Do not be pragmatic with me. To reach the tender flesh of fruit, one must be willing to stain their fingers. Have you forgotten how Kore gagged on the seeds? How even the gods must swallow something bitter to keep a little…

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The veil has lifted
and somehow the dark meets
the green and hazel in his eyes.

For a moment,
she forgets what she was hiding.

something about him
has colored her.

he looked at her
and the world shifted ever so slightly,
as though everything she had gathered in the quiet for so long
was waiting for his eyes to find it.

She has always carr…

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It moved through the trees,
and carried little pieces of the evening with it.

A gust of wind hit my body again.

The strands of hair that had somehow freed themselves from my ponytail swished around my face, brushing against my cheeks. My fingers curled around the locket at the nape of my neck, almost instinctively, as I bre…

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A little context, if you’re new to my writing: I had my fair share of struggles with anxiety while growing up. I dealt with it an…

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Let’s go back eight or nine months, to when everything shifted for me. Yet again. It felt like someone had picked up my life, shaken it like a snow globe, and for a moment, everything I thought I knew was floating around in the air.

And the strangest part? I wa…

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She’s sitting hunched over her laptop, tinkering away as per usual, doning her signature scrunched-up thinking expression.

A mug of tea sits forgotten beside her, long gone cold. She’s wearing one of his oversized charcoal T-shirts, the neckline loose enough to reveal the gentle slope of one shoulder

She doesn’t hear him come in. The first hint is the warmth of his hands as they gather the curtain of her hair, sweeping it over one shoulder until it spills across her chest. His fingers comb through the length as they go, slightly tugging at the roots drawing a quiet shiver down the back of her neck.

Cool fingers find the space behind her ears before tracing slow circles down to her shoulders. His thumbs trace the length of her collarbones, pausing at the delicate hollows just above them before sweeping outward towards her shoulders again. His palms settle over the smooth curves of her shoulder blades, thumbs pressing firm, rhythmic circles along their inner edges. Ever so often, his fingers glide upward again, disappearing briefly into her hair to gently rake through it before returning to her shoulders. The pads of his fingers lightly brush her upper chest before returning to her shoulders

A quiet sigh escapes her as she leans back into him.

He smiles against the top of her head,

“You’ve been here for hours,” he murmurs.

“I know,” she whispers, though she makes no move towards the keyboard.

His hands drift lightly along her arms before settling around her waist. She tilts her head just enough to look up at him, the corners of her mouth lifting into a tired smile.

“There you are,” he says softly.

“There who is?”

“You. I’ve been competing with that laptop all evening.”

She laughs, the sound quiet and warm.

Closing the laptop with one gentle push, he turns her chair to face him. Their foreheads meet first, lingering there for a long moment

She reaches up to smooth a stray lock of hair away from his face.

“You always know,” she says.

“I know this face.”

His thumb brushes across her cheek, and she leans into the touch without thinking.

Their kiss begins almost lazily. She smiles into it, and he smiles back before finding her lips again, slower this time, unhurried.

Eventually, she rests her forehead against his shoulder, arms loosely around his waist.

“My brain finally stopped,” she murmurs.

“I noticed.”

“Don’t let me open that laptop again.”

He chuckles, pressing a light kiss to her temple.

“That,” he says, “I can do.”

He studies her for a moment before smiling to himself. Without a word, he slips one arm beneath her knees and the other around her back, lifting her effortlessly from the chair.

She lets out a surprised laugh.

“The laptop…..my work...” she protests weakly.

“It’ll still be there tomorrow.”

She glances over his shoulder at the forgotten screen before deciding it really can wait.

“Bossy.”

“Caring.”

She rolls her eyes, though the smile tugging at her lips gives her away.

He carries her down the quiet hallway. By the time he sets her onto the bed, she’s forgotten all about deadlines.

She reaches for him before he can step back, and he smiles, leaning down to meet her halfway.

The laptop remained exactly where she'd left it.

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i was so terrified
of dissolving into the swamp,

of letting its damp mouth
close over my ankles,

of sinking quietly
into its dark, patient waters,

of forgetting
where I ended
and it began.

Its damp breath
rose to meet my body.

It gathered
at my ankles,
climbed my calves,
rested against my waist

Mud settled
beneath my fingernails.

My fingers
returned carrying
the scent of …

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She remembered the water glass.

