You want me to talk, Sir?
I’d relax and you can paint better, Sir?
Maybe, Sir…maybe, but what shall I say, Sir?
For I am not used to talking
to important people like you, Sir…
Why do you laugh, Sir?
It is true, I’m just a girl from the village, Sir
attending to Laxmi and Ganga –
those are our family cows, Sir;
and I milk them; and my father
and I bring the milk to the market
and to neighbors who can afford to pay for them…
We don’t carry them in these fancy pots Sir,
you make me pose with
but just earthen jars, Sir…
But this morning, Sir, my father said to me:
Come, Mina – you shall pose for a famous artist;
India has never seen such an artist
and he shall pay well
and perhaps with that I shall buy a third cow;
three neighbors owe us money
and will never return them in this life;
and the old woman in the sixth house has died
owing us money for these last four years…
You just have to stand there
before the artist in your cleanest sari
and use borrowed milk pots…
And that is what my father said, Sir…
I normally don’t dress in such clean clothes, Sir;
the saris I have are saris my mum used
but she died when I was little, Sir…
Sir? You want me to keep talking…but I am boring, Sir
and I talk simple words and I am sure you’ve heard…
Oh Sir, I’m more used to talking to cows
than important men, Sir…
All right Sir, I will tell you…I will tell you…
I do have dreams, Sir
and it is just the dream of all the
girls in my village:
I’d like new saris and jewels
and I’d like to be married
before the year ends;
Arun from the next village
always looks at me
in our town fairs
and Oh, would that he’d marry me
and we’d have a home and a farm and cows
and we’d have children
and we’d live our quiet lives
in our secluded village…
Sir, that is my dream…I have nothing more to say, Sir…
I hope you are done…
Or maybe you should talk, Sir…

The line didn't move, though there were not
many people in it. In a half-hearted light
the lone agent dealt patiently, noiselessly, endlessly
with a large dazed family ranging
from twin toddlers in strollers to an old lady
in a bent wheelchair. Their baggage
was all in cardboard boxes. The plane was delayed,
the rumor went through the line. We shrugged,
in our hopeless overcoats. Aviation
had never seemed a very natural idea.

Bored children floated with faces drained of blood.
The girls in the tax-free shops stood frozen
amid promises of a beautiful life abroad.
Louis Armstrong sang in some upper corner,
a trickle of ignored joy.
Outside, in an unintelligible darkness
that stretched to include the rubies of strip malls,
winged behemoths prowled looking for the gates
where they could bury their koala-bear noses
and **** our dimming dynamos dry.

Boys in floppy sweatshirts and backward hats
slapped their feet ostentatiously
while security attendants giggled
and the voice of a misplaced angel melodiously
parroted FAA regulations. Women in saris
and kimonos dragged, as their penance, behind them
toddlers clutching Occidental teddy bears,
and chair legs screeched in the food court
while ill-paid wraiths mopped circles of night
into the motionless floor.

With designers like Iman Ahmed, HSY and Sania Maskatiya all showing, it was standing-room only at the venue. Many of the crowd of fashion insiders and socialites ended up sharing seats, with the chivalrous Zaheer Abbas giving his seat to Iman Ahmed after her show and sitting on the floor himself. So much for designer egos!

It was an evening that lived up to its billing.

Iman Ahmed may not be a designer who makes her clothing easily available, but in fashion terms she reaches heights that few other designers can reach. Her “Sartorial Philology and the New Nomad collection” was breathtaking.

The best fashion shows have a narrative — the clothes, styling, music and progression of the outfits blend seamlessly into a whole that portrays the designer’s artistic vision.

It’s hard not to gush about Iman Ahmed’s show last night because it was exactly what a fashion show should be.

Starting with a series of outfits in white and gradually adding tribal colours, Iman used fringing, embroidery and a range of fabrics to great effect. From the inspired detailing to the juxtaposition of texture and silhouette, this was a class act. The tribal white-dotted makeup and beaten silver accessories added further depth to Iman’s stunning layered ensembles.

Levi’s uninspired showing of their new 501 jeans and other stock provided the audience with a pause to process the previous collection. It’s difficult to make a interesting fashion week presentation out of high street wear and something that Levis struggles with.

They used better music than they did at their autumn show but the styling was still painfully lacking. They did manage to make everyone sit up and take notice at the end of their show though — Wasim Akram walked the ramp as their showstopper amid cheers from the admiring audience.

Somal Halepoto was next, with collection that looked distinctly amateur. She seemed to be aiming for a bright kitschy collection but ended up looking merely tacky. The shiny, synthetic-looking fabrics and gaudy embroidery were particularly woeful. Somal’s digital neon animal prints and some of the harem pants were funky but the rest of the collection had little to recommended it.

YBQ’s LalShah collection, meanwhile, was in a different league. An ode to 3 Sufi Sindhi saints, the collection was as much about the artistic impression it made on the ramp as it was about the clothes. The distinctly theatrical presentation relied on the slow beat of sufi music and plentiful accessories for much of its impact.

YBQ sent his models down the ramp in huge pagris, holding flags on poles and garlanded with prayer beads. He used only three colours - red depicting rage, white for peace and black for mourning. Most of the outfits were draped red jersey tunics or gowns with white lowers, braided belts and black turbans.

Rubya Chaudry wore a black gown with red roses but otherwise the outfits were all about subtle plays with drapery and cut. From jodhpur style chooridarsto asymmetrical draping, the outfits had interesting touches but needed all that heavy styling to make an impact. HSY was YBQ’s showstopper and added glamour to the theatrical presentation that he had choreographed.

Wardha Saleem was first up after the break and her Lotus Song collection showed how this talented young designer has been upping her game over recent years.

She used digital flamingo prints, 3D embroidery, gota embroidery and lasercutting in a pretty formal fusion collection. The detailing on the collection was simply stunning. Wardha used gota in delicate patterns that gave her outfits shimmer and paired this with three dimensional embroidery. The outfits featured flowers, fish, elephants and birds picked out in silk thread and beads.

She showed a variety of shift dresses, jackets, saris, capes and draped dresses. The styling was also great fun – the models wore shoes featuring spikes and 3D flowers while the multi-talented Tapu Javeri provided some gorgeous jewellery and music for the show. While there was nothing groundbreaking about her silhouettes, this was a beautiful collection that showed skill and artistry.

Sania Maskatiya, who presented her luxury pret on Day 1, now showed her lawn collection for AlKaram. As far as designer lawn goes, this is something of a dream collaboration.

Textile and print are Sania’s forte and she uses print extensively in her luxury pret. In this collection for Al-Karam she has taken print elements from her pret collections throughout the year including the Sakura, Lokum and Khutoot collections.

The prints are different from those used in her Luxe pret but are based on the same principals. She’s even used the paint splash embroidery from this season’s Khayaat collection in one of the outfits. Designer lawn should be affordable way to wear a designer’s aesthetic and this Sania Maskatiya Al Karam collaboration certainly is.

As for the show itself, showing lawn is always tricky on the ramp. Sania pulled it off with an upbeat presentation using fast music and trendy cuts, throwing a few conventional shalwar kameez in the mix. She fashioned the lawn into jackets, kaftans and draped tunic, using the sort of cuts that are a hallmark of her pret. It’s not how most people wear lawn but it was a great way to show off the prints on the ramp.

Naushaba Brohi’s Inaaya burst onto the fashion scene last year with a spectacular collection. Following up on a dramatic debut is difficult but Naushaba proved that she is not a one hit wonder with this collection. Inaaya’s SS15 collection continued with the theme of using traditional Sindhi crafts in contemporary wear. Naushaba used both touches of Rilli and some stunning mirror work in her collection.

What makes Inaaya noteworthy is the way that she takes unsung traditional crafts that we’ve seen badly used and gives them a high fashion twist. Standout pieces included a bolero with unusual mirror work and a rilli sari that glittered with tiny flashes of mirrors.

Although the collection included many beautiful outfits, there was a lack of focus. The simple tunic with a rilli dupatta didn’t work with knotted purple evening wear jacket. The inability to make a definitive statement let down an otherwise accomplished collection.

Naushaba added a characteristic touch at the end of her show. She’s committed to social responsibility and supports local craftswomen with her brand. Accordingly, Inaaya’s showstopper was Mashal Chaudri of the Reading Room Project along with Naushaba’s daughter Inaaya. She held up a plaque saying “I teach therefore I can” while Inaaya wore a T-Shirt with the slogan “super role model”.

