NOOR

“ CLEAN
or
UNCLEAN ”

BABI
AHLUWALIA
ON MAKING
IT BIG

Beyond Hijab
MSU × ICS

The South Asian Magazine


A pleasant smile and an
enthusiastic aura greeted us from
across the screen. Kshitij is seated
at his store in Delhi with a rack of
his designs brightening the space
with color and the charm of fine
craft. The label ‘ Kshitij Jalori
Ajmer’ almost speaks for itself
giving credits to the roots of the
designer. He spent the first 18 years
of his life wrapped around the
green hills of Ajmer soaking in all
the learnings of art and craft from
school. Art has always been a great
influence in his work. Jalori holds
pride in the fact that he brings out
4 5
art in the textiles he creates. 20
years ago when Indian fashion was
still largely centred around the idea
of bridal and festive wear Kshitij
found the absence of brands that
cater to other niches and hence
started developing a keen interest
and desire to fill in these gaps.
Destiny led to Khsitij taking up
textile designs in National Institute
of fashion technology, Delhi which
changed the course of his career
helping him discover the unlimited
potentials in the field.
The brand follows a made from
scratch approach to fashion. With
like the knots of yarn creating
raises on the fabric is what actually
adds a one of a kind dimension to
it. If you look at luxury products
the craftsmanship and labor hours
that go into making a hand done
piece brings out the best in it.
“If the product is in
place and if you truly
believe in what you are
making, the rest follows
to fall in place”
The Craft culture of the country
has a wide scope. With his brand
he wants to utilize the potential of
handmade fabrics by not limiting
its use to special occasion wear. By
integrating them in your everyday
a textile designer as the founder
the brand develops its own designs
for the weave, the print and the
embellishments. Once the fabric
is ready comes in the garment
construction.
India holds pride in his textile
heritage and close interactions
with artisan communities opened
doors for the designer in many
ways. Today Kshitij works closely
with the Bananarasi (silk fabrics
with opulent embroidery in gold
and silver ), zardosi ( and hand
marodi work. The nature of hand
crafted textiles and imperfections
outfits this vision runs along the
lines of seeing these ornate fabrics
across runways and streets. That is
handmade fabrics meet modern
silhouettes.
Life comes to a full circle. Two
years ago when Jalori was visiting
New York with his wife he came
across a store in Soho where he
developed a deep desire to sell his
garments. He strongly manifested
the idea and with the relentless
help of a friend, many hectic days
and sleepless nights later the brand
was successful in putting out his
collection during NYFW 2022.
Whilst talking about success and
making it in the fashion industry
Kshitij says, “If the product is in
place and if you truly believe in
what you are making, the rest
everything follows to fall in place”
As a final note to all aspiring
designers Kshitij says that
the fashion world is certainly
glamorous in front of the camera
but there is much more beyond
it. It’s a creative process that
never halts itself. Keep looking
for inspiration and take breaks to
freshen your mind. Work hard, go
beyond what’s expected and chase
the dream.
Interviewed by: Vibha Arvind (FBM,FIT’23)
Written bIllustration by: Vishwa Joshi (TD,
FIT’23)
Image credits: KSHITIJ JALORI
https://www.kshitijja lori.com/en-us
Written by: Kriti Nagar
(CD,FIT’23)
Layouts by: Aastha Rawat
(FBM,FIT’23)
Images by: Vidhi Sarin
(AMC, FIT’23)

6 7
New York is not just a city, it is an emotion. To anybody who moves
to ‘The Big Apple’, an adrenaline rush with excitement and jitters of
nervousness combined, is the most familiar feeling – we will never
forget the day we stepped into this concrete jungle with all our
expectations, dreams and hopes. But what to expect, will it be just like
we imagined or this journey would be full of surprises – we asked the
board members of ICS for a bite on ‘What it takes to survive in NYC’.