His eyes had faded.

His smile appeared in blurry flashbacks.

The water glass remained.

Years later, she would still be unable to explain why.

But memory has its strange ways, tended by invisible spirits who live between yesterday and tomorrow, gathering fragments of human lives like treasures.

Memory keeps what it wants.

And th…

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This is probably an odd thing to say, but sex doesn’t make me feel sexy. I have been pondering over this for a while now.

And before anyone takes that as a rejection of desire, it isn’t. I am not talking about suppression, self-denial, avoidance, or trying to transcend some fundamental part of being human. I like romance. I like attraction. I like longi…

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The Indus Valley Civilization (c. 2600–1900 BCE) was one of the earliest urban civilizations in the world, flourishing in northwestern India and present-day Pakistan. Ongoing excavations continue to uncover new evidence, and many sites in India are still being studied and unearthed. Although it existed thousands of years ago, it continues to fascinate h…

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As far as I can remember, I have lived through myths, metaphors, and stories. Since childhood.

I constructed my own little world.

Facts, routines, and practical living have always been alright to me, I do not resist them. Nevertheless, stories were never just entertainment to me; they felt like maps of the human condition. I assigned meaning to emotions a…

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My understanding of steadiness didn’t come from theory or motivation. It came from proximity, from watching someone li…

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Growing up as a highly sensitive person, I carried visibility wounds, that persistent feeling of not being truly seen or heard. People would glance, nod, or smile, but rarely notice me. They’d listen, but rarely understand. Every thought, feeling, or subtle reaction felt magnified in my own world, and yet somehow invisible to the outside.

In my teens, th…

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Long before the world had runways or red carpets, hands shaped beauty one stitch at a time. Every thread told a story, every shimmer of silk or metal carried intention, care, and meaning. These were not just garments, they were memories, rituals, and energy woven into cloth.

Today, the world admires these designs, borrows the aesthetics, and wears them on the biggest stages but the hands that created them often remain invisible. This is a story about artistry, heritage, and the people behind the craft who deserve to be seen, celebrated, and supported.

Cloth With Purpose: Textiles as Tradition and Energy

Across the Indian subcontinent, garments were embedded with spiritual significance, belief systems, and even energetic intention. From protective ritual wear to ceremonial textiles, Indian fabrics were more than aesthetic, they were lived culture.

Garments like the dupatta evolved over thousands of years, becoming symbols of identity, modesty, and cultural context rather than just accessories.

Long before fashion became a statement of style alone, artisans crafted garments with energy points mapped into every design. The placement of motifs, the folds of silk, the shimmer of metallic thread, they weren’t random.

Techniques like Zardozi, Phulkari, Kanjivaram, Banarasi, and Kashmiri embroidery didn’t just create beauty, they engineered energy. A dupatta draped a certain way, a border pattern running along a specific angle, or a motif placed at a key spot could activate the wearer’s presence, draw positive energy, or support ceremonial intentions.

This insight reminds us that these textiles were far more than decoration, they were living, breathing pieces of art, carrying both culture and intention across centuries.

Iconic Indian Textile Techniques That Predate Fashion Capitals

Here’s a snapshot of some ancient Indian practices, each one blending tradition, meaning, and centuries‑old craftsmanship, I have also included where to find them if you are in India or happen to visit in the future.

1. Bandhini (Tie‑Dye)

A vibrant resist‑dyeing tradition from Gujarat and Rajasthan, known for its tiny “tied dots” that form stunning patterns on cotton or silk. Bandhani pieces are often used in dupattas, sarees, and turbans.

• Online & curated: iTokri offers Bandhani sarees, dupattas, and textiles from artisans across India. iTokri – traditional textiles online store

• Jaipur & Gujarat markets: Johari Bazaar (Jaipur) and regions around Kutch are key production hubs where authentic Bandhani is sourced directly from artisans. Local retail stores in these bazaars specialize in hand‑tied Bandhani pieces.