HSY brought the evening to a close with a high-speed presentation of his Hi-Octance menswear collection. The unusual choreography featured the models zipping along the catwalk, pausing briefly on their second round. The energetic presentation complemented a collection of sharp suits and jackets, leavened with quirky polka dot shirts and bold stripy ties.

There was the requisite shirtless model in distressed jeans and an ice-blue jacket but also some appealing suiting fabrics. HSY used only Pakistani fabrics and included solid colours as well as self-checked and striped suits. This was wearable, classy menswear presented creatively.

Day 3 was undoubtedly the best day of TFPW so far. Iman Ahmed undoubted takes the laurels but she was ably supported by HSY, Wardha Saleem, Inaaya, Sania Maskatiya and YBQ.Read more here:www.marieaustralia.com/formal-dresses | www.marieaustralia.com/short-formal-dresses

Don’t take them at face value. Several leading actresses in Mollywood have shown themselves to be keen businesswomen too. So, if Poornima Indrajith, a fashionista in her own right and designer-in-chief of fashion store Pranaah, was the lone name in the list till recently, Kavya Madhavan, Lena, Kaniha, Shwetha Menon, Rima Kallingal and the like too have joined the fray to establish their credentials as entrepreneurs.

While Kavya owns Laksyah, an online fashion store, Rima runs Mamangam, a dance school in Kochi. Lena is busy with Aakruti, her weight-loss centre. Kaniha’s focus is on health care, as a franchise partner of Medall Diagnostics in Chennai. Shwetha, meanwhile, has opened a restaurant, Shwe’s Delight, in Dubai. Mallika Sukumaran owns Spice Boat, a restaurant in Doha, Qatar… The actresses talk at length to MetroPlus about why and how they went about it, the lessons they learnt and what lies ahead.

For Kavya it was the realisation of a long-cherished dream; of starting a business venture while she is at the peak of her career. “I zeroed in on a fashion boutique from several other options, such as dance school, beauty parlour, restaurant…,” says Kavya. “It was the safest and best choice because my father had been in the textile business back home in Neeleeswaram for nearly four decades. My brother, Midhun is a graduate in fashion technology and my mother and my sister-in-law too share the same passion. Laksyah is really a family-run enterprise,” she adds. Laksyah, which sells a range of one-off designer saris and daily wear and based out of Kochi, will be celebrating its first anniversary next month.

It was a photoshoot that lead Lena to open Aakruti. She had to lose a few kilos to get in shape for the shoot and her childhood friend, Louisa David, a physiotherapist, helped her achieve that goal. “I was happy with my weight loss and so we decided to launch a physiotherapy-based slimming centre. Louisa has been running her centre at Thrissur for five years and she helped me start Aakruti, in Chevayur, Kozhikode, in September last year,” Lena says.

Kaniha, always a multi-tasker, has a solid reason for taking the health care route too. It was the closest she could get to her childhood ambition to pursue medicine! “After coming back to India from the United States, my husband, Shyam Radhakrishnan and I wanted to start something. Since I couldn’t fulfil my dream of becoming a doctor and had to study engineering instead, I thought I should do something related to healthcare and that’s how Medall happened,” says the actress.

In Shwetha’s case, her restaurant was a venture waiting to happen. “In fact, those who know me for long are not surprised with my decision to open a restaurant. I am an absolute foodie. I am so very careful about what I eat that my cook always travels with me on my shoots. I also love hosting family and friends and often hold pyjama parties at home. That’s why a restaurant was the obvious choice when I thought about starting a venture,” says Shwetha. Shwe’s Delight [“I was called Shwe by my friends in modelling circuit”], which opened its doors last month, is a North Indian fine dining restaurant. “I wanted to give expatriate Malayalis in Dubai a different taste from the usual fare. We dish up a bit of Chinese food too,” she adds.

Being a celebrity helps, most of the time, especially to get publicity, say the leading ladies. For instance, Kaniha says she could bank upon her celebrity status to get corporate tie-ups. They also talk of brand value going up when a known face opens a venture. “There is a certain level of trust with potential customers because you are a known face,” explain Shwetha and Lena. “On the flipside, you are always under scrutiny. At times, I feel acting is much easier,” adds Shwetha. Kavya says it is not easy being the face of Laksyah. “I can’t go wrong with what I wear!” she adds, with a laugh.

Celeb status and a pretty face, though, is no guarantee for a successful business. All the actresses say that they put in a lot of hard work to get their businesses up and running. “The execution part was not easy, be it finding the right location, getting the interiors done, purchasing the machinery, appointing qualified staff, training them and even finalising the colour of the uniform. But I have become more confident now that we are opening a new branch in Kochi,” explains Lena. Kaniha, meanwhile, admits that she has learnt to be “more patient and be diplomatic.” Well played.Read more at:www.marieaustralia.com/cheap-formal-dresses | www.marieaustralia.com/****-formal-dresses

Brown sugar sapotas
Blending with custard alfonso mangos
And bold sweet lime juice

Georgette saris
Pairing with uncut diamond necklaces
Mixed with peals and rubies

Gently sloping palm trees
Swaying in balmy sultry air
And hazy golden sunsets

Frenetic yellow autos
Competing with dusty zipping mopeds
Mixed with ambulating pedestrians

Aromas of cumin
Blending with the sewage
Other times with incense

Glows of brass oil lamps
Singing in hums of prayer
Added with turmeric's incantations

Brightly-patterned salwars
Accentuating gemstone bindis
Comfy fitted leggings

Savory masala dosas
Coupling coconut chutney
Meter-high filter coffee

In June this year, designer Masaba Gupta and film producer Madhu Mantena had the quietest of civil ceremonies. It was only when she took to Twitter the next day to talk about the court registry that most people heard of it. It was a move most unorthodox, for a leading fashion designer, especially one who counts several Bollywood actors among her close friends.

At the time, she also announced “a Caribbean wedding in November”.

The destination wedding isn’t happening. But that’s not to deprive us of a grand, four-day affair, the sort that has the most coveted guest list, and is followed with the keenest interest. It will start on November 19, with the bridal showers, will continue with the mehendi on November 20, the sangeet on November 21 and a gala reception on Sunday, (November 22). Expect the works, and guest lists that boast of Bollywood A-listers (Shahid and Mira Kapoor, and Sonam Kapoor are close friends, just so you know).

In short, it sounds like any other grand Indian celebrity wedding. Except, this is Masaba Gupta we’re talking about. As we catch up with her, we get the sense that she’s approached the whole thing with the same minimalism and quirkiness with which she approaches fashion. “A lot of people are invited,” she tells us, “But I’m not going around and talking about my wedding designer or my lipstick, so on and so forth.”

Unlike most Indian brides, she’s not even fretting over the big day, or days, as it were. “When I was growing up, I always saw brides around me under tremendous stress. The pressure to dress a certain way, wear a certain amount of jewellery and make-up... I saw how uncomfortable it was. So I decided that, if I do get married, I’ll be someone who puts comfort first, and then looks at her options for cut, colour, embroidery or jewellery,” says Gupta.

So, in case you do find yourself invited (otherwise, there’s always Instagram), don’t be surprised to see the most relaxed bride, dressed so comfortably that she’d be the envy of any married Indian woman. The idea, she says, is that a bride should “dress in a way that she can interact with people and have a good time herself.”

She’s also taken charge of the whole thing, and planned a non-fussy, non-extravagant celebration. “For me, three vacations is more value-for-money than a mandap with diamonds on it.”

True to her word, for her sangeet and reception, Gupta is ditching the norm of heavily designed lehengas and saris. “I didn’t go into that heavy, couture, bridal space. And I’m the kind of designer who wears works of other designers,” she says. So, her trousseau will have outfits by several other leading designers. “There are a few people who are great at doing certain things. Anamika [Khanna] is great at reception outfits. I can do a cool, quirky mehendi outfit. For a sangeet, somebody more in the Manish Arora or Shivan and Narresh kind of space,” she says.

The designer who’s always stood apart also seems keen to set an example. By not conforming to rules, Gupta wants to make a point. “I do want it to be about comfort, but I also want to change things up a bit. I want to set an example and say that you don’t need to wear a certain colour, a certain type of maang tika; your hair doesn’t have to look a particular way,” says the young designer.

Ask her if this is the (unconventional) dream wedding come true, and she laughs. “I never had a dream wedding. I’ve never visualised anything except clothes. Certainly not an elaborate wedding setup. See, I just don’t want to starve at my wedding. So, my dream wedding is one where I get to eat a meal while everyone else enjoys themselves as well.”

