Mr. Adil Sumariwalla, President of the Athletics Federation of India, being felicitated by Prime Minister Shri Narendra Modiji for the brilliant performance by the Indian athletes at the Asian Games recently held in Jakarta.
Out of 15 gold medals won by India, the Indian athletes won 7 Golds medals along with 10 Silver medals and 2 bronze medals.
The World Zoroastrian Organisation Trust is pleased to provide an update as on September 06, 2018 on the work done so far, funds received.
The support that The WZO Trust are extending in collaboration with The Kinder Trust at Bangalore is minuscule when compared to the total welfare measures that have to be undertaken to alleviate the suffering of the hundreds of thousands of individuals affected by the floods. However, both WZO Trust & Kinder Trust shall continue to do their bit in this massive humanitarian exercise.
As highways have been washed away it is still very difficult for vehicles to ply in the internal areas. Volunteers are trekking through inhospitable terrain carrying relief materials with them. Keeping these ground realities in mind, we have till date delivered two consignments comprising the following relief materials to the affected areas:
Sarees & Blouse materials,
Ladies petticoats and nightwear.
Gents & Boys underwear,
Assorted cleaning brushes,
Within the next few days it has been programmed to provide roof sheets and other cleaning & construction materials that will be required.
The Kerala Floods Relief appeal was first released by us on August 19, 2018. Since then we have received, as on September 05, 2018 donations amounting to Rs.22,51,392 from 118 donors. The WZO Trust extends its sincere gratitude to those who have contributed so generously towards this gargantuan exercise to alleviate human suffering.
However, much more needs to be done and funds continue to be required. We request Zoroastrians from all parts of the world to join us in our efforts to provide verified and trusted help to Kerala.
Donations by way of cheques made out in the name of The World Zoroastrian Organisation Trust may be sent to our office at:
Hermes House, 3rd floor,
Mama Parmanand Marg,
Mumbai 400 004.
Direct remittances can also be made into our bank account:
Navsari is a name that is firmly entrenched in the minds of Parsi – Irani Zoroastrians residing in any corner of the world. Navsari has established that it has been the fulcrum around which the community has evolved in India.
The stately Atashbehram at Navsari, is undoubtedly a must on the ‘to visit’ list of Parsi – Irani Zoroastrians from all corners of India as well as those who visit from overseas. However, what many in the community are not aware of is that Navsari has been the epicentre not only of many Parsi immortals but has as many as 54 active Parsi institutions, an unparalleled feat for a city of its size.
Parsi historian Mr. Marzban J. Giara has created a list of the 54 Parsi institutions at Navsari and perceived it would be useful to publish the same as a guide for Parsi Irani Zoroastrians visiting Navsari. WZO Trust Funds have had a map prepared that provides a glimpse of all the 54 Parsi institutions at different locations.
For the convenience of visitors to Navsari these maps will be displayed at various institutions and places of worship at Navsari, Mumbai and other centres.
LAFA is proud to present our 30 Directors-To-Follow-List: a celebration of the inspiring, creative and incredibly talented directors who are making indie filmmaking great right now.
And one of them is Jehangir Irroni
Having been in the Industry for more than ten years, Jehangir Irroni has helmed numerous Documentaries, Ad Films, Television Shows, Corporate Videos and Films. A graduate from Whistling Woods International in 2009, he has directed numerous Television Shows like Fear Files, Heerji Ne Marje, Jai Ho Bharatiya etc and Television Ads for brands like LIC, LIVSAV, READ MY LANGUAGE and many more.
His latest short film The Suicide Company PVT LTD tackles the issues of depression and suicide, which are rarely seen in the Indian cinema. It gives a positive message against depression and mental illness. This beautiful film won Best Narrative Short at LAFA (June 2018).
THERE IS AN AIR OF easy elegance and soft, balmy luxuriance about Ashdeen Lilaowala’s first flagship store. Located in a tony South Delhi address, amid high-end fashion boutiques, Lilaowala’s spanking new atelier has pink hand-painted walls with gold petals and chess-honed marble floors. There are cranes aplenty, embroidered into the array of Parsi gara saris, even inlaid in the stone steps leading up to the store.
The 38-year old Parsi designer, seated on a plush off-white sofa with curved armrests, holds forth on the many mutations of the ancient textile pattern of paisley. In Iran, it is the cypress tree. The top part of the tree is very light; it moves and bends in the wind. “So if you see the Persian paisley, it is long and bent,” says Lilaowala. “If you come to India, the paisley resembles a mango, that is why we call it ‘ambi’. In China, it becomes a pot or an urn.” He glides over motifs transcending and evolving over cultural boundaries, as he talks about his travels to Iran and China in 2005-2006 to trace the origin and development of Parsi embroidery.
Today, his fashion label, ASHDEEN, is at the forefront of bringing out modern, contemporary versions of Parsi gara saris, the most treasured heirloom in a Parsi woman’s wardrobe since the 19th century. The Parsi gara is often described as “Indian embroidery with Chinese origin and Persian heritage”. It is packed with fulsome floral motifs, intricately winged birds, Persian symbols, pagodas and “Chinamen”. How did it come to embody such diversity? The presence of Zoroastrian merchants in China, mainly for opium trade, is well-documented from the 18th century onwards. Many had settled in the Chinese port of Canton (modern-day Guangzhou). These Parsi settlers transferred oriental designs onto saris, which the Jeejeebhoys and Readymoneys brought back for their women folk in western India.