2. Phulkari (Punjabi Thread Work)

A rich umbrella of floral embroidery motifs, historically created as part of wedding trousseaus and everyday wear, symbolizing joy and blessing. Known as “flower work”, this iconic embroidery from Punjab is best‑experienced where the craft still thrives:

• Phulkari Handicrafts Emporium of Punjab: A flagship government‑run store in Sector 17E, Chandigarh showcasing a wide variety of traditional Phulkari dupattas, suits, stoles, and accessories, directly supporting local artisans. Emporium of punjab

• Boutiques in Chandigarh: Stores like Phulkari (Sector 11D) and Panna Textiles (Sector 17C) offer curated Punjabi embroidered wear and ethnic pieces. Boutiques

• Punjab markets: In Amritsar, explore Katra Jaimal Singh Market, Hall Bazaar, and Kapda Bazaar for authentic Phulkari embroideries; in Patiala, Lakkar Bazaar offers deep‑rooted hand‑embroidered work by local women artisans. A complete guide to punjabi phulkari

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3. Zardozi (Metallic Embroidery)

An opulent form of embroidery using gold and silver threads (often with stones or beads) traditionally used for ceremonial and bridal wear.

• Retail & wholesale markets: Delhi’s Chandni Chowk and Gandhi Nagar markets are renowned for Zardozi fabrics and embroidered garments, a hub for buyers and designers seeking raw embroidered textiles.

• Boutiques & collections: Many stores in Chandni Chowk (e.g., Mahavri Collections, Rajesh Paul) offer brocade and Zardozi lehengas and ensembles, bridging traditional technique with contemporary wear.

4. Chikankari

A refined and delicate form of embroidery from Uttar Pradesh, traditionally done on muslin and cotton with patterns like murri, phanda, and jaali.

• Saman Emporio (Chikankari) (Lucknow) - Highly rated boutique focused on authentic Chikankari pieces, from kurtas to dresses, supporting local artisans.

• Lucknow cloth markets & regional bazaars have numerous tailors and stitchers who work directly with Chikankari artisans. The craft is known for its subtlety and heritage appeal.

5. Kanjivaram (Kanchipuram) Silk

Renowned south Indian silk sarees woven in and around Kanchipuram, Tamil Nadu registered with a geographical indication due to their traditional importance and purity.

• Kanchipuram itself is the best place to purchase authentic hand‑woven Kanjivaram silk sarees directly from cooperative weavers and traditional showrooms.

• Nalli Silks - Chennai (and other Indian cities). One of India’s oldest silk retailers, with an extensive Kanjivaram collection.

• Pothys - Chennai, Coimbatore. Major silk house offering handloom and traditional silk varieties.

• Jayalakshmi Silks - Chennai. Wide range of authentic Kanjivaram textures and zari weaves.

• The Chennai Silks - Chennai and beyond. Known for bridal sarees and rich silk collections.

• The Indian Silk House - Curated handloom silks with authenticity certificates (online).

• Many of these stores also offer Silk Mark certification to ensure the authenticity of pure mulberry silk and real zari in the weave.

6. Banarasi Brocade

From Varanasi, this silk fabric with intricate gold and silver thread designs has been a luxury textile for centuries. True brocade is made on handlooms with real zari (metallic thread).

• In Varanasi, traditional shopping areas like Vishwanath Gali, Chowk markets, and Godowlia have stores run by weavers and family workshops where you can buy genuine brocade sarees and dupattas far more authentic than mass‑market imitations.

• Vishwanath Gali & Chowk Bazaar, Varanasi - Streets filled with Banarasi looms and family-run stores selling directly from weavers.

• Varanasi Weavers Store - Cooperative setup connecting weaving families to buyers.

• Mahavir Handloom House - Varanasi-based store known for brocades and bridal pieces.

• Panna Silk Mills - Traditional brocade producer in Varanasi.

• Chandni Chowk markets, Delhi - Shops carrying authentic Banarasi textiles sourced from Varanasi.

7. Kashmiri Embroidery - Pashmina, Sozni & Aari

Kashmir’s pashmina shawls and embroidered fabrics are known for their softness, fine needlework (Sozni), and hooked‑needle chain stitches (Aari), often inspired by nature like chinar leaves and floral motifs rooted in spiritual symbolism.

• Boutiques in Delhi & markets in Srinagar and around Kashmir’s craft clusters sell authentic pashmina and embroidered shawls, often with stories of the artisans behind them.

• Kepra - A heritage Pashmina brand based in Kashmir known for GI‑certified Sozni embroidered Pashmina shawls and heritage collections created by master artisans. Their collections highlight the soul of Kashmiri needlework and emphasize direct artisan ties. 

