Scripting & Storyboarding¶
Creating the Script for the Final Video(s)¶
Movement : Sculptural : Freedom : Personlisation : Provocation
Knowing that these were my keywords for the project since the beginning, i wanted to ensure that the story i was telling through my project and my video encompassed all of these
I began the ardious task of writing by making a list of questions that i felt needed to be answered and details i wanted to ensure were covered in my storytelling:
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What my personal relationshiop to hair has been and it's significance in my life: When i began my project, i never thought it would end up being me looking inwards. Sharing this journey with the viewer will make them realise why this story is important to me
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What is the cultural significance of hair in India: This is something i felt needed to be clarified since i felt a dissonance in the curtural understanding of the context with the internaitonal mentors and the cohort, especially during my feedbacks and presentations.
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How i brought together hair and my community, while also bringing along the cultural context: I started the project looking outwards, but arrived at it looking inwards and being cared for by my community. I want to shared this journey with the viewers and draw parallels with how hair in India also incites sentiments across communities.
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How the individual pieces were made and what meanings do they hold: This is where you will actually get to see the OUTCOME of ALL the hardwork that went into these past months!
First Draft¶
I sat down on an early Sunday morning to write my first draft which was like a brain dump of everything that was going on in my head about my project and what all the individual details i wanted covered. It was a lot more of promts and phrases, rather than full sentences. And it was LONNG, like 10 google doc pages long!
First Iteration¶
ACT - 1
Everyone has that ONE story about their hair
And this is mine
This was when I shaved my head in the first year of my undergrad.
Ever since I was a child, my hair is the one thing that has gone through it all.
It was my tool for expression,
be it the phases of childhood to teenage to adulthood,
from breakups to new beginnings
Or my emotional upheavals, my gender identity, or my sexuality
Having bore witness to my life, it can very well be the storyteller of my life.
It holds stories, intimate and personal
After a tumultuous year in 2010, I shaved my head
I created a series of works around my baldness and saved the hair from that time
Before this course began, I found the baggie of hair and kept it aside
Little did I know that this would be the starting point for another project of mine.
. . . . . . . . . . .
In India, hair holds significant value.
Hair is nurtured and taken care of.
Hair is removed (mundan), added (dance/ theatre) , and accessorized (functions) across various important rituals
But it is really the LONG hair that carries with it the burdens and morality of society.
The stereotypes of who can (women / Sikhs) and cannot (widows/men) have it
Hair has been the battleground on which wars of morality have been fought
. . . . . . . . . . .
In 2010, when I shaved my head after a tumultuous year, I experienced the morality gaze one is subjected to because of conflations between hair length and character.
‘A line about what people around you thought’
. . . . . . . . . . .
I have been an active participant in shaping my hair for 3 decades now.
So with my and the presence of it as a social fabric, I was highly intrigued when I learned that hair is a bio-material that I could create with.
. . . . . . . . . . .
Braids have been the default hairstyle for generations for South Asians. The 3 strand plait: a seemingly simple and effortless style is woven into our consciousness.- Can start second video with it.
Next follow it how when you were young braiding used to be a community activity of mother daughter and sister. Share stories and wisdom etc.
When I braided now I wanted to replicate that.
Hence community came together to braid.
Multiple colour braids. Why?
Move from braid to meaning of bigger pieces.
There is no right or wrong way to wear these - Finish with this.
. . . . . . . . . . .
PPT -
Adjectives to describe what you were looking to do with the final pieces.
Despite all of that you wanted a cultural grounding.
Looking for inspiration, you found Ravi Varma.
His paintings have women who are bold and expressive but still are culturally grounded.
So I set my final exhibhition using the details of Ravi Varma’s paintings.
Final Video.
. . . . . . . . . . .
Extras -
The queer community has been the flag bearer of creative expression in this and I imagine them to be the future.
Drag Artists in India today have been setting an inspirational example of this.
The Juxtaposition and Normalisation of Imageries of Gods with Drag Performers & Queer Identities aligns with my imagination of a preferable Future
So hair was an obvious choice
What if I use hair in the realm of sacredness but to empower a community?
What if I retain the sacred quality of hair but use it to empower a community rather than adheri
Queer people are generally looked down upon. Draping them in hair ;;
Raja Ravi Varma.
Represent queer people in a godly form.
Second Iteration¶
ACT - 1
This was when I shaved my head in the first year of my undergrad.