“New York City is the one place
that will gracefully welcome any-
one with open arms but also put
you through your worst night-
mares—it’s all worth it for the
character development! All you
need is a good oatmilk chai latte
and a nice pair of heels to take
you through anything this city
throws at you.” 
“It is tough moving to a big city like
NYC but it does get better with time. Be
it walking on the streets feeling like the
main character or watching dogs play in
the parks, you will find little things that
make you happy. “
Rachel Liza Raphy 
Editor

Aditi Pardeshi 
Vice President

“It can be overwhelming to wit- “NYC to me is about people holding out

ness the dynamism of fashion in
NYC- be it in the variety of de-
signs or staggering scale of busi-
ness. New trends come and go
every week, but I choose to wear
my Indian handloom tunics and
stoles, carry an Ikat or Mogra
printed bag with a little Kajal in
my eyes everyday, simply because
I realise that one doesn’t have to
change to fit in. And that’s one of
the many beauties of the city.”
Vibha Arvind
PR Manager
elevator doors for strangers, sandwich
shop ladies remembering our picks and In frame :
petting strangers dogs every time you Aashna Shah (FBM,FIT’26)
stop across streets - finding a community Thea Dhanki (FBM,FIT’26)
amongst people who are completely un- Rochelle Lobo (FD,FIT’23)
related. The awe of skyscrapers will fade Shreya Yadav (FBM,FIT’26)
Styling and layouts by :
away in a week, the charm of brown- Rachel Liza Raphy (CD,FIT’23)
stone apartments will last a bit longer,
but sooner or later you realize that it was
never about Times Square or Central
Park – the only thing you take back and
cherish in your heart will be the spirit of
New Yorkers, the spirit of New York.
Vishwa Joshi

THE GIRL NEXT DOOR

8 9
 Try something
unexpected with
your Indian
classics.A
traditional Ajarkh
printed skirt worn
as a strapless midi
dress paired with
a turtle neck and
jumkas.
Prints for the win

Reviving festive
clothes and
fusing them
to your power
dressing. Mirror
worked crop top
with a blazer ,
wide leg jeans and
sneakers.
Statement blouse
10 11
 Indian fabrics on
modern trends.
Ajarakh
printed waist belt
to add some desi
flavour to an all
black outfi and a
kundan choker
with pearls to tie it
all together.
Sublte hints

Ditch the pants and

dress it up.
Kalamkari print
short kurti worn as
a dress with a
Khadhi jacket,
winter boots and
a statement silver
choker
Kurti Dress
12 13
 Henry Ford is believed to have
said ‘“A customer may have a
car in any color he desires, so
long as its black.” which can
be perceived as his aversion to
anything but black despite of
gold to the sun – there is no system or
rule on which these associations are
based – they just feel right. Then we build
on metaphors of how gold is pure and
undisputed, just like the ever-bright sun
but silver corrodes to black, something
all that cultures around the world
have to offer, and add value to
what we create. Design or art, has
a voice, a voice that is heard long
after the artist is gone – and what
we choose to speak will determine

Color:
consumer demand but it has also
been argued that this decision
was purely economic – all Model
T Fords were painted black
similar to the waxing and waning of how the coming generations will
the moon. remember us.
And it is not just nature that drives these