Masaba’s five-point guide to a chilled-out wedding

1) Get people to help out. If you try and look at every detail, you’re going to have a hard time. You may have a great input, but get people to do it for you.

2)People think you should shop for jewellery and clothes much in advance, but I think it should be done as close to the wedding as possible. You’ll have the latest stuff, and your taste might change over time. It’s best done around the wedding, so you don’t regret what you’ve bought.

3) Shoes are important. Make sure you’re in comfortable heels or flats, so you can survive the night.

4) Always test the make-up artist. Don’t just do a demo and leave it; test it through the day. See how the make-up behaves over a few hours, then you’ll know what it will actually be like, because it takes a couple of hours for make-up to set.

5) Receptions should start becoming more informal. You shouldn’t have to have the couple on stage smiling through the evening. I’ve heard of brides getting locked jaws. It’s absolute torture.

How to be the unconventional groom

• Fusion looks work well. If you’re wearing a Jodhpuri or a bandhgala, team it up with Jodhpuri pants. For men who are slimmer, suits do wonders.

• If you wish to be quirky and know you can carry it off, team dhoti pants and a shirt with a really formal blazer and a brooch.


• I love the cropped, ankle-length formal pants men are wearing now. It’s great for a reception.

• You don’t need to wear laced up shoes. Wear a nice slip-on in patent leather or a printed pair of shoes that stand out. So, you can make the whole look black and white, and have a nice pop shoe and make that the focus.

• Don’t be afraid of colours at your wedding. Get over navy blue, black or maroon. On a darker man, a haldi yellow kurta will look fantastic when teamed with an off-white or cream churidar. Even a soft pink in raw silk — it has a silver-pink shine — looks lovely.

How to be the ‘in vogue’ bride

• We’re seeing a lot of shapewear backs. Instead of the flared lehenga, women are opting for the fishtail cuts. Girls are also wearing shararas with big flares that almost look like a lehenga.

• Brides are going minimal. Go for less embellishment, and lighter lehengas.

• The dupatta is being ditched. Either that, or it’s attached. Much easier to handle.

• The choli is becoming more modest. People are wearing longer lengths, which are more fitted; the ‘60s style kurtas with shararas are also in. There’s more focus on the body and shape.

• I’m hoping the anarkali has died. It’s the worst of the lot. And it’s not very flattering. If you’re very skinny and tall, it works for you. If you’re short, you look like you’re lost in your outfit.

• Ditch the trail. At the end of the night, it’s a rag. It’s been stepped on and is *****.

read more:www.marieaustralia.com/mermaid-trumpet-formal-dresses

www.marieaustralia.com/cheap-formal-dresses

In the seventies
we brought back silks and saris
hot with colours
that shocked the nights
Punjabi embroidery
on cheesecloth kaftans
mirror glittered skirts
that were spun with light
Kashmiri shawls
and Afghani dancing dresses
arms full of bracelets
silver and brass
enameled and etched
and singing with ***
rings of Ivory, sapphire and jet
necklaces of jade and threaded apple seeds
rain forest timber bowls
white marble boxes from Agra
with precious inlay stones
our little Taj Mahals
we wandered the globe
like a magical village
of lovers and
and came back
with backpacks of dreaming
and hope.


© M.L.Emmett

Since its inception, Aarong has been determined to bring about effective changes in the lives of artisans and underprivileged rural women, by facilitating and advertising their handicraft. Today, it has become the foundation of independent cooperative groups and family-based artisans. Now, it is known as a contemporary life outlet, among people not only in Bangladesh, but all over the world.

This wedding season, you can adorn yourself with one of Aarong’s festive looks. On November 17, Aarong launched their latest product line – the Wedding Collection.

Aarong has introduced a series of looks and styles to try out this wedding season for brides, the bridal entourage and the wedding attendees. What’s more, they are promoting Jamdani, Muslin and Katan sarees as the choice of outfits to wear for the bride and her close ones.

The line is introducing bridal wear in some uncommon hues, moving away from the routine “red” to peach, pink, purple, blue, green and beige. These unconventional colours can also look grand on the big day, and this is the idea that the creators of Aarong are attempting to establish.

Jamdani saris will be incorporated with remarkable embroidered and printed blouses, helping ladies look regal on their special day. The wedding entourage also has a lot to look forward to. This special compilation includes Katan and Jamdani sarees, paired with embroidered blouses, ideal for any reception soiree. Katan sarees can be worn in bright or bold colours and contrasted with multi-layered pearl jewellery and complementing blouses. Furthermore, the collection also includes Jamdani saris in light shades such as light pink, peach and white, and these can be paired with frilled petticoats or dupattas.

Along with gold, the creators encourage the brides to try out silver jewellery with complementing stones, layered pearl neckpieces and hair ornaments. Hence, the looks are a mix of modern and traditional, and are not only advised for the bride, but also for the close relatives or wedding attendees.

This collection also comprises of saris, appropriate for the bridesmaids, the cousins, the sisters, and even the parents of the to-be-weds. Aarong has prepared similar ‘matching’ attires for the bride and the groom, that are perfect for particular occasions like Holud, Mehendi, Aiburo Bhaat, and so on. For the bridegroom, as well as his family and friends, there is also an exclusive range, that includes Sherwanis and Panjabis. Aarong also provides a variety of gift options such as ceramic dinner set, cushion and bed covers, as well as women’s accessories, such as bags and purses.Read more at:http://www.marieaustralia.com/white-formal-dresses | www.marieaustralia.com/backless-formal-dresses

There has been enough writing of the self or of circumstances I have often found myself trapped in,I think that the time now has come,to write about people who often go unnoticed in your lives,it is like oxygen,like you are always breathing,the blood is always flowing,the blood is getting oxygenated and then de- oxygenated and it gets purified,and its in your body,and you know it,you are breathing and you know you are,but we don’t really pay close attention to the flow of breaths we inhale and exhale,and that’s what is keeping us biologically alive and we know it,but how much importance does the breathing get,how much thanks,how much attention?
As I’m writing,believe me when I say that ,I’m not pausing,I’m not making things up,I’m not even thinking rationally or sequentially,I’m simply typing onto words that describe my very beautiful,my very  epitome of sacrifice and suffering,my very solitary reaper of freshness ,love and care,my very own – Grandmother.

No,this is not her biography,this is not about describing her,this is not only about thanking her even,this is about telling you all that I am deeply moved about how she is ,I fail to realist what she is actually made up of,I mean,a woman in her 80s ,of course a woman of a different era altogether,she is supposed to be an orthodox woman in her late 80s, aware of her approaching years,and sitting in front of the television watching serials or mythological shows or the very beloved babajis on air and hardly getting out of her room and ordering her daughter –in-law to get work done and medicines presented.
This is quite ironic to how we often stereotype old ladies to be. But let me make it clear,my grandma is highly different. And just like I firmly say that I’m going to remain as the ‘ Different Misfit’ ,different from a lot many out here,in the most weirdest angles,but I got this from my granny,apart from the misfit,she is an old,weak woman,she is short,and her hair has still managed to not get older,I think her hair know well,what suits her appearance,she has good brown-orangish hair, and not to forget,her charismatic blue eyes,eyes to fall for. She keeps her hair tied in a neatly made bun and drapes herself well in decent looking saris. No lipsticks,no makeup,no perfume,no sandals. She chooses to be her natural self,in her chapals. Only accessory to her will be her purse. And with purse,I mean,not the blinging  purses,but the small pouch type of  purse,she keeps around her waistline,cutely tucked inside her sari petticoat.She is a magical figure,at least to me.
‘Granny,I’m here.Namaste.’, I said as I reached her place,while she was mopping the balcony floor.It had rained heavily.
She first didn quite seem to hear it,even though I was very loud and pitchy. I saw her mopping, the door was open. I repeated my greetings.
‘ Namaste. Here you are,my child!’, she replied with a 100volt smile pasted on her beautiful face.

I am happy that my mother was able to convince m to go visit my granny,that Sunday,because I was going to have my economics test the next day,so I refused at first,bu then she managed to take me there.I’m glad, I did.
She is in an age that you can never tell how much time one has got,and all you can do,,is live the day like its your last,I think this has kind of become the motto for my grandmother. She walks like a snail. Slow yet gracefully.She lives in Lodhi Road. She lives alone.The house is massive. There are 6 rooms in that particular floor where she lives,the ground and top floor too connected with the first.The ground floor is occupied by a family of 4,a kin to my granny.while she stays on the floor above,she is expected to be with herself only. My maternal uncle,my grandmother’s eldest son,lost his wife a few years back,he has two kids,big enough to go settle in Mumbai.My uncle has been a headache for the entire family because of becoming highly psychotic and depressed,that clearly reflects in how things have become ugly with his relationships.He moved out to Noida after the demise of my late aunt. I don’t remember the last time I saw him interacting with people of his family,let alone my granny. They are like sort of reclusive now.Although my granny wouldn’t still mind him coming to reconcile with her or talking or offering a shoulder,even after what all she has been through regarding my uncle,my uncle refuses to lock eyes with her.Well,that’s a different story altogether.