Ever since I was a child, my hair is the one thing that has gone through it all.
It was my tool for expression,
be it the phases of childhood to teenage to adulthood,
from breakups to new beginnings
Or my emotional upheavals, my gender identity, or my sexuality
Having bore witness to my life, it can very well be the storyteller of my life.
It holds stories, intimate and personal
After a tumultuous year in 2010, I shaved my head
I created a series of works around my baldness and saved the hair from that time
Before this course began, I found the baggie of hair and kept it aside
Little did I know that this would be the starting point for another project of mine.
. . . . . . . . . . .
In India, hair holds significant value.
Hair is nurtured and taken care of.
Hair is removed (mundan), added (dance/ theatre) , and accessorized (functions) across various important rituals
But it is really the LONG hair that carries with it the burdens and morality of society.
The stereotypes of who can (women / Sikhs) and cannot (widows/men) have it
Hair has been the battleground on which wars of morality have been fought
. . . . . . . . . . .
I have been an active participant in shaping my hair for 3 decades now.
So with my and the presence of it as a social fabric, I was highly intrigued when I learned that hair is a bio-material that I could create with.
. . . . . . . . . . .
( PPT)
I started collecting my hair, in the hopes of making something with it
I crystallised my hair and loved the outcome
My hair was experimented with by a Master Artisan in Kutch and hand woven in the local extra-weft technique
I took out my wedding hair extensions from 3 years ago to experiment with hair in a more accessible way.
Along the way, I started categorising techniques that aligned with the aesthetics I had in mind. So far, i had like braiding and crystallisation.
. . . . . . . . . . .
(PPT)
Like everyone these days, i quickly hopped on to Generative AI to derive some sketches for aesthetics of what these hair pieces could look like
And this imagery of the sari drape stuck with me
Especially the details of the 3 strand braid and the possibility of using local brading, weaving and roping techniques.
. . . . . . . . . . .
I knew i wanted to create Drapes with Hair
And when i imagine a drape, i would need the hair to work as a fabric.
. . . . . . . . . . .
Used Hair extensions to have enough accessible hair for the Project
Also because India Hair is highly valued in the Global Hair trade Industry
India is the largest exporter of human hair
And it was impossible to get access to any waste hair
. . . . . . . . . . .
Long hair is considered more attractive than short hair
long, oiled braids are a sign of beauty and domestic well-being.
Removal of hair is associated with major ritualistic practices
. . . . . . . . . . .
Most Indian families follow the ritualistic practise of Oiling and braiding hair, a fundamental part of generational bonding.
An expression of tenderness, which brings together people across generations and genders
For the wellness of the mind and the body.
Braids have been the default hairstyle for generations for South Asians. The 3 strand plait: a seemingly simple and effortless style is woven into our consciousness.
. . . . . . . . . . .
In Indian cinema, when the actors danced, braids were used as props; whipped around and twirled.
Our tribal and traditional dances also involve adornment of the hair and the braids were incorporated into the dances as well, which used to form a part of the traditional attire.
DRAG
RRV
. . . . . . . . . . .
In earlier times, neatly braided hair denoted a disciplined life and character, domesticated, demure, and in line with structures and expectations of society; knowing your gendered societal expectaitons and boundaries.
DRAG
RRV
SPECULATIVE
. . . . . . . . . . .
Reclaim this style from its obedient image of control on heteronormativity
DRAG
SPECULATIVE
RRV
. . . . . . . . . . .
No braid is the right way or wrong way. It can be anything.
. . . . . . . . . . .
Braided till my fingers cramped
. . . . . . .
Big accessories can be called Garments
And small garments can be called Accessories
. . . . . . . . . . .
In the future, if Human Hair is the most readily available material to make garments with..
What would these wearable pieces be like..
. . . . . . . . . . .
For me, the pieces will be
Self Expression
Layered
Surreal
Exaggerated
Heightened
Performative
Adaptable
Body movements
(images of artist work)
. . . . . . . . . . .
I imagine these to make the wearer feel bold and expressive
The queer community has always been the flag bearer of the creative expression and i imagine them to be the future.
Drag artists in India today have been setting an inspirational example of this.
In the future, we would not be caged in the construct of gender. I hope that would be able to be as bold, loud and proud pf expressing our gender identities.
. . . . . . . . . . .
