Film Preservation & Restoration Workshop India 2022

Film Heritage Foundation has conducted the seventh Film Preservation & Restoration Workshop India 2022 (FPRWI 2022) held in Mumbai from December 4 – 10, 2022 at the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS Museum).

Film Heritage Foundation (FHF) has earlier conducted workshops in Mumbai in 2015, in Pune in 2016, in Chennai in 2017, in Kolkata in 2018, in Hyderabad in 2019 and an online version in 2020. After a two-year gap as a result of the pandemic, our flagship training programme – the Film Preservation & Restoration Workshop India will be back this year with an advanced course with in-person hands-on training and a superb international faculty. 


The Film Preservation & Restoration Workshop India 2022 (FPRWI 2022) was an initiative of Film Heritage Foundation and the International Federation of Film Archives (FIAF) in collaboration with the Chhatrapati Shivaji Maharaj Vastu Sangrahalay (CSMVS), Mumbai and in association with The Film Foundation’s World Cinema Project, L’Immagine Ritrovata, British Film Institute, Cinemateca Portuguesa, Bundesarchiv (German Federal Archives), Institut National de L’Audiovisuel, The Metropolitan Museum of Art, Academy Museum of Motion Pictures, Cinémathèque Suisse, Fondation Jérôme Seydoux – Pathé, CSMVS Tata Trusts Art Conservation Initiative, Fondazione Cineteca di Bologna and Janus Films.

Covering a wide spectrum of topics under the umbrella of film preservation, the workshop is considered the most comprehensive of its kind in the world and has become the model for FIAF’s international training programs.

The intensive week-long workshop, certified by FIAF, covered both lectures and practical classes in the best practices of the preservation and restoration of films, celluloid and digital, and film-related paper and photograph material and 3D objects. The course was taught by a faculty of international experts from leading institutions around the world.

Classes were followed by daily screenings of restored classics from around the world.


“I am delighted to share that Film Heritage Foundation in collaboration with the International Federation of Film Archives (FIAF) will conduct the 7th edition of the Film Preservation & Restoration Workshop India 2022 at the CSMVS Museum in Mumbai this December. We are very proud of our flagship training programme that has sparked a movement for film preservation not just in India but our neighbouring countries.

We would like to thank FIAF and Martin Scorsese and The Film Foundation’s World Cinema Project for their unfailing support since our first workshop. Special thanks to our superb faculty from leading film archives and museums around the world who take the time to come to India and share their knowledge and expertise with our participants.

Today Film Heritage Foundation is known around the world not just for this unique training initiative, but for our sterling work including the archiving and conservation of films and film-related memorabilia, film restoration, curation of festivals, our oral history programme and our publications. We hope that this will inspire our film fraternity and those who value our film heritage as an integral part of our history and culture to come forward and support Film Heritage Foundation in its unswerving commitment to preserve the past, present and future of India’s film heritage.”


“The Film Foundation’s World Cinema Project has been a proud partner of the Film Heritage Foundation’s film preservation and restoration workshops in India since they began in 2015. To date, these workshops have given over 300 participants the skills necessary to preserve and restore motion pictures. It’s tremendously gratifying to see how instrumental this initiative has been in generating the strong interest in film preservation that we’re currently witnessing in India and its neighboring countries. Local archivists trained at the workshops are now working to safeguard cinema history at archives in India, Sri Lanka and Nepal. This year, applications will also be open to residents of Middle Eastern countries, and with faculty from the US, Italy, Portugal, France, the UK, Germany and Switzerland, this is truly a global effort. I want to congratulate the Film Heritage Foundation for its important contributions to preserving the world’s cinematic heritage.”


“It’s an amazing feeling to be back after a gap of almost three years due to the pandemic with the 7th edition of our film preservation and restoration workshop – in-person, hands-on and at an advanced level. It’s been a monumental task to put the workshop together this year with very limited resources and climbing costs. But we knew we had to make up for the lost time and the lost momentum that we built up over six years travelling around the country and training over 300 people in India and the neighbouring countries. The world stopped during the pandemic, but time didn’t stop for the countless films that continue to be in danger of being lost. Our workshops have had a tremendous impact and are crucial for building up a pool of archivists to save our film heritage.

