That world opened with a welcome dinner at Taj Lake Palace. The next day began with the mehendi inspired by Pahari’s childhood visits to Kolkata during the monsoon. One grandfather would make paper boats with her in Ballygunge and set them loose on rainwater-filled streets; another, a maths professor, loved poetry, especially Tagore and Tennyson. Those memories became part of the décor. There was a paper-boat origami station, vintage mathematics textbooks, poetry anthologies, childhood photographs, cross-stitched linens, and antique curios. Crystal raindrops hung from the trees in the courtyard. The mehendi also had block printing, bangle-making, a perfume bar, a parrot astrologer, games, Indian snacks and candies served from tins. Pahari wore an Abhinav Mishra ensemble rich in mirror work, which she imagined as the “Princess” chapter of her wardrobe, while Pabari wore a coordinating Abhinav Mishra look. With her hairstylist, she repurposed a statement earring into a bespoke hair accessory.
The sangeet moved to the Durbar Hall at the City Palace. The room was dressed with royal guards, tall ceramic vases, antique sculptures, console tables styled with jewellery, tiger sculptures, brocade textiles, crystal chandeliers, silver candelabras and velvet. The bar was covered in a patchwork of Turkish rugs, mirrored by the rug-printed dance floor. Pahari, who trained in Kathak, opened the evening with a piece she had first learned as a child. Later in the evening, she changed into an Itrh ensemble with chainmail detailing and a dramatic fishtail patchwork skirt, then into a custom variation of the same look with gold palazzo trousers for easier movement on stage. “Between the multiple costume changes, choreography and stage performances, it occasionally felt more like I was on tour,” she says.
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