• Shahkaar Shawls - Features Jamavar‑style Sozni embroidered Pashmina shawls, blending classic handwork with heirloom luxury pieces users can wear or collect. 

• Pashtush - Manufacturer and retailer of authentic Pashmina shawls with detailed Sozni embroidery; based in India, connecting authentic craft with global customers.  

• Artisans Kashmir - Curates Sozni, Kalamkari, and Aari embroidered shawls and garments, showcasing modern silhouettes infused with heritage needlework.

Why This Matters: Craft, Culture & Legacy

These techniques aren’t just artisanal skills, they’re cultural systems. They carry ritual meaning, community memory, and regional identity that has been passed down through generations.

Many Indian embroideries are now celebrated worldwide, yet their origin stories are often left out of fashion narratives.

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When Western Fashion Borrows But Doesn’t Credit

In recent years, Western fashion has repeatedly borrowed from Indian design traditions often without acknowledging the deep roots of these influences.

At the 2026 Oscars, Indian designers were finally recognized on the global stage, with creations by labels like Gaurav Gupta, Rahul Mishra and jewelry by Sabyasachi Mukherjee worn on the red carpet and at after‑parties. These pieces blended heritage craft with high fashion in ways that resonated internationally.

And yet, outside of direct Indian design houses, similar aesthetics often get stripped of their origin stories:

• Styles reminiscent of Indian jhumka earrings appeared at Paris Fashion Week under labels like Ralph Lauren but were marketed as “tassel drop earrings,” with no credit given to the centuries‑old Indian tradition behind them.

• The global fashion world still sometimes fails to properly contextualize the lineage of jewelry or embroidered motifs when similar designs show up in Western collections even when the craftsmanship directly traces back to Indian heritage.

This pattern isn’t new: sources have noted how Western luxury brands have long quietly outsourced Indian embroidery work to expert artisans, but rarely celebrate or name those crafts or the communities behind them.

It’s telling that many in Western media and fashion commentary hesitate even to speak plainly about India as a source of these influences as if the intellect and artistry behind these styles somehow emerged independently once they crossed borders.

That’s why the recent attention on Indian designers at events like the Oscars is important not just as a moment of visibility, but as recognition that these are not borrowed motifs but enduring art forms, centuries old and continuously evolving.

Why Recognition & Support Matters

The global fashion industry shouldn’t treat Indian craft like a trend to be repackaged and renamed. These techniques from heirloom jewelry forms to traditional embroidery and textile structures are cultural heritage, passed down through generations and tied to identity, ritual, and community. Recognizing that lineage not only honors artisans, it strengthens the cultural narrative that India *is not behind fashion history, it is part of fashion history.

This is also why it’s critical for Indian audiences and consumers to take up space, support local designers and artists, and celebrate indigenous brands not just for national pride, but to shift the economic power back into the hands of the creators themselves. When Indian artisans and designers are the ones setting trends, rather than being quietly sourced behind closed supply chains or left uncredited when styles appear abroad, it changes the conversation and the value of our craft.

So Paris Is the Fashion Capital? Sure, But…

Paris may hold the modern title of “fashion capital,” but much of what the global industry celebrates, intricate embroidery, artisan handwork, sustainable textiles, narrative motifs existed in the Indian Subcontinent centuries earlier. Indian textile traditions were not just beautiful, they were meaningful, energetic, and deeply woven into the fabric of life long before fashion became an industry.

Author’s Note:

Personally, I have a soft spot for the shimmer and intricacy of Zardozi, the elegance of South Indian handwoven silks, and the vibrant storytelling stitched into every Punjabi Phulkari. I remember how my mom sewed pieces of her own, telling me the stories behind each Phulkari, the meanings of the motifs, the care in every stitch. I’m lucky to have my own Phulkari dupattas and sets. These aren’t just textiles to me; they’re living art, full of life, energy, and stories worth honoring

Sources & References

Historical & Cultural Context

1. The surprising history of dupatta in Indian fashion and culture The Times of India
   🔗 https://timesofindia.indiatimes.com/life-style/fashion/buzz/the-surprising-history-of-dupatta-in-indian-fashion-and-culture/photostory/129612740.cms?