My grandmother lives alone,in such a big house ,where two families of 4 could easily accommodate themselves.the winds blowing enter the rooms that are empty and unlocked,and rap my grandmother in nostalgia ,but she stays strong.family photographs hanging on the walls,Pictures of Rhino,their late dog,finding its place on the walls,reminds her of how the family was,and always sans her.Yet,she  is stoic and sturdy and never did she complain on these little details.
My granny has had a beautiful relation with my mother and her three daughters ,they are always there for her,its like after my granny has understood,that her daughters are now mothers themselves,she has realized,that she no longer needs to be on their head anymore,so my aunts and my mom herself is paying back to her,as being the reverse mother to her.It is a beautiful relationship they share.I sigh.

She got us tea and some snacks.She prepares them herself,despite having somebody to offer to help.She sits with us and talks and narrates news that she has got from here and there.She left the room when all of a sudden,out of nowhere my uncle pops up for some paperwork urgency,we greeted him,but we didn’t exchange anymore words.He leaves after a few minutes.

I was reading ‘The wedding’ , because I was sure,I was going to get bored because there was no sibling around,My dad was busy reading India Today and mom was accompanying my granny in preparing food. They later went to the terrace to see the traffic go by and have a good talk. They love to talk, trust me.While my mom carefully instructs granny to stay strong and be alright,I notice my grandma trying to control her tears,you could just make it out from her ****** expressions,her hands,quietly folded over another,and her head bowing down,she has never been confident and assertive,I had correctly judged.I ad overheard them talking,when I was passing by the room library searching for Sidney Sheldon.And that was when my respect for my granny grew,because in an age liker hers,the very innate ability to hold on,that perseverance,the  strength ,the power of forgiveness ,I mentally touched her feet and hugged her,because I was in no mood to disturb her conversations.I passed by.
I was learning each moment. In that house,I have been a lot of times before,but this one time,that Sunday,I was feeling like home,like a school moreover,in a moral science class all night. I was done with my economics revision,and it was time for diner.She had prepared Hot chapatis and my ever favorite Paneer for the dinner.She paired paneer with yoghurt,that was a new yet crazy combination,I tried and I was enjoying it,not because it was THE combination,but I felt like it was her idea of how food tasted, like she always felt curd could fix everything,not potentially everything,but,It’d be stupid to object her.
The dinner was tasty.
She cleans up the entire house herself. Like I said,6 rooms and a balcony,is not a small thing.it is one strenuous task she agrees to take up,not occasionally.but everyday.She refuses to take a house help,despite her health conditions,because she wants to  utilize her time or pass time in some way or the other. TV is the only source of color in her life.That keep her occupied. I salute you,granny.
I offered to do the dishes that day,but she saw me doing it,she came half running,half walking to stop me from doing it,and said this doesn’t look good,the guest doing it,and I was a princess to her,she asked me to step back,and I did not revolt,I knew,she did not have anything else to do except do them and sit and watch the sky and finally sleep . I stepped back.
I was reading my book,and there’s this part,when Noah shares that he still feeds the swan because he thinks Allie is the swan and she promised him to be there with him,so she finds her way through the swan.And I saw myself crying.i rushed to the balcony.Took a few deep breaths,sobered myself up,and a few winds blew,and I felt nice.
My granny was talking with my mother while my dad was listening like a puppy.i was reading,I could barely hear what she was talking about,and I didn’t want to even know what were they talking about,because the more I knew,the more anger built up,and the more I’d get sentimental and feel sorry for my grandmother.But no,she is not the one you’d feel sorry for,she was never wrong,and she isnt,and wont be,she is just a simple figure,an epitome of sacrifice and suffering and with such patience to be jealous of.We offered her to come and spend the time with us,and  all her other daughters and her grandchildren,but she refused,she wanted to be in the house,take care f the house,she was just so emotionally attached to the building that had lost its meaning,it was just a HOUSE and nt a HOME.she wasn’t made to feel it was,she had no reason,but she still loved it there.

I still wonder,while I’m writing here about her today,she wont be able to read this gift I am giving her,giving her love back,what would she be doing? No,this isnt T V  time,maybe making tea,what after it? She cannot read or write.She cant be on the phone all the time,then what? Maybe just sitting in the balcony? But today,its hot . then what? Just sitting on the couch,watching my grandfather's portrait hanging on the wall,I think she’ll brush off the dust on the garland and the painting maybe. Or she’ll re arrange the sofa covers or curtains. I don’t know. While we have so much to do,while people forget people everyday,while people make new friends,have so many tings to look forward to,we have so much access to **** our time and pass it away,but she ? she just stays this way and she just exists.

It was time to leave. My respect level for her had gone par average. I just wanted to stare at her for hours in silence,or maybe play with her,or maybe teach her pronounce some swaggy English **** words,I do that when she is at our place.She loves it with me.

Hmmmm.

As we were walking downstairs, I tried and rush and pause and rush and slow down again and again,to whether escape the moment,of the farewell,because it’d be hard,I could bet,and slow down so that I could see more of her.i just couldn’t get enough. In that moment,I swear,I loved her like a man loves a woman.But ine,was much more passive or hidden,I have always had issues with expression,and I regret that.

She could climb downstairs,the steps were steep and endless.She stayed there,while we went down,she bid us a goodbye,waving her hands like the flag of love ,like saying ‘ IT WAS GREAT TO HAVE YOU ALL HERE,I FELT SO BEAUTIFUL.YOU JUST FILLED THIS GAP I THOUGHT I’D SUFFER THIS WEEKEND.THANK YOU SO MUCH,I LOVE YOU,AND I DON’T KNOW,IF I SEE YOU AGAIN,BUT PLEASE BE IN TOUCH,AND LOVE EVERYBODY’. BUT SHE SAID ‘ bye’ .A  LONGER,STRETCHED VERSION OF BYE ,THOUGH.

It was dark,I saw her waving,I was waving back,so was mom and dad,mom and dad rushed forward,while i was till bye-ing my granny. I thanked god that it was night time,an nobody could see the tears gushing down my face. While we leave in 3.she bids us adieu in just 1. Years ago,she’d be with 4 others,and now she is just single. Alone.By herself. Still not complaining.NEVER.

I wiped them .My tears,and was crying till I got into the car,people saw me weeping maybe.I sat down.Still sobbing. Trying not to let people or mom and dad precisely notice my tears ,and I wasn’t brave enough to tell them that I was crying because I thought it might be the last time I saw her or how a wonderful woman she is.The wind was blowing hard and cold on me,while I was listening to Dead hearts on the phone.like the universe was conspiring in making me cry my guts out . My reverence for that woman was getting higher and higher beyond measure.At the traffic signal,a little girl comes up to me,my head was leaning back into the car seat,like a drunk Peter van Houten,while she leaned against the car window glass too,I think she was the only one in the entire night,to actually see me crying,she smiled. I smiled back. She glanced at me for a few moments,I was still smiling at her,she asekd me if I had money,but I wasn’t carrying any then,so I said ‘I’m sorry’ without speaking.She understood and she smiled and left.Slowly and gradually the wind helped me in evaporating my tears,so that I didn’t have to manually wipe them off,because just in case,mom saw me doing that,I wouldn’t know how to respond.
Thankfully,I fell asleep in the car and as I reached back home,I felt a little lighter,I called up granny and informed we were home safe.[ she always wants us to inform her when we do]  And she very sweetly said good night and a bye and then I thought to myself that HOW COULD SHE BE SO GENTLE AND NORMAL? I WAS SO JEALOUS OF HER RESIGNATION.I LOVE YOU GRANNY.
With a heavy heart and a new day to follow and with less percentage worries  of the test the next day ,and more of how my granny would pass away the time and sleep with a smile on her face ,I looked at the walls,said my night prayer and rolled my eyes,and went off to sleep.

