made her become a fashion blogger, what goes on behind the scenes and much more. Read excerpts:

Speaking about her brand name ‘Shereen Love Bug’ and the story behind it, Shereen said, “People usually expect that there’ll be some deep meaning behind it but there actually isn’t. When I first started off, I started off with my website, with my blog, which was LoveAndOtherBugs.Com, which kind of was a take on a movie title that I really liked at that time. I knew that I wanted love in the name of my blog or anything that I want to build. Even I ever start a brand, the name love has to be there just because I really believe in the law of attraction, the power of vibration. I thought love has to be there. I want to attract love and I was in that zone. That’s where bugs came from. I was blogging for about a year almost. When I started on Instagram and had to choose a username, I thought that it should be an extension of what the blog is. I just took love and bug. It sounded like a cute little insect so I was like this is what it is going to be. It is going to be Shereen Love Bug. I really did not think at that time that it would become a thing or become something that people will recognise. Like you make an email id, I did not think that I would continue to have it for so many years. It was a one-time thing.”

On becoming a style icon in the digital space, Shereen shared, “I have come from a fashion background since I have studied fashion throughout my school life. I knew that one thing I wanted to do was fashion. Till the 3rd standard, I thought that maybe I want to be an astronaut or something but beyond that, my only career option was fashion, just because of how much I loved art. I still love to paint and I love art in any form. I wanted to study fashion. I went to London and I studied fashion design and marketing because I loved fashion and I loved art and I loved aesthetic but I did not want to construct clothes. When I was studying, my parents also said that you have to design, you’ll be a fashion designer. I said I wanted to learn fashion but I don’t want to design or construct clothes because that is a very different niche. I feel that it is very different. That time, styling wasn’t that huge. I studied fashion marketing thinking that maybe I could work in a magazine or maybe like a fashion PR house or something. That’s where the background comes from. When I finished my studies, the first job that I ever landed was styling with Rhea Kapoor. That kind of gave me the best insight that I could ever get in the fashion world.”

When asked about the efforts that go behind the scenes, Shereen responded, “A lot of credits goes back to my styling background. That’s where I made connections with really good designers and that’s where I feel that I made a little bit of a network. I think that for I putting things together and putting looks together, even when it comes to aesthetic of my feed, it is kind of like styling a feed. There is an app that I use to styled my feed a little bit based on tones and colours and aesthetic, so that It looks good to me. I know that a lot of people might not be looking at my feed everyday but I look at my feed and I want to look very pretty. From an art point of view, I want to look at something and feel that it is something beautiful and it’s something that I am putting effort in. I do have some really talented photographers that I have the opportunity to work with, depending on what my inspiration is. For my editorials or a project, I pick and choose. For me, when my content comes great, it is because of team effort, my photographers, my makeup artist, the location, the clothes, everything’s come together and work really well, that’s what makes it successful Instagram series or Instagram story.”

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ALL YOU NEED TO KNOW ABOUT SAMSUNG GALAXY UNPACKED

Samsung’s Galaxy Unpacked event was full of new updates, launches and announcements of not one but two foldable phones.

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Samsung Galaxy Z Fold 3 comes with two displays. The external cover display and the main display that is foldable. The Samsung Galaxy Z Fold 3 comes with a 6.2-inch HD+ Dynamic AMOLED cover display with a 120Hz refresh rate. You can perform all tasks on this display and it is made of glass. When you unfold the device, you will get a 7.6-inch QXGA+ Dynamic AMOLED main display with a 120Hz refresh rate.

The main display of the Galaxy Z Fold 3 doesn’t have a notch or punch hole for the selfie camera. The camera is placed underneath the display screen. This is Samsung’s first phone to come with an under-display camera. 

The device comes with a total of five cameras — three at the back, one underneath the main display and one on the cover display. The triple rear camera module includes a 12MP ultrawide sensor with F2.2 aperture, 12MP dual pixel autofocus primary sensor with F1.8 aperture, OIS and another 12MP telephoto sensor with F2.4 aperture and OIS. There’s 2X optical zoom and 10X digital zoom along with HDR10+ video recording. When you fold the device, you will get a selfie camera on the cover display with a 10MP sensor and F2.2 aperture. The under-display camera has a 4MP sensor and an aperture of F1.8.

