Four collections,
four different women

A pastel, flower-jewellery bride built for a daytime mehndi that ran into the evening. The brief was ‘lit, not painted’ — so the base stays sheer and luminous over a heavy hydration prep, with warm rose on the lid, a soft satin lip and brows left full. Hair was set in a low, loose wave so the floral maang tikka and neck piece could sit without competition.

A sage-and-emerald evening look designed against a deep plum backdrop and serious diamond jewellery. Here the eye does the work: a smoked olive-taupe socket, tightlined lash line and a nude-mauve lip that keeps the neckline and the necklace as the focal point. Skin was built in thin, buildable layers and locked with a flash-safe setting routine so nothing goes ashen under a photographer’s strobe.

Studio editorial for a beaded couture gown, shot on lilac. This is the boldest register I work in — a matte-skin-with-wet-highlight contrast, graphic bronze shadow drawn out past the socket, sculpted cheek and a glossed brown lip. Hair pulled sleek and wet-set to keep the silhouette architectural. Built for high-crop editorial where every pore is visible.

The traditional register — deep red lehenga, temple gold, full maang tikka and nath. Warm-toned base matched two shades across face and neck, a coppery-red eye that reads at a distance, kohl-anchored waterline and a true blue-red lip. Everything here is chosen for longevity: this is a look that must survive a fire ceremony, a lunch, and a thousand relatives.