I imagine these to have sensuousness when in motion
Flowing hair has always been looked at with a gaze of sensuousness and i imagine Hair as a material will lend this quality to the wearable pieces as well
. . . . . . . . . . .
I imagine these to have a cultural grounding
India being a country known for sarees, i researched about the various draping techniques, in order to use them as parameters for my design
I also researched about the various traditional and folk outfits, dresses and costumes work all across India.
I look at these as the vernacular performance -wear designed to work aesthetically as well
. . . . . . . . . . .
I imagine these to be extremely versatile and personalisable
These are the sketches that i worked with. I created braided hair pieces that are connected through metal hardware. These pieces are designed to be personalised and be worn in any fashion.
. . . . . . . . . . .
I began by sculpting the shapes in the sketches on the mannequin, and figuring out the details of the braids and connecting them to the metal hardware.
Once my model was shortlisted, and i had their measurements,
What followed was a LOT of calculations
Before i started off on making the final pieces.
. . . . . . . . . . .
The design has 4 pieces
. . . . . . . . . . .
For the garment/ accessories, the primary material is hair extensions in 3 colours, each signifying a different source, the young, the middle and the old.
Across the 4 pieces, different formats of storytelling within community settings have been imagined.
. . . . . . . . . . .
Over the course of 3 weeks, a lot of my community came forward to help build the project.
This wasnt a direction i had imagined the project could take
I was surrounded, supported and held by soo much community
So many hands have touched the project
the process of making has added an additonal lens of community and people coming together in my speculation about my preferable future
. . . . . . . . . . .
There are 235 braid
. . . . . . . . . . .
3 colours of hair representing 3 generations of braiders
Black for the Youngest
Brown for the Middle
White for the Eldest
. . . . . . . . . . .
Each of the 4 pieces carry their own imagined storylines
Interwoven with new age materials representative of ideologies
Be it threads, or tinsel or rainbow coloured hair
. . . . . . . . . . .
Each of the 4 pieces are constructed by interlinking metal and hair
And metal to chain
Like the Tree of life in avatar
woven stories, linked to the
. . . . . . . . . . .
The top
Interwoven with
. . . . . . . . . . .
There is no right or wrong way to wear these
. . . . . . . . . . .
I wanted to showcase my project as pieces in motion
. . . . . . . . . . .
The imagery, postures and scenesetting is derived from the paintings of Raja Ravi Verma, where the movement is choreographed by piecing together details from his paintings
RRV’s paintings have inspired imagery for aesthetics, scene settings and costumes in films; which in turn have inspired some of the most iconic Drag Personas and Performances in India.
RRV is most commonly known for bringing the imagery of Gods into everyone’s homes, where these Gods looked like regular people.
He is also famous for his paintings with Women as central characters, bold, expressive and sensual.
. . . . . . . . . . .
SPECULATIVE
The Juxtaposition and Normalisation of Imageries of Drag Performers and Queer Identities as Gods; aligns with my imagination of a Preferable Future.
. . . . . . . . . . .
When i began this project, i had made a list of everything that i am passionate about, as a jump off point to arrive at what i would like to pursue for these months.
As i wrap up the project, it brings me great joy and satisfaction to see that i have managed to touch upon all the parameters I aspired to bring to the project.
. . . . . . . . . . .
Speculative
Garments and accessories
Expensive / Valuable garment/ accessory bcoz of the value of INdian hair
Interactive Accessories made with Hair
as Performance art
. . . . . . . . . . .
Why Hair?
Can this be used to share feelings and communicate; can it be interactive
. . . . . . . . . . .
Why Drag?
. . . . . . . . . . .
Even though the Pallu is behind; to me this is the hidden story that you need to arrive at
Second Draft¶
Once this was all put down, i could see where all i had rambled, what details were not adding to the narrative and what parts needed to be made bolder. This also helped me remove the details that was un-nessasary to the story telling and figure out tehe structure of how i wanted to use the 10 minutes of my presentation time on the Final D-Day.
I also knew i want to eventually showcase my project in future exhibitons, and wanted to take this opportunity of making this video to be something that could live beyond the final presentation. This made the task of structuring my video simpler and more difficult at the same time.
In the end, i figured i wanted to create 3 short videos that fit within the final presentation, but when the videos are sitched together for later use, they tell the entire story together as well.
The following iterations were written with the tonality of how i would imagine creating the voice-over.