A Concept of Culture because he wanted to produce

Written by: Vishwa Joshi
(TSD,FIT’23)
Image credits: Vidhi Sarin (AMC,
FIT’23)
Layouts by:Rachel Liza Raphy
14
Color, in its most literal sense, actually
colors the way we see the world. Being
students of an art and design school,
it is highly unlikely that any of us are
foreign to how color drives human
emotions. Color has meaning, we have
all acknowledged that, but color can
be an international topic of debate,
intertwined with eurocentrism and
corporate culture, comes as a bit of a
surprise. Chromophobia is this debate
that has been taking steadfast strides in
the media.
To quote the words of Kriti Mehta,
a 26-year-old who owns a South
Asian boutique in Auckland,
New Zealand, ‘A google search
for “classy aesthetic” leads to
mostly neutrals as results —
especially in the last few decades.’
Color disappearing from the
world soon became a heated
topic of conversation with ‘The
Rise of the Neutrals’ or ‘Beige
Era’ getting linked to minimalism
being perpetrated as an aesthetic
that is easy to mass produce by
major corporate players.
But is this merely a cancel
culture’s reaction to minimalism
or is there an authentic argument
being made here after all?
most number of automobiles in
the least amount of time. Black
paint, at the time was the least
expensive and dried the fastest,
allowing Ford to produce a car in
about 90 minutes.
And we might argue that this itself
stands proof to how the capitalist
way of living of the West has been
instrumental in decolourising
the world but one must look into
the deeper question of where this
affinity to neutrals comes from? Is
it because it wants to nominalize
anything and everything that
other cultures of the world have
adopted and stereotype it as
‘kitsch’– this might be what social
media tells us but I would argue
otherwise.
“When it comes to regional color
schemes, colors are driven by
three factors: architecture, nature
and the people who enrich the
culture,” says Lauren Makk,
a designer on The Learning
Channel’s Trading Spaces. “That
trilogy really drives the way that
colors and our lifestyles
come together.”
Colour evokes emotions based
on the subconscious data in
our brains based previous
associations and perceptions of
anything and everything that
we have seen around us in our
lifetime. For examples, silver is
often equated to the moon and
associations, culture and heritage creates
an equal or more significant impact as
well. The epitome of classical western
aesthetic had been the pristine white
sculptures of Greeks and Romans, since
centuries and it was only in the mid-
nineteenth century that researchers
discovered that classical buildings and
statues were usually brightly painted.
The discovery came as a shock, but
the western mindset had already been
conditioned to associate a high standard
of classical beauty with white.
Influential people in Western history
have also reinforced this choice from
time and again. Wedding dresses in the
west, surprisingly, used to be blue, pink
or any colour the bride chooses until
1840, when Queen Victoria choose to
wear a white court dress at her wedding
with Prince Albert. Since then, till date
– other than a few exceptions, white has
become the staple in Western weddings.
South-east Asia has always had an affinity
to colour, it is a part of our culture and
our history – be it Chinese red, Indian
yellow or Bangladeshi green. We have
embraced our choices and so has the
West. Debating colour is not going to
resolve consumerism, nor is it going to “When it comes to regional
affect discrimination in any manner. color schemes, colors are
By micro-analysing everything and driven by three factors:
focusing on issues that do not hold any architecture, nature and
significance, what we should rather be the people who enrich the
embracing all the diversity that exists culture,”
around us, acknowledge that technology
has given us an opportunity to connect -Lauren Makk
with varying perspectives, rather than
using the same technology to create
boundaries, why not use it to amalgamate
15
16 17
18 19
 I am, as a person, forever learning
-I know what I know but I am much
more open with what I do -I learn
from my community of fashion
-my mother was a designer, had a
flourishing ready-to-wear business
in childrenswear, back in India.
Growing up in the background of
design, I was constantly exposed
to the business -you see when
your parents are creatives and
entrepreneurs, you listen to
stories of making toiles at the dinner
table. It is almost in the ether of how
you grow up.
Growing up in India, embroidery is
an inseparable part of you wears as
well as your juices.
I always think
broader than what
I have, I am ever
learning, ever growing
as a creative individual It was during that time, that I western designers come and show
and I think the day you started interning with Rohit Khosla their wears in India and that is when
stop that is the day (renowned as the Karl Lagerfeld of I decided to apply to the
you don’t evolve. India –we luckily knew him through Fashion Institute of Technology.
family connections). For the first 2 At FIT, I wanted to study fashion
Even back in the day, when I went years of my college life, I was interning design -it was an interesting major
to Lady Shriram college to study there and through him I saw design. but I switched to textiles, which is
business, I was bored out of my My first exposure to fashion was at the also when I met Sachin and he was
mind - every girl there just wanted tender age of 19-20 when he held his cut from a similar fabric as me- his
to get married. first show in New Delhi, I witnessed mother had a pretty flourishing
business as well.
20 21
But we did not want to have our
own fashion house first, we thought
‘Let us learn from the Big 5 that
we love and admire, understand
how they servethe mass so well.’
But it was not easy – we were too
overqualified for jobs and had all
sorts of roadblock and barriers like
young students with no guidance,
mentors or placements – there