There’s no place like home... except Grandma’s .
cc

We walked along the left bank of the holiest river in the world
as the sun kissed the hazy emerald sky into morning,
and I watched as an old man padded barefoot to the water's edge,
dawn in his collarbone,
bending with brittle bones to say prayers for the new day.

At first glance,
the river is thick and murky,
garbage entwined in its current like rings on crooked fingers
and I listened to the winces of the rest of my group members--
no Americans with Western Sensibilities would find divinity
in its sewage runoff and fish corpses.

But Holy is subjective.
Found not only in church pews and rosaries.

Hindu religion is composed of 3 cycles representing the stages of life:
Brahma is the creator,
Vishnu the protect,
and Shiva the destroyer,
without one stage there cannot be another
with creation comes the inevitability of destruction
and we walked through that early morning mist
past the cremation fires kept lit for centuries
because to have your body turned to dust on these banks
is to achieve eternal salvation,
to die and then be reborn into light
with the presence of death comes the beginnings of life
don't tell me there isn't divinity in this.

As the sun grew bigger, I waltzed.

Past the women doing washing in the river
saris glimmering on the surface of the water
like schools of colorful fish and
Indian children doing cannonballs into the embrace of the current,
grinning because they knew something we didn't,
but still, I waltzed.
Past the gossiping birds
and the giggling vendors
and the fishing boats and river men
and the homeless woman shouting at the top of her lungs
Namaste to the world!
And the countless believers greeting each other like
Namaste, my brother.
Hello.
I love you.
The Light in Me honors the Light in You.

People make pilgrimages to this sacred place from hundreds of miles away,
buckets strapped to their shoulders just to bring back a bit of this holy water to bless their homes,
barefoot
and dancing the whole way.

As the Indian sun rose midday into the sky,
and it was time for us to leave,
I watched as children and men and women and families
lit tiny candles balanced on flower petals
and sent them down the river as offerings of light
to Vishnu, the protector, preserver of life.
We know it as the Ganges River,
but its people affectionately call it the Ganga
and I didn't know Hindu
but I could've sworn Ganga meant Home.
Meant life.
Meant cycle, or current.

As I turned to leave,
back up the steps and onto the crowded Varanasi streets,
I took one last look back over my shoulder
as thousands of tiny candles flickered and floated
on the soft, unwavering current,
illuminating that holy river into eternity,
and I thought,
*what a fall.
but what light.
what impossible light.

Your holy
Name
dances about
red, blue, pink
swirling saris
with You
my arms are
never empty
the moon is full
of silver
and the sun
pours its gold
over us
in the jhoola of
my heart
there is a permanent place
where I swing from dawn to
radiant dusk with my
Dearest Giridhari

sit with me before the dance
in my little thatch hut
on a mat of yellow reeds
together we’ll string
garlands
marigolds, jasmine,
roses
to offer at His petite, azure feet
with glossy red kisses
we’ll serenade our Sri Krishna
weave peacock feathers through His
perfumed tresses
the Yamuna river is lit up with
lotus lanterns and
vrindavan incense
we have adorned ourselves
in the finest silk saris
and red *** *** dots
we are ready with
aching, ardent hearts to
dance with the Lord
come into our eager, hopeful arms
darling Giridhari

To those men who are always behind us, though sometimes we may not see them.
To those men who are too busy flying fighter jets to teach their daughters to make paper planes.
To those sons who will point at every aeroplane that skims the horizon to proudly claim, “that’s my father!”.
To those women whose hearts will return wrapped in the tricolour and chipped aluminium; Who will place dented helmets beside faded polaroids of days gone by.
To those youth who will break solemn promises- “I’ll come back soon.”
To those families that will stare out of windows, refusing to draw down curtains as they hope against hope.
To those men who can truly say the sky is the limit.
To those men who fly above us yet are so rooted to the cause of their motherland.
Those brave hearts whose faces are lined with sweat and determination as they kiss the ground beneath their feet before they embrace the heavens for the last time.
To the men who take every sortie with a last salute.
To the white saris and navy-blue shirts stashed away and medals hung on rusted nails. To survival and martyrdom and the presence of absences. To commodores and flight lieutenants and wingmen. To parades and memoirs and sacrifices and soldiers in the sky.
The Eighth of October is for them.
To those men who are always behind us, though sometimes we may not see them.
To those men who are too busy flying fighter jets to teach their daughters to make paper planes.
To those sons who will point at every aeroplane that skims the horizon to proudly claim, “that’s my father!”.
To those women whose hearts will return wrapped in the tricolour and chipped aluminium; Who will place dented helmets beside faded polaroids of days gone by.
To those youth who will break solemn promises- “I’ll come back soon.”
To those families that will stare out of windows, refusing to draw down curtains as they hope against hope.
To those men who can truly say the sky is the limit.
To those men who fly above us yet are so rooted to the cause of their motherland.
Those brave hearts whose faces are lined with sweat and determination as they kiss the ground beneath their feet before they embrace the heavens for the last time.
To the men who take every sortie with a last salute.
To the white saris and navy-blue shirts stashed away and medals hung on rusted nails. To survival and martyrdom and the presence of absences. To commodores and flight lieutenants and wingmen. To parades and memoirs and sacrifices and soldiers in the sky.
The Eighth of October is for them.

Did you know the East Indian Bottle Masala includes as many as 27 spices, or that an oil-free pickle served at their weddings is actually known as Wedding Pickle?

These and many such authentic East Indian masalas and pickles are available at East Indian Cozinha (Portuguese for kitchen), a food store started by Christina Kinny at Kolovery Village in Kalina, Santacruz. "I started East Indian Cozinha with an attempt to preserve and highlight our cuisine and culture," says the 24-year old, who has studied Masters in Social Work and currently, works with an enterprise that helps tribal farmers.

What’s in store?

Going back 500 years, the East Indian cuisine enjoys influences from Portuguese, British and Maharashtrian fare. The staples include rice, coconut, tamarind, fish and meats, with spices forming an integral part of the cuisine. For instance, Prawn Atola is a dry dish comprising prawns coated only with Vindaloo Masala featuring Kashmiri chilli, cumin and turmeric. "Most people from our community were farmers and would be out on field all day. So, the masalas and lemon would help preserve their food for a longer time," reasons Kinny.

At present, the store stocks six varieties of masala in 100g bottles (R150 onwards). These include Khuddi or Bottle Masala, Chinchoni (fish) Masala, Vindaloo Masala, Roast Rub, Kujit Masala and Tem Che Rose. She also offers Wedding Pickle, an oil-free variety prepared with raw papaya, carrots and dry dates. "All the recipes have been passed on from generations and are homemade," she informs.

However, making the masalas is no cakewalk. "It takes three days to dry spices under the sun. Then, we hand pound them and pack them tightly in bottles with wider openings," says Kinny. She recalls that in her grandmother’s time, the masalas were tightly stuffed in beer bottles. The bottles were darker, and hence, helped preserve the masala for at least a year, at room temperature.

Lugra love

East Indian Cozinha also stocks traditional 10-yard saris known as lugras. These are hand embroidered by Kinny’s mother, Carol. Previously made only from cotton with authentic gold borders, now, lugras are embroidered with sequins and threads. "She has been in the garment industry for the last 30 years. She also makes traditional accessories like kapotas (earrings), karis (hair pins), anklets, etc," informs Kinny.

read more:www.marieaustralia.com/formal-dresses

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NEW DELHI, INDIA: Rifling through sweaters in India’s first Gap store in a glitzy New Delhi mall, 21-year-old Ridhi Goel says her grandmother doesn’t mind how she dresses, as long as it’s not too revealing.

“She’s fine with me wearing Western clothes like a shirt but not jeans and a crop top,” said the journalism student, her grey leggings contrasting sharply with her mother’s colourful kurta.

Taking a stand for big brands

“All my family wears Indian clothes, but I find them too uncomfortable. I think maybe there is a generational divide.”

Most women in India still wear traditional dress such as saris or shalwar kameez — but the picture is changing, and on city streets, dazzling silks mingle with logoed T-shirts and jeans.

Young people’s appetite for Western clothes has led a fresh flurry of foreign brands to open up in India in the past few months, including US chain Gap and Sweden’s H&M.;

Others are expanding fast, including popular Spanish retailer Zara and British high-street staple Marks & Spencer, which in October opened its 50th shop in India, its biggest market outside the UK.

Fashion design outlets sealed for non-payment of taxes

Urbanisation, a growing middle class, rising disposable incomes and one of the youngest populations in the world make India hard to ignore.

“The time has come for Western wear to have exponential growth,” J. Suresh, the managing director of textile group Arvind Lifestyle Brands, Gap’s partner in India, told AFP.