 There’s a new Eco display technology applied to the screen, which makes it 29% brighter while consuming less energy. The Galaxy Z Fold 3 is the first phone to come with IPX8 water resistance and has an Armor Aluminum frame. Also, Samsung is using Corning Gorilla Glass Victus to protect the cover display. 

The Galaxy Z Fold 3 will support two kinds of S Pen stylus– S Pen Fold edition and S Pen Pro. The S Pen Fold edition is only compatible with Galaxy Z Fold 3 while the S Pen Pro supports all Samsung devices that have S Pen compatibility. 

The phone is powered by a 5nm 64-bit octa-core Qualcomm Snapdragon 888 5G chipset with a maximum clock speed of 2.84GHz. It is the fastest Android processor. The phone supports 5G connectivity. The Galaxy Z Fold 3 comes along with12GB of RAM and internal storage options of 128GB or 256GB. There’s no slot for a microSD card. It runs on the Android 11 operating system out of the box. The device is backed by a 4,400mAh battery. The phone will come in 3 colour options Phantom Black, Green and Silver.

Samsung hasn’t officially revealed its price in India yet. The Galaxy Z Fold3 will be available for pre-order and those who pre-order will get a year of Samsung Care+ protection with which their phones will be covered from accidental damage, including screen replacement, water damage and back cover replacement.

The more compact of Samsung’s two new folding phones, the Z Flip 3 is the slightly cheaper option. It packs in a few notable upgrades from its predecessor, including a larger cover display, a 120Hz adaptive refresh rate, and a brand-new camera feature that lets you shoot video straight from the cover display. It comes in four colours: cream, green, lavender, and phantom black.

Samsung’s new Galaxy Watch 4 series includes a Watch 4 format for a more sporty & classic mix- complete with rotational bezel control. The new range combines smartwatch and fitness tracking features in one. Watch 4 also gets Samsung’s three-in-one BioActive Sensor designed to measure heart rate as well.

Samsung’s Galaxy Buds 2 earbuds debuted with a brand new, egg-like design. Available in four colours, graphite, olive, white, and lavender and features like active noise cancellation plus three onboard microphones to assist in voice calls are new add ons. The buds are available for pre-order and will be fully available from 27 August.

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DHARMA AND THE ACADEMY FROM A HINDU ACADEMIC’S VIEWPOINT

On analysing the difference that has arisen between the academic community and the faith community or between the outsiders and insiders to a tradition, we realise that they both see the truth and true knowledge perhaps arises at the point of intersection between these perspectives.

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Members of both the Hindu and the academic community have expressed deep distress at the ad hominem nature of the attacks levelled on or by the members of the two communities. The Hindu community wonders if the academic community can ever evoke Hinduism without condescension and the academic community wonders if the Hindu community can evoke Hinduism without sentimentality.

The concept of genetic fallacy provides us with the intellectual basis for dispensing with ad hominem attacks. Philosophers have long insisted that the falsity or validity of a proposition can only be determined by examining the proposition on its own merits, irrespective of the source. One philosopher offers the following telling, if homespun, illustration of the genetic fallacy: the theory of relativity (either special or general) is false because Einstein was not a good husband. Character assassination can kill the person (metaphorically speaking) but not the proposition. 

This is not to say that a person’s background has no bearing on the discussion, for, after all, an expert’s statement may not always be treated the same way as that of one who is not. But such background only affects the credibility of the proposition, not its truth or  falsity. After all, experts can also commit mistakes. 

 Thus both communities might wish to steer clear of the genetic fallacy. The controversy under discussion has generated much heat. But where there is heat there is also the possibility of light. 

THE OBSERVER EFFECT

The Observer Effect refers to the phenomenon of what is observed being changed by the mere fact of being observed by the observer. This is a well-known principle in modern physics. In order for an electron to be observed, it has to interact with a photon but as a result of this, the path of the electron is invariably altered. A more homespun example of this is provided by the example of measuring the pressure of one’s tire. Some air has to be released in order for the pressure to be measured which means that the amount of air in that tire has been affected in the very process of trying to measure it.  

If we apply this principle to the study of religion, then it leads to the suggestion that students of religion may affect religion in the very process of studying it. This principle provides a basis for examining the fear of the Hindus that Western scholars may be altering Hinduism in the very process of studying it, and that the change thus brought about is not for the better. For instance, the pious follower of Vira-saivism, or indeed even of other forms of Śsaivism, might begin to feel that some Western scholars, by proposing that the siva-linga is phallic in nature, maybe importing this ‘phallacy’ into Hinduism. Similarly, this principle also provides a basis for examining the fear of Western scholars that the Hindu community, by the very fact of placing them under the lens of observation, may be compromising genuine scholarship. This would be the case, for instance, if Western scholars started practising self-censorship for fear of arousing the wrath of the Hindu community by their writings. The operation of this principle may be unavoidable in a globalised world but it is good to be aware of it.