Third Iteration¶
PART - 1
Everyone has that ONE story about their hair
And this is mine
Since childhood, my hair has been a constant companion—witnessing every chapter of my life.
It was my tool for expression,
be it the phases of childhood or teenage and then adulthood
from breakups to new beginnings
through emotional upheavals, my gender identity crisis, or understanding my sexuality
Having bore witness to my life, it can very well be the storyteller of my life.
It holds stories, intimate and personal
After a tumultuous year in 2010, I shaved my head
This became the catalyst for a series of works centered around my baldness, and I saved the hair from that time.
Little did I know that this would be the beginning for another project.
In India, hair holds significant value.
It is nurtured and taken care of.
It is removed (mundan), added (dance/ theatre) , and accessorized (functions) across various important rituals
But it is really the LONG hair that carries with it the burdens of societal expectations and morality
The stereotypes of who can (women / Sikhs) and cannot (widows/men) have it
Hair has been the battleground on which wars of morality have been fought
I have been an active participant in shaping my hair for 3 decades.
And so with my deep personal connection with hair, when I discovered that it is a bio-material I could create with, I was captivated.
PART - 2
Braids have been the default hairstyle for generations of South Asians
The 3 strand plait:
a simple and effortless style is woven and embedded in our cultural imagery
For most Indian families, the ritual of oiling and braiding long hair exists as a generational activity
When I was young, weekends would invariably have an oiling and braiding session, early in the morning. This was the time for the family to check-in on each other
I was convinced that the most appropriate way forward to work with hair on the project
would be to braid. I wanted to replicate that feeling of family and community
I chose to use 3 different colours of hair in an attempt to represent the coming together of stories of different generations, like it used to be in my childhood
Tasked with making approximately 235 braids for the project I had envisioned, I setup a loom to enlist the help of my community at work; my students
We spent time, towards the end of the day
together,
braiding
but also sharing stories and checking-in on each other
For those of us braiding at home and enlisting the help of our families; I created portable personal braiding looms.
Across the course of the project, multiple hands have touched these hairs. It is with the collective effort of my entire community coming together to support me, that I achieved the scale of this project.
PART - 3
The design comes together as a set of 4 pieces; each with its own imagined story
The first is a sculpted chest-plate.
I envision the three colors of hair - The Three generations, standing strong, with strands of thread woven into their respective braids to showcase their progressive ideas.
Their stories sculpted together with metal, to form a sheath armour holding the lives witnessed by them, close to the heart
For the second piece, I wanted to represent freedom and frivolity by letting the braids hang independently
The individual pieces, moving together with unrestrained joy; to showcase each generation’s fleeting moments of liberty
It’s not only stories of sadness but also those of joy shared together, beside one another.
The side chain is a superfluous element, to elevate the stories being showcased; like a jewel
Each braid has sections of all 3 colours, their ends encased in crystals; to highlight the shared experiences across the generations and signify the precious moments of community
Even though the Pallu is behind; to me this is the hidden story that you need to arrive at
The rainbow braids, representing the colours of the young, lead the way for the elders, taking them on a journey for an inclusive future.
Each of them bonded together with metal, leaving space in the ends to keep adding to the braided tapestry
There is no right or wrong way to wear these
No braid is the right way or wrong way.
It can be anything.
Fourth Iteration¶
PART - 1
Everyone has that ONE story about their hair.
And this is mine.
Since childhood, my hair has been my constant companion—witnessing every chapter of my life. It was my tool for expression, shaping my identity through childhood, teenage years, and adulthood.
From breakups to new beginnings, from emotional upheavals to navigating my gender identity and understanding my sexuality—my hair has been there.
Having bore witness to my life, it can very well be the storyteller of my life.
It holds stories, intimate and personal
After a tumultuous year in 2010, I shaved my head. It was a fresh start, but also the beginning of something unexpected. That act became the catalyst for a series of works centered around my baldness—and yes, I saved the hair from that time.
Little did I know it would lead to another project entirely.
In India, hair holds significant value. It is nurtured, cared for, and revered. It is removed, added and adorned for special occasions.
But it is really the LONG hair that carries with it the burdens of societal expectations and morality
The stereotypes of who can (women / Sikhs) and cannot (widows/men) have it
Hair has been the battleground on which wars of morality have been fought
For three decades, I have been an active participant in shaping my own hair.