wasn’t a space for anybody quite like
us in a way but we were determined
kids - Sachin started working with
a smaller designer and I eventually
got an internship at DuPont.
22
We didn’t really understand the
western appetite much until we
started living and immersing
ourselves in the culture, we realized
how the west differs from the east.
This was a lot of self-determination
from our part - finding our own place
as cross-cultured designers. Finding
a connect in the industry is tough -
but it is up to that young kid to find
their space as to where they want to
serve. We really had to do this on
our own – connecting through a set
of family friends, we worked with
fantastic karigars from Calcutta who
are masters in threadwork and ladies
from the north who are very good
with beadwork – it was a craft that
we could and did translate into
high design. During then, we were
introduced to Oscar, who was a big
player in those days, I don’t know
what he saw in us -I think he saw
what we still have today, a fire in
our bellies -somebody who loves
the trade, knows textile, knows
design –kids who can actually
work with the big design house and
reach out to collaborators in terms
of textiles, surface embroidery -the
understanding of a trade palette
of a new culture. He gave us a free
hand –we would come up with new
concepts and he would be like
‘Let’s meet tomorrow,
let’s see what u can do’.
I guess in a way, we were lucky have got to understand who
we were big city kids of a modern you customer is –who you
progressive India who started are serving, why do they
catering to the sensibilities of the need your product, who
western designers here. is actually living in these
clothes that you create. To
Back in 1998 we had just started make it big in any design
business with Oscar and 2 or 3 field, you must know your
firms, Sachin was lucky to work market.
with house of Valentino, and that
was the time they were talking In that way I believe, the
about bringing back this bag called pandemic enriched us. You see,
the Fendi baguette. So, we had left businesses were always done in
our swatches there with them and the so-called norm -as a fashion
left because we weren’t expecting designer there are things you must
our response but our friend who do - department store, previews,
was their calls us that they selected fashion shows
our swatches. So, this was all before –but then we had the opportunity
google translate -and we are getting to step back. We put our ear to the
instructions in Italian over our ground and saw where the customer
factor sheet. is today –that was the learning from
the pandemic.
It was chaotic, we are calling our
friend in Rome to break it down We began looking intelligently
for us to understand it but that did within our data, to find where our
not work out. A few months later, customer is and now, we have more Fashion is brilliant but
I see those beautiful embroideries successes that we had before. One
with a lady called Carrie Bradshaw, must not just work in their own is somebody buying it,
our embroideries –so basically, they philosophy, in order to cater to the is somebody using it,
couldn’t get a hold of us so they market, you must listen to the market living in it,
found another vendor to rip it off– and when that began happening to is she getting married in
all because we didn’t have a proper our brand, we had such joy because
connection in Rome (laughs). But were connecting with people. It was it – this is what we
the business grew and as you grow a lot of learning -Was it fun? NO! It constantly as ourselves
up with the business, working with was scary as hell but we are back in
these big houses over the years, you the flow of things now.
also grow up as an individual and
develop your own point of view- Understanding the headspace of
that is how we started the karigars and the managers,
Sachin and Babi. translating that sensibility and
It is the translation of the craft and emotions to the products that will
ethos onto new documents – by be sold in the other half of the world,
going to museums, learning more it is just that kind of an undertaking.
of different cultures, adapting and
conglomerating that into the craft
– that is where our strength lies. Written by: Vishwa Joshi (TSD,FIT’23)
Fashion, to us, is a little removed Image credits: sachinandbabi.com
from art – it is when people wear it, Layouts by: Prachee Shah (CD, FIT’23)
enjoy it and live in it. If you want to
have a legitimate business, you
23
 Sarees are the indigenous clothing
of Indian women. Six yards of silk
fabric draped to make a garment.
Kanchipuram silk sarees in
particular, are known for their rich
gold borders, authentic designs,
and dense fabric in contrast colors;
a custom that is over 150 years of
age is absolutely hand woven from
processed silk yarn and Zari - a
silver silk string covered in gold
tone. Kanchipuram sarees are
prestigious for their excellence and
nobility. The saree, when worn or
gifted, is inherently connected with
fortune. My grandmother boasts a
closet of hundred-plus sarees woven
comes alive in various shades on
the lustrous Kanchipuram silks.
Blue is the color of infinity and a
representation of vastness. Lord
Vishnu is represented in a dark
shade of blue which characterizes
most of His incarnations — the
color of the sky and the ocean on
which he reclines. Yellow as a color
is strongly entrenched into the
culture and mentality in India. The
combination of black with different
tones in a smaller amount is viewed
as a protection against enmity and
destruction.
Temple motifs, stripes, checks, and
floral buttas are some of the authentic
designs that are woven into these
sarees. Kanchipuram sarees usually
have wide and contrasting borders.
The motifs and designs on the sarees
are inspired by the sculptures and
scriptures of temples surrounding
the district. Other common motifs
on walls were inspired by natural
elements like leaves, birds and
animals. The intricacy of patterns,
the richness of colors and purity of
the zari define the value of the saree.