“If you look at any girl born after 1990 she will be wearing Western wear. That is the generation coming into college, getting their first job,” he said. ”They will be completely clad in Western wear.”

While globally women are the biggest shoppers, in India men’s clothing dominates with 42 percent of the $38 billion market in 2014, according to consultancy Technopak.

Lucrative trade: Designers approach PRA in wake of fashion crackdown

Shoppers are also younger — the average customer targeted by Gap in its US stores is 35, but their Indian counterpart is five to 10 years younger, Suresh said.

Gap had a head start in India thanks to Bollywood megastar Shah Rukh Khan, whose ubiquitous orange hoodie in 1990s hit Kuch Kuch Hota Hai handed the brand a ready-made following.

But it is young Indian women, increasingly affluent and joining the workforce in expanding numbers, who are driving change, with data showing sales of womenswear growing faster than men’s.

And while Western clothes currently make up only about a quarter of Indian womenswear, their sales are outpacing traditional dress sales.

Experimental exhibition: Emerging artists explore unique mediums

A Marks & Spencer spokesperson cited its Indigo denim range and lingerie as two of its best-performing lines in India, with more than 300,000 bras sold in 2014-15.

“As an increasing number of women move into white collar and blue-collar roles, they are also adopting Western attire,” Devangshu Dutta, chief executive of Third Eyesight, a retail consultancy in Delhi, told AFP.

read more:www.marieaustralia.com/black-formal-dresses

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Six-armed things of Asiatic trances,
temple belles entwined in temple dances:
mantra in one hand, the other holds naan.
One holding chutney and the other, paan.
Two hands left (befitting of deity):
one offers curry, one incense.  Aseity
signifies self-contented wonderment.
(One wonders as well what that mantra meant...)

Note the third eye in the figure's forehead:
a spare one in case left or right go dead?
But really—how freakish these idols look:
a ******-pantheon from a nightmare book.
(Outdone only by the Aztecs for fright
along with demons born of tribal night.)

Cobra-crowned elephant-headed mutants
sickly-sweet incense, divine pollutants
mix in with the stench of bodies burning
alongside the filthy Ganges churning
flowing with ashes from funeral ghats
excrement, corpses of humans and rats
that swarmed humble hovels of Hindustan
where gods are mass-produced for fallen man.

Maidens in saris with red tinted lips;
glossy vulgarity, loose at the hips
now growing more arms; an insect vision
enough to make one gag on religion.
The ubiquitous trident looms, a sign:
the eternally present un-divine.
Instead, it ought to stick some sacred cow
in its bovine buttocks, and so allow
beef curry for a hungry avatar
craving fresh meat in his juggernaut car.

Turn from this antediluvian scene
in sincerity, ask: what does it mean?
Were you created in these gods' image?
Is anything real behind their visage?
Blue skin and sick smiles, anointed with ghee:
exotic... but wrong theologically.
Till lingams are yonis I'll spell it out;
these Aryan idols should merit your doubt.
Such weirdness deserves some analysis
(as did old Diana of Ephesus).

Would you tingle if such a god showed up
and offered to refill your soma cup,
sending siddhis up your spinal column
with you in full lotus, clueless, solemn.
Would you offer puja in their temple,
bedeck your soul in a robe to sample
veggie-masalas, chapatis and dal,
peruse the Upanishads, and enthrall
your mind with the mystic old Rig-Vedas
fall for idolatrous sin conveyed
as spiritual truth when it's just a big lie...
bow before a multi-armed freak?  Not I.
Not for all the visions in Satan's world.
Better to call B.S. than to be hurled
to hell for living and loving this lie
embracing monstrosities. By and by
the books will be opened. The Lord will judge.
Consider this your transcendental nudge
toward something less false, less fearfully fake
than the idols Antichrist nations make.

Ten minutes is all Sabyasachi Mukherjee has. “Can you keep the interview short,” I’m asked, as the announcement of his participation in the finale of Lakme Fashion Week’s upcoming Winter Festive show is made. Is ten minutes enough to recap the 14-year journey of this master of colour, cut and construction, I wonder. But I realised that Sabyasachi in rapid-fire mode can make ten minutes seem like twenty! Excerpts:

What is it about LFW that made you return?

It’s here that I first made a mark as a designer. I’m familiar with the format, and know the people. It is like a homecoming. The good thing about LFW is that everything is taken care of – from building the set to inviting people. So I have the freedom to focus on the clothes. It is like putting together a complete show, but doing only half the work!

Finales are a challenge – given the expectations of people in the fraternity, profiles of attendees and the intangible themes created by Lakme for interpretation into garments…

Well, it’s not at all difficult for me. This is my fifth finale at LFW. Once the make-up and hair are set, it is easy to imagine the look and what the girls must wear. I’m way too senior to worry about pre-show stress. My biggest pressure comes from whether I will like what I create. Beyond that, even the critics’ reaction doesn’t really concern me.

Will this line too be about Indian-ness?

Whether I do Western, Eastern or a combination, I always use Indian handcrafts, and all my clothes are handmade. Traditional textiles, block prints, weaves and embroidery are a constant in my collections. The theme being “Illuminate”, this line is about red-carpet clothes with a strong shimmer quotient.

Sunday was National Handloom Day. Considering our diverse range of homespun textiles, do you think everyday must be celebrated as handloom day in India?

Absolutely. It is mandatory at my stores. My staff wears only handloom saris or kurtas made of hand-woven fabric. My Instagram hashtag says ‘Wearing handloom everyday.’

Social media plays a significant role in promoting tradition. Smriti Irani’s ‘I wear handloom’ campaign on Twitter and the 100 Saree Pact are recent examples. Isn’t it time designers too found new ways to promote heritage?

Yes. As more and more Western brands enter the market, our designers must first establish an identity of their own. The Zaras of the world are bringing active prêt into the country, so it is important for us to revive the market for Indian clothes. Reinventing tradition and rethinking marketing strategies are critical at this point.

Has the hustle of today’s business taken fun away from fashion? How do you strike a balance between creative expression and commercial viability?

Oh, that’s very simple. I set my own rules. For instance, this year, I had too much on my calendar. I didn’t do ramp shows, I only had a showing on Instagram. Established designers must create new templates that suit their creativity instead of allowing the market to set the pace for them. Because, at the end of the day, only if you have the time and space for creative expression, can you create beautiful clothes that determine the durability of your brand.

If you were to spell out two major problems faced by the fashion world, what would they be?

Lack of originality. Lack of self-belief.

Fashion has evolved into a glamorous industry, and today, many youngsters want to be part of it. But most of what we see on the ramp and in the retail space are risk-free repetitions.

Well, for designers to evolve, the market has to evolve. But the mood is changing. There are designers who are willing to push boundaries and clients who are ready to experiment. Facebook, Pinterest and Instagram are changing the way people see and respond to fashion. The horizons are widening. This is a wonderful time for young designers to launch their labels and sustain their inventiveness.

Very few Indian designers have taken the effort to document fashion. What about you?

Yes, I will at some point in time get down to writing about my brand. But for that, I will first have to find the right publisher!

Many corporate players are keen on collaborating with designers.

I receive so many proposals for collaborations that I refuse one every day! I am collaborating with Asian Paints, Forever Mark and Christian Louboutin. Another huge one is coming up – but I will not be able to speak about it at the moment.

Do seasons really matter any more in the world of fashion?

Global warming is making designers understand the importance of season-defying clothing. And people too, I feel, don't shop for seasons any more. They just want beautiful clothes.

Can you update us on your forays into jewellery design and interiors?

I have collaborated with Hyderabad’s Kishandas & Company to create some iconic pieces that are hugely popular — and of course, plagiarised! I have a line coming up for Forever Mark. As for interiors, I wanted to design homes, but people did not seem to have enough confidence in me! (laughs) So I ended up doing up my own stores. I have also done up the Cinema Suite for the Taj in London. Celebrities who have stayed in the hotel have appreciated it. A significant collaboration in interiors is happening in October.