We have to thank FIAF and our superb faculty who have taken the time to travel to India from all over the world to teach at the workshop. And we are delighted to present stunning restorations of classic films that will be screened at Regal Cinema during the workshop including the rare 1921 Indian silent film “Behula” produced by the J.F. Madan, the Indian movie magnate and starring the silent star Patience Cooper, Martin Scorsese’s “The Raging Bull”, Richard Lester’s “A Hard Day’s Night” starring the Beatles, Wong Kar-Wai’s “In The Mood For Love”, Bernardo Bertolucci’s “Il Conformista” and Film Heritage Foundation’s restoration of Aravindan Govindan’s beautiful “Thamp”.


The aim of FPRWI 2022 was to skill and train a resource of archivists to take on the monumental challenge of saving our film heritage.


Date: December 4 -10, 2022

Venue: Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS Museum)

159 – 161, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai – 400023.

Venue: The K. R. Cama Oriental Institute

136, Bombay Samachar Marg, Opposite Lion Gate, Fort, Mumbai: 400023.

Daily screenings of restored classics held at: Regal Cinema

Colaba Causeway, Opposite Chhatrapati Shivaji Maharaj Vastu Sangrahalaya(CSMVS Museum), Mumbai – 400005.


After six years of conducting our flagship training programme, (five years in-person and one year virtually), we knew that for the 7th edition of the Film Preservation & Restoration Workshop India we needed to up the game with an advanced course. In previous iterations of the workshop, we had opened the course to beginners with the dual aim of creating awareness as well as educating future archivists. This year, the target audience of this edition was our alumni from earlier workshops and people working in the field in museums, cultural and archival institutions in order to deepen and enhance their skills and knowledge base with a greater focus on interaction and practical sessions.

The course this year comprised of Plenary Lectures and group lectures and practical classes in four streams of specialization. Plenary Lectures were compulsory for all selected participants. Applicants had to select one option from the four streams of specialization mentioned below:

  1. Film
  2. Digitization and Digital Technology
  3. Documentation, Management and Access
  4. Photo, Paper and Object Conservation

Participants were assigned to their preferred stream and were had to compulsorily attend all small group lectures and practical classes in the specialization they had opted for.

Lectures (Compulsory for all participants)

  • Keynote: Film Heritage Foundation – Bringing Film Heritage Back from the Brink in India and the Subcontinent
  • Restoration – Purpose of restoration (as opposed to preservation), restoration ethics and restoration practice
  • Advocacy and Collections Development: Balancing Politics, Operations and Screen Heritage at the BFI and beyond
  • Preserving Film for Posterity: Archive Preservation Policies

Stream-wise Group Lectures and Practical sessions

Stream 1 – Film

  • Film Identification and Selection
  • Film Repair
  • Film Stabilization

Stream 2 – Digitization and Digital Technology

  • Digitisation: scanning technology and selecting and preparing film for scanning
  • Post-scanning operations
  • Digital Infrastructure, data management and digital preservation
  • Open source software for film heritage professionals

Stream 3 – Documentation, Management and Access

  • Cataloguing
  • Technical documentation for film elements
  • Preservation metadata and digital preservation
  • Creating a digitisation workflow
  • Access through screenings and creating a film programme/festival

Stream 4 – Photo, Paper and Object Conservation

  • Conservation and preservation of paper-based film heritage materials
  • Preservation of 3D film collections
  • Introduction to basic objects conservation strategies
  • Photograph Conservation: Identifying, housing, digitizing and cataloguing photograph collections