THE DISTINCTION BETWEEN ACADEMIC AND POLEMICAL WORK

I think we need to distinguish clearly between an academic book or article and a polemical one. An academic book or article aims at investigating an issue in a detached and even-handed manner and ideally presents as much evidence as possible, and as many perspectives as possible, which can be brought to bear on an issue, before offering a conclusion of its own. The aim of a polemical book or article is different. It is to provoke a discussion of the issue rather than analyse the issue in this way. 

The criteria for judging a book or article will differ, depending on whether the book or article claims to be an academic work or a polemical work. An academic book or article will have to be judged on the basis of what could be called pramana and siddhanta. The criterion of pramana or evidence, addresses the issue of whether the relevant evidence has been presented or not. The criterion of siddhanta addresses the question of whether sound conclusions have been drawn on the basis of the evidence adduced. A polemical book or article, however, does not aim to address the controversy in a sober manner; it wants to start a discussion in a provocative manner. It might be wise here to distinguish between two points. One, whether a book or article claims to be an academic one and two, whether it deals with academic matters, but sets out to be polemical rather than academic work. The fact that it merely deals with academic matters does mean that it must be considered an academic book or article. 

Books or articles by members of the faith community could be challenged on the ground that the author is not an academic in the same sense that a scholar is because the author is not formally an Indologist. While the point of whether the author could be considered academic or not may be disputed, the author’s right to challenge scholars as the practitioner of a particular religious tradition is far more difficult to call into question. Who can prevent the author from exercising her own “freedom of expression,” as enshrined in human rights discourse, a category much broader than that of “academic freedom”?

THE IDEA OF PURVAPAKSA

The idea embodied in this word is usually used in Indian intellectual discourse to describe the initial position which needs to be refuted before the main thesis can be established. One begins with the objections that could be raised against the intellectual effort being undertaken, and then proceeds to examine and hopefully answer these objections in order to create the intellectual room for the scholar to present his or her own thesis. The seriousness and thoroughness with which the opponent’s point of view is presented in Hinduism can be quite striking. (Sometimes the positions of the opponents are presented so effectively that the reader begins to wonder how the scholars are going to climb out of the pit they have diligently dug for themselves).

This concept of the purvapaksa may be related to the current issue in the following way. When Western scholars started reconstructing the history of ancient India they treated the traditional account of it as the purvapaksa, as the preliminary position which has to be presented but dismantled. Similarly, modern critics of Western Indology are now using the presentation of Indian history and culture by Western scholars as their purvapaksa.

OBJECTIVITY AS AN ACADEMIC DESIDERATUM

The question of objectivity is often raised in the present context. Western scholarship claims to be “objective” in its depiction of Hindu religion as opposed to the presumably sentimental self-presentation of it by the Hindus. This claim of Western scholarship to objectivity has often been accepted by Indians in the past, especially because distance lends objectivity to perspective and Western scholars are supposed to possess that epistemic distance that ensured it. 

Several points, however, have now been raised in this context: 1) It is all right if Indian scholars think that Western scholarship is objective, but can Western scholars claim that they are objective? For then the claim to objectivity itself becomes a subjective claim. 2) Hindus ask: Objectivity is fine but why is objectivity always used against us? Have Western scholars brought similar objectivity to bear either their own culture or religion or on their own scholarship? After all, Western scholars are also located in a particular culture with its own history and presuppositions. 3) If we factor in the issue of motive in the context of objectivity, then we have to ask: what is the objective behind the exercise of objectivity? 4) Can someone be objective at one’s own expense? This question can be asked both by Western scholars and Hindu practitioners. The point is that when we claim objectivity we tend to assume that such objectivity transcends self-interest, but that it does so cannot be taken for granted. 5) However, even if one accepts the validity of the criticisms of objectivity, should it not remain valid as an ideal?