Your suggestions to keep traditions going…

People need to be educated about handmade textiles and crafts. A time will come when China will lose out to India because as people become aware, they will only want to support products that are ethically sourced and foster craft communities. Surprisingly, the new millennials are in favour of luxury that is completely handmade. I see that as a positive sign.Read more at:http://www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/backless-formal-dresses

We are stopped for special checks
At TSA and immigration

We are murdered
In our house of worship
Six innocent lives lost
Oak Creek Gurdwara, 2012

Racial slurs hit our hearts:
*******
ISIS
Towel head

Out of fear
We stop wearing our beautiful salwar kameezes, lenghas, saris, and kurta pajamas
In colors and embroidery your clothes could only ever dream of
We take off our crowns you call turbans
And replace them with baseball caps

We think twice about speaking Punjabi,
Our mother tongue,
Around those that don't recognize it

We stop packing our grandma's handmade saag and roti
To school for lunch
And start eating
Processed Lunchables

We separate into two people
Our American selves
And our Punjabi selves
Almost never does anyone meet both

All because
You don't know
The difference
Between a Sikh and a terrorist

Two strangers in a rickshaw in Varanasi:
Two strangers who never felt like strangers.
Two people lost and alive in the moment,
The same moment
With every sense standing, antennae bristling..

Two in a bubble
Together, held apart.

Caught up in a parade and surrounded by shy , smiling faces
Waving modestly at the fair haired strangers,
Laughing
At their surprise and joy.
Knowing that moment's awe
Delighted to share the festival.

Rickety trucks gaudily decorated blare out the tinny music and
High pitched voices distorted by the tannoy add an urgency
To the motion.

Shimmering saris glisten,
So in tune with the  music that trembles with joy.
That joy spills out from the
Scents, the colours, the gleaming grins and the shy waving that marks our welcome,
Till every sense tingles
With life.


And then the sand storm
Swirling and circling the speeding rickshaw
Arrived mysteriously, magically,
Like dry ice in a theatre.

The air now tangible;
Surrounding us like the skin of a bubble
Lifting us out
Of ourselves as the scene comes and goes.

The sand screen clears to reveal
An elephant
A beautiful, smiling elephant
Dressed in splendour
Accompanying us on our magic carpet ride.
Close enough for us to touch his hide.

Bejewelled and glorious
Smiling too
And all is one in that moment
And each looks at the other and feels enchanted and wants the parade to go on forever
Just like this;
With motion
And music
And colour
And smiles
And laughter
And
An elephant.

When the thieves broke in,
They broke my mother’s heart,
They broke my naiveté,
They broke my maternal lineage,

By making her closet bare,
She stood barely recognizing it,
Stared at her safe,
Her
Bulletproof
Fireproof    
Apocalypse proof
Safe
Code c r a c k e d,
Deadbolt door eerily open.

“It’s just jewelry,” she muttered,
        [Passed down from one generation to the next,
        Dating back to an invaded India,
        Surviving six hundred soldiers,
        Smuggled within folds of saris through seas,
        Stories etched in souvenir gold].

“At least we’re all safe,” she stated with conviction.
        [Yet I couldn’t help but feel,
        A physical furthering,
        From my immigrant ancestors,
        Who passed along secrets with every pendant,
        Who whispered hopes in every ornate hairpin,
        Who stored their aspirations in every accumulation:
        Real riches knit with poetic prospers from the past].

How funny
To imagine the thieves
Pricing a priceless object --
Ironically making it worthless
Because the burglary left behind
The heritage.

They call you MY ******.

I have a mother; my mother

A sister; may be a daughter

Or a son.

My father, my brother, my friend, my classmate, my lover

My people.

Where do you figure?

Yet they say you are mine.

Mine.

Their impassioned pleas

Echo in courtrooms, in police stations,

On stark black letters staring out of newspapers;

Crisp saris and well-fitted suits, their accented comments

Drenched in arrogance, tumbling out of flat-screen television sets;

Smug families discussing me (and you) in bright living rooms

With unblemished walls bearing paintings of enigmatic women.

They all say

You are MY ******.

I can see you.

I can see you glowing with pride.
Feel the shroud of admiring glances

Cocooning you wherever you go.

For every sigh of cuss, there are a hundred

Congratulatory nods.

They giggle

As you hold my mangled soul

Up above your head,

Like the tattered flag of an enemy country.

Why, you have silenced another of those

Who dared to rear her sad, ugly head.

Or a happy, pretty one.

What difference does it make?

You never saw

My eyes

Eyes screaming out loud, and going dry

Wide open, yet blind.

You didn’t feel

Tired, shapeless lumps of my being watching us

As my body stopped being mine,

But an amalgam of *******, ******, and a

Deep long scar across eternity.  

While I no longer have a name,

You possess one more: ‘My ******.’

Oh yes, I invited it upon myself

I have chosen it,

I have chosen YOU.

It was predestined. A given.

Since the time I was born.

So you might as well be mine.

My ******!

According to Indian designer Anita Dongre, the bridal look is not about going over the top anymore. She shared that nowadays women prefer to wear traditional outfits with a casual edge to them.

“Today, young Indian girls like to wear traditional outfits with a casual edge. We do a lot of printed lehengas with pockets,” Dongre said in an email interview. “Even if you are all decked up as a bride, your personal style should always shine through. It’s not about doing an over-the-top look anymore.”

The designer, who is not only a celebrated name in the Indian fashion industry but also a successful entrepreneur, believes that a bride must look like herself on her big day. “She should look like herself, but just more beautiful on her special day. She should feel like a princess, light on her feet, who dances at her own wedding”.

As a prelude to the Vogue Wedding Show 2016, which will be held in Delhi next month, Dongre will be showcasing her bridal collection at the event titled ‘Vogue Bridal Studio with Anita Dongre’ at the Kemp’s corner in Mumbai next week. Bollywood actor Yami Gautam will be walking the ramp as the showstopper for the event. The three-day long Vogue Wedding Show will start from August 5 at the Taj Palace Hotel.

Talking about the Vogue Wedding Show 2016, Dongre said, “The Vogue Wedding Show is on our annual calendar to start the wedding season. It is the only time that prospective brides can personally meet me. I look forward to interacting with them.” According to her, in India, couture is basically bridal couture. Dongre feels lehengas and saris are here to stay, as designers keep reinventing them. “Designers are getting more lavish with Indian craftsmanship; the traditional weaves, gota patti, zardozi and heirloom crafts,” she said.

While there is a perception that when it comes to grooms, there is not much one can experiment with, Dongre has a different opinion. She feels Indian men are a lot more open to experimenting with their looks today.

“Comfort and casualness still remain a priority though. Stitched dhotis paired with long kurtas, bandhgalas, shirts and bandis … Each silhouette can be a part of the groom’s wardrobe,” stated Dongre. “When styled well, they look modern yet very Indian.”

Having recently roped in Kareena Kapoor-Khan as a muse for her brand, the ace fashion designer believes celebrities add star power to the clothing line, but fashion does not necessarily need a Bollywood face to work.

“Celebrities are a vehicle to communicate the brand message. We are mindful of the celebrities we collaborate with, mindful of their reach, aura and the value that they will add to the brand. Having said that, I don’t think that fashion cannot work without a Bollywood face,” Dongre concluded.Read more at:http://www.marieaustralia.com/cocktail-dresses | www.marieaustralia.com/vintage-formal-dresses

The other day I was walking
Along the main road of the
Capital city of my state
I saw a Beautiful caption

“corruption  is a social evil”
On the vigilance Head office itself
The devil is sitting on the roof
Nobody needs any authentic proof

Without flowers and jewellery
No wife shares her bed with her husband
Every body thinks only money makes them grand
Bribe has become the watch word in this holy land

Without liquor and a hundred note
Nobody will cast his precious vote
Even the teachers took silver glasses
And silk saris for casting their vote

Without a bribe one can’t register the land
The officer shamelessly stretches his/her hand
He/she looks more like a beggar
And reminds me of a grave digger

But a few officers are very honest
Because of them a poor man gets a post
May God shed his divine light
And make their lives gorgeously bright!

We grew up in the muddy puddle
That was our coffee
In a begrimed little café.
We ate in little bites of each other,
Rolled our tongues in our mouths,
Tasted each flavor and each seasoning.
I gulped you down and digested each little mishap of you.
I undid all the sordid belongings residing in your mouth,
You were the embodiment of shame and failure,
And I made it all such a part of my gut,
That I haven’t shaken it off
Thirty years hence.

How did I make it to here?
This is such a foreign rest.
The only familiarity was that,
Which settled around the corners of your eyes,
In the crevices beneath your *******,
And the clarity of your skin.
There were snacks,
And books.
You had your brown sweater on.
Your moist brow was so restless that day,
That I was reminded of all of my desperation,
All the stories I hurled at myself,
All the children I knew were all right.
Oh Nara,
Your brow vanished all that I held true,
Even you, Nara,
Your brow swallowed you whole.
Oh Nara,
You killed a part of me that day.