  • David Walsh – FIAF – Preserving Film for Posterity: Archive Preservation Policies, Digitisation: selecting and preparing film for scanning, Creating a Digitisation Workflow
  • Arike Oke – British Film Institute (BFI) – Advocacy and Collections Development: Balancing Politics, Operations and Screen Heritage at the BFI and Beyond
  • Tiago Ganhão – Cinemateca Portuguesa – Film Identification and Selection
  • Marianna de Sanctis – L’Immagine Ritrovata – Film Repair
  • Maura Pischedda – L’Immagine Ritrovata – Film in Poor Condition
  • Celine Pozzi – L’Immagine Ritrovata – Digitisation: “What happens after scan”
  • Etienne Marchand – Institut National de L’Audiovisual – Open Source Software for Film Heritage Professionals, Handling a Digital Intake using Open Source Software,The Power of FFmpeg
  • Nicolas Ricordel – Cinémathèque suisse – Digital Infrastructure, Data Management and Digital Preservation
  • Samantha Leroy – Fondation Jérôme Seydoux – Pathé – Film Heritage Programming
  • Dr. Adelheid Heftberger – Bundesarchiv – Cataloguing
  • Dr. Elena Nepoti – British Film Institute (BFI) – Documenting Technical Information for Film Elements, Documenting Essential Information for Digital Elements | Preservation Metadata and Digital Preservation
  • Marina Ruiz-Molina – The Metropolitan Museum of Art – Conservation and Preservation of Paper-Based Film Heritage Materials
  • Rio Lopez – Academy Museum of Motion Pictures – Preservation of 3D Film Collections, Introduction to Basic Objects Conservation Strategies
  • Nikhil Ramesh – Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS Museum) – Photograph Conservation
  • Shivendra Singh Dungarpur – Film Heritage Foundation – Keynote: Bringing Film Heritage Back from the Brink in India and the Subcontinent

Our brand ambassador Mr. Amitabh Bachchan joined us in our excitement and welcomed the participants, faculty and patrons of the film industry on the opening day of the 7th Film Preservation and Restoration Workshop India 2022:


Film Preservation and Restoration Workshop India 2022 is internationally recognized under the patronage of FIAF (International Federation of Film Archives). At the end of the course, participants had received a certificate endorsed by FIAF.




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The International Federation of Film Archives (also known as FIAF, its French acronym), has been dedicated to the preservation of, and access to, the world’s film heritage since 1938. It brings together the world’s leading non-profit institutions in this field. Its 173 affiliated film archives in 80 countries are committed to the rescue, collection, preservation, screening, and promotion of films, which are valued both as works of art and culture and as historical documents.



Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai, is one of the premier cultural institutions of the country. It is located on a crescent shaped site in the southern tip of Mumbai and was designed by the Scottish architect George Wittet in 1909. It is one of the best examples of the Indo-Saracenic style of architecture. The Museum is a Grade I Heritage Building and part of the Victorian Gothic and Art Deco Ensemble UNESCO World Heritage Site.


The Museum was built by the people, conscientious citizens who came together and recognized the need for a museum in the city, an early model of public participation in the 20th century. On 10th January 2022, CMSVS completed its 100 years’ glorious journey — a landmark, not only in the history of the Museum but for the cultural movement of the country.

In these 100 years, CSMVS has fulfilled its aim to create awareness and sensitivity towards our heritage through its acquisitions, collection research, a visitor-friendly experience for the purposes of education, study and enjoyment. Today, it is one of the most sought-after institutions known for best museum practice, international collaborations and trend-setting projects. It welcomes over a million visitors every year who experience a sense of joy, pride and understanding of human achievement when they stroll through our galleries and our beautiful heritage garden. CSMVS is a museum for the people, by the people.



Created in 1990 by Martin Scorsese, The Film Foundation is a nonprofit organization dedicated to protecting and preserving motion picture history.