Then one should pursue one’s academic interest with a certain detachment so that one is guided by facts rather than by one’s presuppositions, or by popular but erroneous beliefs, which remains a commendable idea. Even if postmodern discourse insists that such objectivity is not possible, it can still remain an ideal to pursue. But need objectivity be the sole goal of scholarship? For instance, should we not assign some role to sensitivity as a competing or even an allied value? Something extremely significant is involved in the question. Objectivity is the ideal par excellence of scientific investigation. But science as such deals with physical objects. And this might be the right moment to discern a relationship between its claim to objectivity and the fact that it deals with objects. The objects it typically deals with are inanimate objects. And even when it deals with an animate object such as a human body, it treats the body virtually as an inanimate object, with the body seen as being made up of limbs just as a machine is made up of parts. 

Because the object is inanimate or treated as inanimate, the object itself provides no input to the scientist. The scientist measures, analyses, and dissects the object but the object has no voice in this procedure. And this makes sense because the inanimate object is not self-conscious. When we come to Humanities, however, our very object of investigation is a “subject” possessing a self, something which possesses self-consciousness. To provide a crude example: if I want to acquire knowledge of a stone I can weigh the stone, I can dissolve the stone, I can subject it to chemical processes without having to take the stone’s self-consciousness into account because it apparently has none. If, however, we want to acquire full knowledge of a human being, then can we do so by merely checking the person’s height, weight, wardrobe size, and so on? In order to know a person, we would have to know the person as a conscious being.

If we assume that the goal of knowledge is to acquire full knowledge about whatever is being investigated, then mere objective knowledge can provide accurate and adequate knowledge of physical objects. If, however, we also want to acquire full knowledge of something which is not just an object but possesses self-consciousness, then our very claim that we are acquiring accurate and adequate knowledge of that “thing” requires that we take the “thing’s” self-consciousness into account. If we do not do so then we are bound to fail in accomplishing our purpose. 

Thus we run into the paradox that in order to acquire “objective knowledge” in Humanities we must include the subjective dimension of those whose knowledge is being sought in order to be objective. And now we come to the really interesting point that not only has the consciousness of what is being observed to be taken into account, we may also have to take into account the consciousness of those who are making the observation, which is hardly a consideration in the physical sciences. 

ACTOR AND SPECTATOR

I started out by pointing out how fraught the role of someone like me is in this context, as one who is both a Hindu and an academic. I would like to examine the role of people like me further as I try to bring matters to a conclusion.

There are two ways in which one may view a religious tradition. One is as an actor, that is to say, as a person who is actually a part of the tradition, the kind of person we usually refer to as an insider. The other is as a spectator, that is to say, as someone who looks at the tradition from the outside and is therefore usually called an outsider. A person who is a scholar of one’s own tradition is in the position of being able to be both, an actor and a spectator, depending on the situation. This realisation tends to narrow the distinction between the insider and the outsider, as it creates room for the same person playing the two roles, thereby preventing any invariable association of the actor with the insider and of the spectator with the outsider with a distinct individual. What makes the position of the scholar-participant particularly interesting is that such a person can both be critical of one’s tradition in a certain context and can also defend it in another, thus combining the analysis of the outsider with the advocacy of the insider in fertile tension. 

It also highlights the fact that just as the insider can be both an actor, an active participant of a tradition, as well as spectator, an observer to one’s tradition, an outsider also need not remain just a spectator but may also assume, through empathy, the role of an actor. Thus being an insider and an outsider no longer involves being different persons, it only involves the adoption of a different persona. This could be one way of challenging Levi-Strauss’s claim that “no common analysis of religion can be given by a believer and a non-believer, and from this point of view, the type of approach known as ‘Religious Phenomenology’ should be dismissed.” (Claude Levi-Strauss, “The Bear and the Barber” in William Lessa and Evon Z. Vogt, eds., Reader in Comparative Religion (New York/London: Harper and Row, 1965) p. 297).

But why are we spending so much time in negotiating the difference that has arisen between the academic community and the faith community, or between the outsiders and insiders to a tradition? Why should each of the two parties not be content with dismissing the other out of hand? Why should they enter into a dialogue with each other, or we into a dialogue with them? 

I think the answer has to be that we cannot do so because both the insiders and the outsiders see the truth and true knowledge perhaps arises at the point of intersection between these perspectives. It takes two to Tango but without the two there would be no dance.

(Last part of the two-part series.)

The writer is the Birks Professor of Comparative Religion at the McGill University in Montréal, Canada. He is also associated with the Nalanda University in India. The views expressed are personal.