2. Punjabi clothing & Phulkari embroidery Wikipedia
   🔗 https://en.wikipedia.org/wiki/Punjabi_clothing?

3. Traditional Indian embroidery overview Textile Value Chain (Zardozi)
   🔗 https://textilevaluechain.in/in-depth-analysis/articles/traditional-textiles/traditional-indian-embroidery?

4. Handlooms of India: Embroidery & textile traditions Caleidoscope
   🔗 https://caleidoscope.in/art-culture/handlooms-of-india-1?

5. Kantha & stitch traditions Sahapedia
   🔗 https://www.sahapedia.org/index.php/stitches-tradition?

6. Indic Knowledge Systems on Bandhini & ancient textiles Reddit (Indic KB Source)
   🔗 https://www.reddit.com/r/IndicKnowledgeSystems/comments/1lnu9qh?

Contemporary & Trend‑Related Sources

7. Indian fashion on the 2026 Oscars red carpet India Today

   🔗 https://www.indiatoday.in/amp/lifestyle/fashion/story/sabyasachi-rahul- mishra-gaurav-gupta-oscar-2026-indian-fashion-2882761-2026-03-16?

8. Luxury brands quietly sourcing Indian embroiderers Business Standard

   🔗 https://www.business-standard.com/article/international/luxury-brands-quietly-sourcing-indian-embroiderers-for-their-goods-120031301568_1.html?

9. Luxury American brand sells “jhumka‑style” earrings Siasat.com (Example of uncredited design influence)

   🔗 https://www.siasat.com/luxury-american-brand-sells-jhumkas-for-rs-96000-internet-reacts-3432579/

Optional Further Reading

• The Story of Indian Textiles: From the Seventeenth Century to the Present - A. S. Gaya Pandey (Book)

• Handmade in India: A Geographic Encyclopedia of Indian Handicrafts -Erni Catherine Lehmann et al.

• The Complete Book of Indian Crafts & Lore - Shobana Radhakrishna

who she was,
who she is,
who is she? really.

Tears of blood and faith and pearls,
separating milk from water.

That stupid girl
now a woman,
yet still with her heart on her sleeve.

Oh, cruel fate. You want battle? she gives you war.

For peace.

Lessons that run through her veins,
Violent failures …

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There are lives lived in full view yet never fully acknowledged. The tawaif moved through palaces and mehfils with grace and intelligence, her laughter filling rooms, her voice teaching princes the rhythm of refined speech and yet, she could never belong. Admired for her art, desired for her presence, she remained, in the eyes of society, always just beyond the boundaries of legitimacy. Her brilliance was celebrated, her personhood often denied; her life was a delicate performance of dignity in loneliness.

Not Just a Courtesan

In cities like Lucknow, Delhi, and Varanasi, tawaifs were more than performers; they were arbiters of taste, custodians of culture, and teachers of elegance. They trained aristocrats in poetry, classical music, and dance, shaping the refinement of generations. Yet this visibility came at a cost. Society could celebrate their skills but not welcome their personhood. Their autonomy was admired, but their intimacy was denied permanence. Marriage, respectability, belonging; all were largely barred, leaving a subtle but pervasive loneliness that seeped into every performance, every smile, every measured gesture.

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When History Turned Against Them

After 1857, when Awadh fell and the courtly world fragmented, colonial authorities recast tawaifs as immoral women, collapsing nuanced cultural roles into a single, narrow category. Later, nationalist reformers sanitized culture, preserving classical dance and music while erasing the very women who had carried it. The art survived, but the artists were rendered invisible. The ghazal lives on, but the voices of the women who first sang it are almost entirely absent.

Admired, But not Chosen

The tawaif could be adored publicly but not claimed privately. Marriage into elite households was rare. Social hierarchy dictated that her brilliance could charm but never anchor a man.

The story of Umrao, as portrayed in Umrao Jaan, captures this tension vividly. Umrao is adored, envied, and pursued, yet every relationship she touches remains provisional. She dazzles, educates, charms and yet, her brilliance cannot secure belonging. The film translates centuries of structural exclusion into a cinematic language of longing, grace, and quiet heartbreak.