Lilaowala recalls meeting one such family in 2005 in Shamian island in Guangdong province. They had seen the gara sari trade evolve firsthand. “They had so many saris with butterflies. When thread from previous saris were left behind, they would tell their craftsmen to make multi-coloured butterflies from it,” says Lilaowala. He has been injecting a more modern approach to the imagery of chinoiserie, flowers, birds and butterflies through his brand. His favourite remains the crane.
There is one particularly resplendent number in jet black with a bevy of white cranes in a pool of red. This is also his most popular sari, retailing at Rs 60,000 apiece. “In Chinese culture and mythology, cranes represent peace and longevity. The Chinese were fascinated with flight,” Lilaowala explains his devotion to the long-necked bird. “Even in the most awkward positions, cranes tend to be flawless. This was one of my starting points and I continue to take it forward.” He launched his label in 2012 and initially worked out of his house. Lilaowala hopes Parsi gara saris will attain as definitive and ubiquitous a status as the prized kanchipurams, banarasis and chanderis.
Mayank Mansingh Kaul, Delhi-based writer and curator who recently put together an exhibition in Jaipur on post-independence designers titled ‘New Traditions: Influences & Inspirations in Indian Textiles, 1947-2017’, featured Ashdeen’s “crane sari” as well. “Not only is Ashdeen interested in taking forward the idea of the classic Parsi gara using new materials, he has developed a signature style for Cocktail-evening wear which is refreshing,” says Kaul. “Ashdeen’s work is based on an interest in exploring histories of fashion and its evolving cultures.” Lilaowala has delved deep into Parsi weaving and threadwork, and contributed to many books and articles on the subject.
Lilaowala grew up in Mumbai and was exposed to the illustrious gara tradition from childhood. Two elder sisters and a “very fashionable mother” powered his own sartorial intuitions. His years as a student of textile design at the National Institute of Design, Ahmedabad, further streamlined his interests. After graduating in 2002, he worked in Mumbai for a while before moving to Delhi for a research sponsored by the UNESCO Parsi Zoroastrian Project. (This took him to China and Iran.) He later did embroidery, from Delhi, for a Los Angeles-based company. When he designed a gara sari for a friend, he did not know that it would become his mainstay. That first gara sari led to many more. His first big showcase was at the Delhi Crafts Council in October 2012, followed by the Lakme Fashion Week. He now retails saris priced up to 03 lakh. He has draped Tabu and Madhuri Dixit with his intricate, handmade saris. Sonam Kapoor in Sanju was his latest Bollywood outing.
But Lilaowala has never been the sort to chase celebrities, seek runway success by churning out collections every season or fall victim to superfluous labels à la haute couture, demi-couture or prêt-à-porter. In fact, he still stocks and sells designs he brought out in 2012. His clients are mostly industrialists. He doesn’t believe that youth defines fashion. “If you have the money, it defines fashion,” he says matter-of-factly. He stubbornly defends his design aesthetic which is strictly “classic yet contemporary”, immune to fast-changing trends. You may think his clientele is slightly older, financially secure women, but Lilaowala doesn’t really care. “Our business is largely outside the Parsi community, with a lot of appreciation coming in from Marwaris, south Indians and other communities,” says Lilaowala. “People who appreciate craft, beauty, fineness, detailed handwork… they will always go for it.”
“Styles may come and go and fashion is ever-evolving but classics like a gara are timeless,” says Anahita N. Dhondy, chef manager at SodaBottleOpenerWala. She wore her first gara sari when she was16, at her grandparents’ anniversary. She considers Lilaowala a pioneer who has revived and refreshed the Parsi gara idiom. “Parsi gara was not really of much interest to a non-Parsi for the longest time,” says Dhondy. “There was not enough spotlight and it was not readily available.” With stores like ASHDEEN, that is set to change.
For Elderly Mobed couples and Elderly Widows of Mobeds residing in India
An overseas institution has expressed intent to extend financial support to economically challenged Mobeds who are either:
Ø Elderly married Mobed couples, above age 65, who do not have children and whose annual income including benefits received from Trusts and Individuals is below Rs 6,00,000 per annum
Ø Elderly Widows above age 65 of Mobeds, who do not have children and whose annual income including benefits received from Trusts and Individuals is below Rs 3,00,000 per annum.
The WZO Trust Funds have been requested to compile and make available to them a Pan India list for their consideration.
Mobeds and Widows of Mobeds who fit the above description and who would be interested in receiving financial support are requested to fill in an application form, available at our office, giving complete details that would establish their being eligible for support under the proposed scheme and mail it to us by September 30, 2018.
Applicants will need to make available two passport size photographs and copies of bank pass books and any other relevant documents for verification. Applicants are also required to provide at least one reference known to them but not related to them.
It is to be made clear that WZO Trust Funds have only agreed to act as facilitators for receiving and disbursing the amounts received. All decisions on beneficiaries selected, amounts sanctioned, frequency of support etc, shall be at the sole discretion of the donors.
“And my first ever voice competition and I stood in second and won the Audience Top Choice award! I am absolutely stunned and surprised that I won not only because most of the pieces I learnt in a short time and performed for the first time but I was also so impressed with the level of my fellow Indian singers! Everybody was amazing! I also feel like my hardwork and passion has been recognised by winning 2 awards tonight! Thank you to all my friends and family who came and supported me in every way and biggest thanks to my voice teacher Ulrike Sonntag who supported me relentlessly and was there for me every step of the way.”
A Zoroastrian prayer (Manthra) for healing.
It’s a prayer to be self prayed for anybody who is suffering or recuperating from sickness, illness, injury and disease.
It’s very beneficial to pray it as many times as possible during day or night.