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We aim to democratise Edu-tech Space: Priyavrata Mafatlal

In this exclusive conversation, he shared the origin and aim of Uniform Junction, gaps in the Edu-tech industry, how to make edu-tech engaging for both students and teachers and much more. 

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Priyavrata Mafatlal, Co-founder and Director of Uniform Junction and MD & CEO of Mafatlal Industries recently joined NewsX for an exclusive conversation as part of NewsX India A-List. He is an educational entrepreneur who aims to be the support system of schools. He offers top of the class school utility products, services and courses. In this exclusive conversation, he shared the origin and aim of Uniform Junction, gaps in the Edu-tech industry, how to make edu-tech engaging for both students and teachers and much more. 

He commenced by talking about the origin of the Uniform Junction, he said “we have been into uniform space for about six to seven decades now. We control 85% of the fabric market in uniform space. This was a logical extension to what we already have which is a strong supply chain and good relations that we built over the decades. Hence, it was logic to move into school tech.”

Explaining the existing gaps in edutech industry in our country, he shared “We have edutech today wherein a lot of people are moving on the back of a pandemic into a space where it facilitates online learning, whether curriculum-based or not curriculum-based. The other set is which not a lot of people are catering to which is about addressing supply chain issues that schools have today. Very few people are trying to tackle the supply chain issues which we’ll bring in, in addition, to support we give to edutech.”

He expanded on how his company helps on the backend. He explained “We are one spot support system for schools. It starts right from the fact that the supply chain is essentially inefficient; you are here to make that entire supply chain very efficient, thus empowering schools. On the other hand, with the boom of edutech especially over the last 2-3 years, we have so many different companies and partners people can opt for. As a parent you are not sure what’s right for your child, that’s when we curate and give options to parents and schools. We make the back end efficient and allow them to choose between so many options available to them in edutech space today. We are hoping to democratise the entire edutech space.”

When asked about how they make edutech space interesting and engaging for students and teachers. He responded “When it comes to students, it’s a hard one because students by nature are more active and need to be around people. We through our extensive partner network, have tried to bring fun partners on board that you won’t associate with traditional learning. We have got partners who teach Maths as a life skill rather than a subject, we have partners teaching Chess through that teach problem-solving. I think the challenge will always be to keep the kid entertained and make it fun but we are very confident about it because of our partners. The challenge that teachers might face is especially they might not be equipped with the digital boom we are seeing. That’s why we have other partners from Junction that helps and trains teachers. They help schools to prepare for the new education policy that the government announced last year. So we have an array of partners focusing on different aspects.”

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I have a much bolder, stronger woman with more adventurous mentally: Designer Siddartha Tytler

In the exclusive interview, Delhi-based Siddartha Tytler shared his love for fashion, couture and much more.

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Designer Siddartha Tytler recently joined NewsX as part of its special series NewsX India A-List. In the exclusive interview, Delhi-based Siddartha Tytler shared his love for fashion, couture and much more. Tytler started off by talking about his most recent ‘The Royal Edit’ collection featuring Yuvraj Vivasvat Pal of Karauli which received much traction online.

“I got inspired by the location of the palace, we did a combination for prints, and we did a safari, which again, I’ve never done before, which was so beautiful. It’s amazing,” added Tytler.

The internationally acclaimed brand, which prides itself on its easy wearability, has already made its mark in India and internationally as well. 

Talking about adapting to digital as the new normal for marketing and sales, Tytler said “We were already planning our website for online bookings. During the launch, there will be online sales and online is the new world.”

Sharing what inspired Tytler to become a designer and what became the moment of decision for him, the designer said “When I was in school, I wanted to be an architect, and during my 11th grade I went on vacation and walked into the Versace store. And that’s where the paradigm shift happened.”

After graduating from St. Columba’s in 1997, Tytler spent a year at the National Institute of Fashion Technology in New Delhi where he studied Fashion Design and Clothing Technology (FDCT). From there the designer moved on to the Fashion Institute of Technology (FIT) in New York, an experience that further honed his skills and adequately prepared him to enter the industry.

Talking about the USP of his brand and what sets it apart, Tytler said “I have a much bolder, stronger woman with more adventurous mentally, which I love. Clients love to expand and, highlight what their assets are. The menswear line too echoes similar sentiments and caters to the 21st-century metrosexual who is not afraid to wear his style sensibility on his sleeve.”

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