So when I discovered hair could be used as a bio-material—something I could physically create with—I was captivated.
This was no longer just about my story. It was about transformation, about using something so deeply personal to craft something new, something bigger than myself.
PART - 2
Braids have been the go-to hairstyle for generations of South Asians.
The classic three-strand plait:
Effortless. Timeless. Woven deep into our cultural imagery.
For most Indian families, the ritual of oiling and braiding long hair exists as a generational activity
When I was young, weekends would invariably have an oiling and braiding session, early in the morning. This was the time for the family to check-in on each other
So when it came to working with hair for this project, braiding was the obvious choice.
I wanted to recreate that sense of family and community.
To capture that feeling, I chose three different colors of hair—representing the weaving together of stories of generations, just like in my childhood.
Tasked with making approximately 235 braids for the project I had envisioned, I setup a loom to enlist the help of my community at work; my students
We’d gather at the end of the day, braiding together, sharing stories, checking in, just like family.
For those braiding at home, with their own families, I created portable braiding looms.
Across the course of this project, countless hands have touched these strands. Each braid carries the collective energy of my community—their support, their stories, their time.
And that’s how this project came to life.
PART - 3
Four distinct pieces, each telling its own imagined story.
The first is a sculpted chest-plate.
Three colors of hair—three generations—woven together, standing strong.
Threads intertwine through the braids, showcasing evolving ideas. Their stories, cast in metal, form an armor—holding close the lives they’ve witnessed, guarding the histories they carry.
For the second piece, I wanted to represent freedom and frivolity
The braids are unrestrained, independent—dancing together but freely, capturing those fleeting moments of liberty across generations.
Because it’s not just the stories of struggle we inherit—it’s also the laughter, the lightness, the joy.
The side chain is a superfluous element, to elevate the stories being showcased;
An ornament. A jewel.
Each braid carries all three colors, ending in crystal—a shimmering reminder of the shared experiences that make us who we are. A tribute to the precious moments of community that hold us together.
Even though the Pallu is behind; to me this is the hidden story waiting to be discovered.
Rainbow braids—representing the energy of youth—leading the elders forward, guiding them towards a more inclusive future.
Each strand bound together with metal, yet leaving space at the ends—for more stories, more voices, more connections.
There’s no “right” way to wear these pieces.
Just like there’s no right or wrong way—to braid.
Each one is its own story.
Each one is its own truth.
And together, they make something beautiful.
Final Draft¶
Fifth Iteration¶
VIDEO - 1
Braids have been the default hairstyle for generations of South Asians.
The 3 strand plait: a simple and effortless style is woven and embedded in our cultural imagery.
For most Indian families, the ritual of oiling and braiding long hair exists as a generational activity.
When I was young, weekends would invariably have an oiling and braiding session, early in the morning. This was the time for the family to check-in on each other.
I was convinced that the most appropriate way forward to work with hair on the project would be to braid. I wanted to replicate that feeling of family and community.
I chose to use 3 different colours of hair in an attempt to represent the coming together of stories of different generations, like it used to be in my childhood.
Tasked with making approximately 235 braids for the project I had envisioned, I setup a loom to enlist the help of my community at work; my students.
We spent time, towards the end of the day together, braiding but also sharing stories and checking-in on each other.
For those of us braiding at home and enlisting the help of our families; I created portable personal braiding looms.
Across the course of the project, multiple hands have touched these hairs. It is with the collective effort of my entire community coming together to support me, that I achieved the scale of this project.
VIDEO - 2
The design comes together as a set of 4 pieces; each with its own imagined story.
The first is a sculpted chest-plate.
I imagine the 3 colours of hair to represent different generations, standing strong; with pieces of threads integrated within their respective braids to showcase their progressive thoughts.
Their stories sculpted together with metal to form a sheath of armor holding the lives they witnessed close to the heart.
And these stories sculpted together with threads and metal, to form a sheath armour holding the lives witnessed by them, close to the heart, each of them, strong and proud of where they come from.
For the second piece, I wanted to represent freedom and frivolity by letting the braids hang independently.
It isn’t only stories of sadness, but also of joy being shared together, beside each other.
The individual pieces, moving together with wanton joy and celebration; showcasing each generation’s individual pure story and moments of feeling free.
The side chain is a superfluous element, to elevate the stories being showcased; like a jewel.
With each piece, a coming together of the combined stories and shared experiences across the generations.