By working in partnership with archives and studios, the foundation has helped to restore over 925 films, which are shared with the public through programming at festivals, museums, and educational institutions around the world. The Film Foundation’s World Cinema Project has restored 50 films from 28 different countries representing the rich diversity of world cinema. In 2017, WCP partnered with FEPACI (the Pan African Federation of Filmmakers), UNESCO, and the Cineteca di Bologna to launch the African Film Heritage Project (AFHP), an initiative to locate, preserve, and disseminate African cinema. The foundation’s free educational program,The Story of Movies, teaches young people – over 10 million to date – about film language and history. The Film Foundation Restoration Screening Room presents monthly film restorations, free and accessible with any web browser:


L’Immagine Ritrovata is a highly specialized film restoration laboratory created and developed in Bologna (Italy) thanks to Fondazione Cineteca di Bologna.

A solid film knowledge, a long experience in the field – always supported by careful preliminary philological and technical research – the most up-to-date equipment covering all workflows, from photochemical to 4K technology, as well as a vast and diverse range of projects, make L’Immagine Ritrovata a leading laboratory in the field.




Today the group includes four branches: L’Immagine Ritrovata’s headquarters in Bologna, L’Image Retrouvée and Éclair Classics in Paris, Haghefilm in the Netherlands, and L’Immagine Ritrovata Asia in Hong Kong.

L’Immagine Ritrovata is one of the main organizers of the FIAF Film Restoration Summer School, which has been taking place in Bologna since 2007 and will be held again in 2024. The school has been also hosted in Singapore (2013), Mumbai (2015), Buenos Aires (2017) and in Mexico City (2019).


Fondazione Cineteca di Bologna is an internationally recognized FIAF film archive with a multi-faceted mission ranging from film preservation and dissemination, training, research and publishing.



In 2007 Cineteca organised the first FIAF Restoration School in Bologna, where it has regularly taken place every other year since then with participants from over 70 countries. Its annual festival Il Cinema Ritrovato is one of the most awaited venues for film historians, scholars and cinephiles all over the world.

Cineteca di Bologna and L’Immagine Ritrovata have worked in partnership with entities and organizations world-wide, and completed over 800 restorations.


Founded in 1933, the BFI is a registered charity governed by Royal Charter, a National Lottery distributor, and the UK’s lead organisation for film and the moving image. The BFI National Archive was founded in 1935 and has grown to become the one of the largest and most important collections of film and television in the world with over 175,000 films and 800,000 television programmes. 




The archive also boasts a significant collection of filmmakers’ papers as well as extensive stills, posters and production and costume designs along with original scripts, press books and related ephemera. 

The films in our collections are a fascinating record of the history, culture and art of filmmaking and TV production, as well as a document of daily life in the UK from the late 19th century to today. Our collections are an invaluable resource for researchers, students, filmmakers and TV producers, and we share the collections publicly through screenings, releases in cinemas and on DVD and Blu-ray and online.


The Federal Archives have the legal mandate to secure the archives of the federal government in the long term and to make them available for use. These are documents (including files, maps, pictures, posters, films and sound recordings in analogue and digital form) that have been produced by central offices of the Holy Roman Empire (1495-1806), the German Confederation (1815-1866), of the German Reich (1867/71-1945), the Occupation Zones (1945-1949), the German Democratic Republic (1949-1990) and the Federal Republic of Germany (since 1949).




The Federal Archives decide whether these documents are worthy of archival preservation, that is, whether they have lasting value for the research and understanding of history and the present, for the protection of legitimate interests of citizens or for legislation, administration and jurisdiction. The Federal Archives keep around 1.15 million film reels of approximately 370.000 films.


The Cinemateca Portuguesa-Museu do Cinema is the national film museum of Portugal, a state institution devoted to the preservation and screening of the Portuguese and the world’s moving images heritage.



It was founded in the early 1950s by cinémathèque pioneer Manuel Félix Ribeiro, and became an autonomous institution in 1980. In 1996, the Cinemateca opened a modern conservation centre in the outskirts of Lisbon, which is now the base to all preservation, technical research and access activities, including the use of new technologies.