You exploded into chemicals,
That stuck onto my skin.
Into hot tea that surprised me every day.
It crept into the jasmine oil smell of her hair.
In the sweat of her neck,
Into our lazy evenings filtered through with years
Of careful exclusion.
Everything I owned was only me
When I was naked, and writhing,
A baby in the womb of something so desperately motherly,
That it forgot to give birth.
She noticed, Nara, she noticed me.
She noticed these hands shaking through everything they did.
And she hid.
She hid into her red, pleated saris,
Into cookbooks and cakes,
Into soft butter, and hardened cookies.
Everything has been seeking to destroy itself since, Nara,
Cigarettes would paper itself into existence.
Now it burns smoke and blindness.
The trees move in fast forward,
They are arthritic fingers
Grasping for something,
Long since out of their reach.
Acid has been running in the veins of this house since years,
The wood is out of place.
The rot in the bamboo tables is only concealed
By the tinted glass.

And sometimes, I sit at the cadaver porch,
You are a mindless zombie of a woman,
Who decides to stay with me,
And leave me alone.
Destruction had become your favourite hobby when you were that real.
When did poetry become so important to you that
You quite forgot me?

For  many  days
continuously
i  seeing  an
Indian  woman
coming   to
inside
the  river  for
stooling.


She  had
flowery  Indian
saris.


Not  too  fat,
not  too  thin.



Her  *****
were  covered  by
by  saris  and
inside  cloth.


To  see  that
sun  and  i  were
competing  each other.


I  was  looking
at  that  time.

The  sun  cleverly
brought  a  cloud
to  that  area.




Everywhere  there
was    darkness.



It  was  a

surprise  gift  to
sleeping  moon.


Moon's  Alexa
already   had  told
about  the  newly
entrant    beauty  
to   river.

Those days, Those days
in Prashanti, not a care in the world
waiting for the Lord of the Universe

Rainbow sequined saris flutter like
colorful prayer flags
in the sultry, warm breezes

Women devotees, buzzing honeybees,
breathlessly squeeze into granite window openings
outside the mandir
straining to see, hoping their adoring eyes
will be blessed by the nectarine vision of Sai Avatar

Seva Dal angels in vivid orange and yellow scarves
manage to bridle the swooning, burgeoning, euphoric
crowds with spirited "Sairam, Sairams"

O Baba
what we wouldn't give for a chance to once more
see your airborne Lotus feet floating towards us
on the golden sands of Puttaparthi

Reverently, I press my fingertips to my eyelids
taking padnamaskar
these orbs, these orbs
once gazed upon the holy sight of
Bhagavan Sri Sathya Sai Baba

Beauty treads in coloured threads
Of shimmering silken silhouettes
Trailing shadows through the dust
Trespassing life's sweet mortal flesh
Shaped in realms of entrancing cloth
Traversing stone and this softer earth
In falling rhythms of coloured light
Reflecting images of luminous night
Caressing shapes of lyrical symmetry
Drifting in shades of woven mystery
A mirage unveils their sacred history
Wandering through the shared eclipse
Of time and nature’s mystic aspiration
Transcending all limitation of thought
The drifting image unveils the self
In unfolding waves of flowing soul
The falling falls of ascending truth
Revealing celestial images on Earth
Of the sacred soul of Mother India.

Designer Mandira Wirk gave actress Nimrat Kaur a regal look when she showcased her New Royals collection at Amazon India Fashion Week on Saturday.

Wirk showed 20 ensembles, including Kaur’s ivory drape concept sari with just a zipper, panelled gown with mother of pearls and dori work paired with a sheer cape.

“Her collection is so pretty and feminine,” said Kaur. “I love her clothes. This collection is called the New Royals... it’s bringing pretty back, beautifully enhancing the female body form. It makes you feel so light and pretty.”

Panelled anarkalis, jackets and capes, crop tops, jumpsuits and tapered trousers appeared alongside designer’s signature drape saris and dhoti pants.

Wirk, in a beautiful off-shoulder powder pink dress, said: “I wanted to get pretty back to the runway. It is pretty feminine, wearable and an extremely versatile collection.

“I have done lots of pastels...lot of capes, sleeves. So basically a very feminine and romantic collection.”

The range saw a heavy use modern details like wide pockets and deep waistbands paired with layers of French knots.Read more at:http://www.marieaustralia.com/plus-size-formal-dresses | www.marieaustralia.com/red-carpet-celebrity-dresses

Forlorn puppies hunt through the trash in search of food
Incessant honking pounds my eardrums
Putrid hints of smoke and diesel followed by the overwhelming stench of rotting trash scorches my nostrils
Uncontrollable spice followed by sour lassi irritate my tastebuds
Dirt rests in the barrier between my feet and the floor

Bejeweled saris radiate from neon lights
Quiet mantras echo off the walls of the yoga studio
Aroma of fresh baked dosa weaves up and down streets
The wetness of one pomegranate kernel refreshes my mouth
Slippery canary yellow kheer oozes out of my fingertips

I want to leave but also to stay

I watch your pulse rhythmically beat against your skin
as you try to sleep
As we press through the bustling traffic
Sing-song horns bleating a cacophony of sound through the saris, and passu, and dogos along this dusty road
I feel at home here finding your stillness in this chaos.
Alive for once in so many years. Among these crumbling buildings and foreign tongues
The call of adventure and intrigue a constant whisper in my ear.

When my skin itches
from the inside,
I take it off
and fold it into a hidden drawer
that I've wrapped in spellbound chains
and encrypted two-factor locks.

You'll still see me,
painted with eye-liner and hair dye,
walking in business suits and saris,
turtlenecks and bikinis,
and never know
these costumes
hang
on
bare spirit.

orange sun behind me
white moon above

if the Thermians ever find me
it's Trappist 1 I'm thinking of

professionals criticize
amateur:  one who loves

Dear Great Grandma,
Thank you. Thank you for the loud 4 o'clock steeler games, and the snacks that followed them. Thank you for the Saris' ice cream dates that included and eruption of chocolate sprinkles

N'est-ce pas ? en dépit des sots et des méchants

Qui ne manqueront pas d'envier notre joie,

Nous serons fiers parfois et toujours indulgents.


N'est-ce pas ? nous irons, gais et lents, dans la voie

Modeste que nous montre en souriant l'Espoir,

Peu soucieux qu'on nous ignore ou qu'on nous voie.


Isolés dans l'amour ainsi qu'en un bois noir,

Nos deux coeurs, exhalant leur tendresse paisible,

Seront deux rossignols qui chantent dans le soir.


Quant au Monde, qu'il soit envers nous irascible

Ou doux, que nous feront ses gestes ? Il peut bien,

S'il veut, nous caresser ou nous prendre pour cible.


Unis par le plus fort et le plus cher lien,

Et d'ailleurs, possédant l'armure adamantine,

Nous sourirons à tous et n'aurons peur de rien.


Sans nous préoccuper de ce que nous destine

Le Sort, nous marcherons pourtant du même pas,

Et la main dans la main, avec l'âme enfantine


De ceux qui s'aiment saris mélange, n'est-ce pas ?

Heads, Heads,
I want Heads,
Smiling Heads, handshaking Heads,
Heads full of dung,
Heads hiding tons
Heads that are scheming
Always overseeing
Heads that love licking
Otherwise it's aching
Heads making deals
After the kills
Heads who think sharp
Their sycophants clap
Heads making tails
Heads growing nails
Heads, Heads,
I want...

often you see them
Making headlines
'working' for people
and killing at night
they are all smiling
but covertly thriving
apt in hard-quashing
any dissenting voices!

they speak of rights,
they talk of justice
they air confidence
they paint rosy future
you think 'His excellence,
is irreplaceably nice.'
that's exactly the thing
they'd like to spread
while they conspire and devise

Heads, Heads...
Smiling Heads,
Heads with headgears
Heads with less hair
Heads with a cap
Heads full of crap
they come in varieties
in suits or saris
all of them are honey-tongued
with daggers under their arms
they are the looters
they fear no other
except the roars
of united men.

when the men assemble
their thorns tremble
and finally they pay
with heads that were gay
I want those Heads
it's time for Heads
enough of waiting
it's so frustrating
it's time for Heads

We need to chop
        those
                heads
                         off

chopped Heads
Head chops
chopped heads
Head chops

I want heads
warring Heads
plotting Heads
lying Heads
looting Heads
corrupting Heads

Heads, Heads,
those rotten Heads
I want them chopped
I want them Heads.