Each braid a memorable time capsule, encased in crystals; signifying the precious moments of community.
Even though the Pallu is behind; to me this is the hidden story that you need to arrive at.
The braids of the young, leading the way, taking along with them the elders, and bringing them on the journey for an inclusive colourful future, with tinsel.
Each of them bonded together with metal, leaving space in the fabric to keep adding to the fabric/ tapestry of their shared knowledge and lived experiences.
There is no right or wrong way to wear these.
No braid is the right way or wrong way. It can be anything.
Final Iteration¶
This is the final version that has been used for the voice-over in my final video. Five iterations and three drafts later, I am extremely happy with how everything has come together here.
VIDEO - 1
Braids have been the default hairstyle for generations of South Asians.
The 3 strand plait: a simple and effortless style is woven and embedded in our cultural imagery.
For most Indian families, the ritual of oiling and braiding long hair exists as a generational activity.
When I was young, weekends would invariably have an oiling and braiding session, early in the morning. This was the time for the family to check-in on each other.
I was convinced that the most appropriate way forward to work with hair on the project would be to braid. I wanted to replicate that feeling of family and community.
I chose to use 3 different colours of hair in an attempt to represent the coming together of stories of different generations, like it used to be in my childhood.
Tasked with making approximately 235 braids for the project I had envisioned, I setup a loom to enlist the help of my community at work; my students.
We spent time, towards the end of the day together, braiding but also sharing stories and checking-in on each other.
For those of us braiding at home and enlisting the help of our families; I created portable personal braiding looms.
Across the course of the project, multiple hands have touched these hairs. It is with the collective effort of my entire community coming together to support me, that I achieved the scale of this project.
VIDEO - 2
The design comes together as a set of 4 pieces; each with its own imagined story.
The first is a sculpted chest-plate.
I envision the three colors of hair - The Three generations, standing strong, with strands of thread woven into their respective braids to showcase their progressive ideas.
~{Their stories sculpted together with metal, to form a sheath armour holding the lives witnessed by them, close to the heart.}~
For the second piece, I wanted to represent freedom and frivolity by letting the braids hang independently.
The individual pieces, moving together with unrestrained joy; to showcase each generation’s fleeting moments of liberty.
~{It’s not only stories of sadness but also those of joy shared together, beside one another.}~
The side chain is a superfluous element, to elevate the stories being showcased; like a jewel.
Each braid has sections of all 3 colours, their ends encased in crystals; to highlight the shared experiences across the generations and signify the precious moments of community.
Even though the Pallu is behind; to me this is the hidden story that you need to arrive at.
The rainbow braids, representing the colours of the young, lead the way for the elders, taking them on a journey for an inclusive future.
Each of them bonded together with metal, leaving space in the ends to keep adding to the braided tapestry.
There is no right or wrong way to wear these pieces, just like there is no right or wrong way to braid.
The skirt can be worn on as a tap. The Pallu in the back can also be worn in the front. The side braids can be worn around the neck or across the bust.
Each one is its own story and together they make something beautiful.
Creating the Storyboard for the Final Look Video Shoot¶
Apart from the Context, Process and Outcome documentation, i wanted to have a Product Shoot with my pieces being modelled in an aethetic way. I had always imagined my project as Pieces in Motion and i wanted to showcase these as that as well.
For my storyboard for this video, I drew inspiration from the 19th-century paintings of Raja Ravi Verma, who portrayed strong, sensual women front and center, with their hair open and sarees flowing.
In the 19th century, he was creating heroic stories where women took center stage. This kind of Indian art had no precedent. His bold works featuring sensuous women in diaphanous clothes created controversies in traditional Indian society. He chose to paint subjects with a different perspective, that changed religious imagery forever. The painter who made gods human.
Women all across the nation wore different models of saree. This was taken up as an important feature by Raja Ravi Varma, and it is he who drew up the modern saree pattern which created a common model of wearing saree all over India. His idea was that the subjects must be normal human beings modeled upon actual people.
Women were portrayed as singular characters and given respect and shown as goddesses equivalent. He transcended boundaries between real, ideal, and imaginary, particularly when it came to depicting women. Being the first to portray the sensuality and modesty of Indian women through Indian sensibilities and European techniques, he was perhaps the biggest influencer of his time. He wanted to spread the Indian woman's sophistication and attractiveness when she adorns herself in various Indian attires.