As a cultural audiovisual enterprise, INA has been responsible since 1974 for the preservation, enhancement and transmission of the French audiovisual heritage. INA is also an international training and research center on media and digital content.


The Fondation Jérôme Seydoux-Pathé, which was recognized as a non-profit organization in 2006, works to preserve, restore and promote Pathé’s historical heritage, which includes more than 10,000 films. The archives, which are regularly expanded, include several collections: iconography, advertising material, printed documents, cameras, objects, a library of books and periodicals, the administrative and legal archives of Pathé since its creation in 1896, and a silent film collection of approximately 4,000 titles. The building of the Fondation, designed by Renzo Piano, houses a research center, a collection storage facility, a screening room dedicated to international silent film programming with live accompaniment, and exhibition spaces. The Fondation Jérôme Seydoux-Pathé also organizes multiple educational activities, visits, conferences and symposia.


The Academy Museum of Motion Pictures is the world’s premier institution dedicated to the art and science of movies. Global in outlook and grounded in the unparalleled collections and expertise of the Academy of Motion Picture Arts and Sciences, the Academy Museum offers unparalleled exhibitions and programs illuminating the fascinating world of cinema. They are immersive and dynamic and tell the many stories of the movies—their art, technology, artists, history, and social impact—through a variety of diverse and engaging voices. The Academy Museum tells complete stories of moviemaking—celebratory, educational, and sometimes critical or uncomfortable. 


The Cinémathèque Suisse is recognized by the International Federation of Film Archives (FIAF) as one of the ten most important film libraries in the world in terms of the scope, diversity and quality of its collections. As a priority, it collects all information media that correspond to the criteria defining “Helvetica” in the cinematographic and audiovisual fields.



The collection, renowned for its breadth and variety, includes 85,000 film titles, i.e. 700,000 reels, hundreds of film collections, 2.5 million photos, 500,000 posters, 26,000 books, 720 000 periodicals, 10,000 scenarios, more than 200 paper archives, 240,000 documentary files, 2,000 cinematographic devices, as well as a very large number of slides and iconographic supports such as glass plates and ektachromes.

The Cinémathèque suisse works to disseminate its collections, Swiss cinema and cinematographic heritage throughout Switzerland.


Founded in 1956, Janus Films was the first theatrical distribution company dedicated to bringing international art-house films to U.S. audiences. Janus handles rights in all media to an extensive library that includes the work of Michelangelo Antonioni, Věra Chytilová, Sergei Eisenstein, Ingmar Bergman, Federico Fellini, Abbas Kiarostami, Akira Kurosawa, Ousmane Sembène, Andrei Tarkovsky,  François Truffaut, Agnès Varda, and Yasujiro Ozu.

Janus handles rights in all media, and its library has grown to more than 1200 films.


The Metropolitan Museum of Art presents over 5,000 years of art from around the world for everyone to experience and enjoy. The Museum lives in two iconic sites in New York City—The Met Fifth Avenue and The Met Cloisters. Millions of people also take part in The Met experience online.

Since its founding in 1870, The Met has always aspired to be more than a treasury of rare and beautiful objects. Every day, art comes alive in the Museum’s galleries and through its exhibitions and events, revealing new ideas and unexpected connections across time and across cultures.

The Metropolitan Museum of Art collects, studies, conserves, and presents significant works of art across time and cultures in order to connect all people to creativity, knowledge, ideas, and one another.



Kodak Motion Picture Film & Entertainment – The technology that sets the standard and stands the test of time in the production, postproduction, distribution, exhibition and archiving of motion pictures worldwide. Kodak offers a wide variety of products, spanning the entire motion picture value chain from image capture to post, on through distribution/exhibition and archival applications.

The advanced technology of KODAK VISION3 motion picture film provides the highest degree of image quality and creative flexibility.


Qube Cinema Technologies (formerly Real Image Media Technologies Pvt. Ltd.) is India’s leading provider of technology in the film, video and audio domains and has pioneered several technology revolutions over the last 33 years.