The recent show Heeramandi stirred discussion not just for its storytelling but for how it forced viewers to confront centuries of social coding: admiration intertwined with moral judgment, performance bound up with regulation. In modern pop culture, when women dressed up like tawaifs, in embroidered dupattas, flowing skirts, and heavy jewelry, they were ridiculed by traditionalist segments of the Indian diaspora on Instagram, shamed for embracing a past deemed morally complicated. Even creators who were simply participating in the trend, celebrating fashion or history, were subjected to heavy scrutiny and criticism, as if paying homage to a cultural legacy were a moral transgression. The gaze that once constrained tawaifs still shapes conversation today, centuries later.

Why Their Story Still Matters

One can ask, is a woman’s life truly fulfilled only after marrying a man? Today, we might instinctively say no. But looking back, especially from the perspective of history and privilege, the answer becomes more complicated. Women in that era had very few avenues to claim autonomy. Rights, education, and social mobility were largely mediated through men. For a tawaif, her artistry, her property, and even her relative independence were possible because of patronage, because men sought her company, her teaching, her performance.

Yes, tawaifs could own property, amass wealth, and wield cultural influence, privileges rare for women at the time. And yet, every gain came at a cost. Autonomy was intertwined with scrutiny, power was tied to social precarity, and admiration was rarely unconditional. Their lives illuminate a paradox: independence without social legitimacy, visibility without belonging, wealth without true freedom. The tawaif’s brilliance was never fully her own, it was always performed within the boundaries society allowed, a delicate negotiation between self and the men who shaped her world.

I’m not saying their lives were empowering. For many tawaifs, independence and visibility came at a cost they didn’t choose. Some were trafficked into the system, sold or coerced into kothas, and the autonomy they later gained was often the only form of survival possible within a system stacked against them. Their brilliance and artistry existed alongside constraint and exploitation, not because of freedom, but often in spite of circumstances beyond their control.

The tawaif’s life teaches that admiration can coexist with exclusion, brilliance with loneliness, and cultural influence with personal erasure. And yet, despite all of this, their legacy endures. The tawaif’s songs, her dance, her wit, these echo still, calling attention to the gaps between what society celebrates and what it truly embraces

This story matters for Indian women, and for women everywhere, because it reminds us how lives can be constrained by society’s rules even when talent, skill, or intelligence are undeniable. The tawaif’s brilliance, independence, and resilience show that women have always found ways to claim power, space, and voice, even when the world sought to limit them. Her life challenges the idea that fulfillment depends on marriage or approval, and offers a vision of women navigating autonomy under extraordinary constraints.

Further Reading & Sources

• Veena Talwar Oldenburg, “Lifestyle as Resistance: The Case of the Courtesans of Lucknow” (1990)

• Pran Nevile, Nautch Girls of India: Dancers, Singers, Playmates (2009)

• Sumanta Banerjee, Dangerous Outcast: The Prostitute in Nineteenth-Century Bengal (1998)

• Anjali Arondekar, For the Record: On Sexuality and the Colonial Archive in India (2009)

• Amrit Srinivasan, “Reform and Revival: The Devadasi and Her Dance” (1985)

• Mirza Hadi Ruswa, Umrao Jan Ada (1899)

• Umrao Jaan, directed by Muzaffar Ali

• Saba Dewan, The Other Song (2009)

P.S

I wanted to give this subject my own voice and point of view. The history of tawaifs is often told through novels, films, or academic accounts, but I wanted to engage with it directly, to explore their lives, agency, and the tensions they navigated and the way their story still pops up in unexpected ways today.

Hugs,

Raashmika

the fabric of moonbeams

weave their way into my skin

as if my soul had called them home

as if some ancient contract

from lives unlived

centuries, millennia ago

clinging, calling me in, whispering to me

They pull at me, hypnotic,

making me dream of a paradise

a fragment of my soul still wandering,

still seeking its way back.

I have felt it in my bones for so long

dreams as vague and pale as my body,

as violet-tinted hyacinths at a river’s edge,

night, after night.

How I find delight in that serenity

in knowing a place exists only in moonlight,

in carrying an old soul

where butterflies dance

and wild orchids grow in the hush.

Author’s note: This came from a feeling I’ve carried for as long as I can remember. I have never been able to name it.

Dracula once asked God to keep her safe.

That is how the tragedy begins.

He went to war. He believed in something, in honor, in devotion, in God Himself. And he asked for only one thing in return: her life. Her safety.

But she died anyway.

And in his grief, he cursed God and was cursed in return. Damned to outlive every sunrise. Damned to carry love not as …

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