Established in 1986, the company was instrumental in bringing computer-based digital nonlinear editing to India with Avid Technology, transforming the industry and forever changing the way Indian film and television programs were edited. Qube Cinema subsequently brought digital cinema sound to India with, DTS and helped Indian cinema leapfrog a generation, from mono sound directly to digital. With its Qube end-to- end digital cinema product line, Real Image has made an impact worldwide. It is the only Indian company with its own DCI compliant digital cinema technology.

The Media Solutions division of Real Image was set up in 1992 and introduced in the country several revolutionary technologies that made it possible to discover a whole new range of exciting possibilities in picture and sound. The Company is the unrivalled leader in the broadcast arena and is the Indian representative of several global entertainment technology players such as Avid, Wildmoka, Ooyala, NPAW, Witbe, Telestream, MOG, Root6, Masstech, Pebble Beach, Digital Vision, Dell EMC, Neumann, Waves, DiGiGrid, Metric Halo, QSC, Focusrite, Minnetonka, Sonnox and MOTU.



Adobe is leading and defining the future of digital media and digital marketing. It gives everyone, from emerging artists to global brands, everything they need to design and deliver exceptional digital experiences. Adobe is one of the world’s largest software companies and ranked among the best brands with a global presence in 37 countries and 22,000 employees.




  • Adobe Creative Cloud: A connected creativity platform that provides everything creators need to make great work. It includes the world’s best desktop apps for creativity like Photoshop, InDesign, Lightroom, Illustrator, XD, and more. It also offers an integrated marketplace for images with Adobe Stock, Adobe Fonts, 3D assets, and motion graphics templates. Behance, a 14 million-member community where users learn from others, is at the heart of the Creative Cloud.
  • Adobe Document Cloud: A platform for digital documents, allowing users to get everything done with PDF across devices – from shared PDF reviews to collecting the most secure e-signatures from right inside favourite apps, including Microsoft Office. Document Cloud is powering digital transformation with Adobe Sign and enterprise services, enabling organizations to achieve end-to-end digital document processes and create a platform for Business Document Automation.
  • Adobe Experience Cloud: A holistic platform helping businesses by providing an end-to-end Customer Experience Management (CXM) solution for experience creation, marketing, advertising, analytics, and commerce. It helps companies deliver consistent and compelling experiences across customer touchpoints and channels – all while accelerating business growth.


Created in 1990 by Martin Scorsese, The Film Foundation is a nonprofit organization dedicated to protecting and preserving motion picture history.



By working in partnership with archives and studios, the foundation has helped to restore over 925 films, which are shared with the public through programming at festivals, museums, and educational institutions around the world. The Film Foundation’s World Cinema Project has restored 50 films from 28 different countries representing the rich diversity of world cinema. In 2017, WCP partnered with FEPACI (the Pan African Federation of Filmmakers), UNESCO, and the Cineteca di Bologna to launch the African Film Heritage Project (AFHP), an initiative to locate, preserve, and disseminate African cinema. The foundation’s free educational program,The Story of Movies, teaches young people – over 10 million to date – about film language and history. The Film Foundation Restoration Screening Room presents monthly film restorations, free and accessible with any web browser:


The Tata Trusts Art Conservation Initiative proposes to establish, develop and strengthen art conservation centres across India, and to create a cohort of trained art conservators. Executed across 5 zonal institutes, one of the project’s objectives is to conduct advanced material conservation training courses that will help train practicing conservators and establish standards of competence in the field of art conservation. CSMVS Museum Art Conservation Centre is the zonal centre in the Western region of India for this project with an outreach in the states of Goa, Gujarat and Maharashtra.


The Hemendra Kothari Foundation is a charitable trust that focuses on education and healthcare.


Established in 1977, in the memory of Jamnalal Bajaj, a humanitarian, philanthropist, social reformer, freedom fighter of India and a close associate of Mahatma Gandhi, the Jamnalal Bajaj Foundation strives to serve the ideals to which Jamnalal Bajaj had dedicated his life and promotes the kind of Gandhian constructive activities in which he himself was deeply involved during his life-time. The Foundation also instituted Jamnalal Bajaj Awards.


Istituto Italiano di Cultura in Mumbai was established in 2013 within the premises of the Consulate General of Italy. Its mission is to promote Italian languages and cultures in South-Western India. The approach to culture we adopt at IIC Mumbai is based on the necessity of sustaining ideas and discussions, while promoting the sharing of experiences between authors, artists, thinkers, citizens, human beings.



Here at Istituto Italiano di Cultura in Mumbai we aim at providing a platform for cultural exchanges between the Italian and the Indian cultural communities, through all kinds of media and art languages.

Central to IIC Mumbai’s activity is its collaboration with the most prominent academic and cultural Indian institutions. The scientific exchanges, the organization of, and support to, visual arts exhibitions, the love for Italian literature, the valorisation of cinema, as well as the promotion of music, theatre and dance performances, the restoration and conservation of cultural heritage, inspire and nourish the Istituto’s initiatives.


With offices based in Mumbai and New Delhi, Contiloe Pictures Private Ltd. is a fully integrated and diversified film and television software company, with productions that span across all genres; drama, comedy, thriller, horror, anchor-driven film and event based shows, documentaries, music videos, feature films and much more. Over the years, Contiloe has received numerous awards for its top-quality productions.



RASA, the brainchild of Madhulika and Manish Tibrewal was established in Jaipur in 1998. They started off in the realm of fashion with a single block printer and a single pattern master. They soon expanded their operations to designing home textiles. Today, RASA fashion and home textiles are available at select stores in the US, Canada, Europe, Australia, Japan and South East Asia. Beautiful block prints on silks, linens and specially woven fabrics are a hallmark at RASA.


GAIL (India) Ltd. was incorporated in August, 1984 as a Central Public Sector Undertaking (PSU) under the Ministry of Petroleum & Natural Gas (MoP & NG). GAIL (India) Limited is India’s largest Natural Gas company and ranked among the top gas utilities in Asia. Their business activities range from Gas Transmission and Marketing to Processing; transmission of Liquefied Petroleum Gas (LPG); production and marketing of Petrochemicals like HDPE and LLDPE.




They have extended their presence in Liquefied Natural Gas (LNG) re-gasification, City Gas Distribution and Exploration & Production through equity and joint venture participations. Of late, they have also diversified into solar and wind power regeneration. GAIL has installed India’s second largest solar roof top connected captive solar power plant at Pata Petrochemical complex. GAIL is setting up a 10 MW green hydrogen plant which will be one of the largest green hydrogen plants in the world.


The French Institute / IFI (Institut français India) is a section of the Embassy of France responsible for promoting and nurturing people-to-people ties between France and India. IFI performs numerous functions: from promoting academic and scientific exchanges between institutes of higher learning and research to enabling student mobility and promoting the French language.




We also foster links between artists, scientists, NGOs, professors, enterprises, film professionals, publishers and more. We support partnerships in research and innovation, capacity building and interactions with civil society, vocational studies, as well as artistic and cultural partnerships in performance, books, film, fashion, design and more.

We support and organise forums and debates that bring together innovators and thinkers from both countries.


Penguin Random House India is the largest English language trade publisher in the subcontinent, publishing over 250 new titles every year and with an active backlist of over 3000 titles. With a strong fiction and non-fiction list, it publishes across every segment including biography, travel, business, politics, history, religion and philosophy, lifestyle, cookery, health and fitness, sports and leisure, visual books and children’s books. The children’s titles are published under the Puffin imprint.

  • Anupama Rangachar
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  • Jayasimha Subbanna
  • Pankaj Naik
  • Rajiv Anand
  • R. S. Vivek
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  • Sanjeev Kapur
  • Subrat Mohanty
  • Sudhanshu Vats
  • Sumit Shukla