Kanchipuram
out of pure gold yarn and silk.

The colors you adorn on the saree

have so much more beyond its visual
appeal. The history of colors that is
seen in the Kanchipuram saree is
carved out of a lifelong fascination
Written by:Rajagopal Raghunath (CD, FIT’23) with South India’s traditions and
Layouts by: Vibha Arvind (FBM, FIT’23) social norms. Araku, is a distinctive
Image credits: Megana Karkada Suresh (NIFT, chennai ) color lying between red and
maroon, is unique to Kanchipuram
and an absolute favorite choice for
The temple town of Kanchipuram
the bridal saree. Green is fondly
nestles next to the Palar river in south
known as the ‘color of life,’ and it
India. The fortified center of the
town greets you with the fragrance
of sandalwood and the melodious
sounds of the temple bells. I visited
the town during the magical time
of monsoon. I immersed myself
in architectural beauty and serene
spirituality.
As I took a stroll next to the largest
temple in the settlement dedicated
to Lord Vishnu, I stumbled upon the
houses and stores of several weavers
working on traditional looms
creating stunning Kanchipuram
silk sarees. Each place I visited
was a storehouse of rich gold and
silk garments known as sarees
stacked upon racks of shelves and
cupboards, each with a different
color and pattern.
24 25

There is so much attention to detail
and fine craftsmanship that goes
into making these. Unlike machine-
made fabrics these textiles can
take over months to complete. The
process begins with dyeing silk and
letting it rest for a few days to dry.
The colorful bundle is warped and
spun on the spinning wheel. The
hand spun yarn is woven on looms
using shuttles that weave the warp
and weft threads of the silk together.
The traditional Indian saree is no
longer limited to silk and handwoven
textiles. Georgettes, satin, lace,
and even velvet have taken over
this 6 yard drape business. Even
with advancements like these,
Kanchipuram just like many other
Indian weaves, has reserved its spot
as the finest and most elite choice
for special occasions like weddings.
26
FASHION SCAPES
A living wage
Written by: Vishwa Joshi (TSD,FIT’23)
A Computer-aided design process is
capable of achieving photorealism
on Kanchipuram sarees. Designers
are experimenting with pastel colors
and new motifs. The textile, which
was once commonly used for only Documentary Recommendation
drapes, is now used in other styles
of garments like gowns, pantsuits,
lehengas etc as well In 2013, when the Rana Plaza
collapsed in Bangladesh, it drove
Andrew Morgan to travel to 13
countries and examine the lives of
low-wage workers in the garment
industry who were the victims of
the tragedy. This project came into
being as one of the finest fashion
documentaries the industry has
ever seen, which is till date being
widely broadcasted in fashion
schools around the globe – it is
the documentary all of us have
been told to watch, to understand
the environmental, social and
psychological impact of the industry
whose future lies in our hands –
without even mentioning its name,
I think the name must have already
popped in your head – ‘The True
Cost’
Released at the Cannes Film
Festival in 2015, it sent shockwaves
throughout the industry and an
era of awareness began, post which
‘sustainability’ became the new
buzzwords. An array of new ‘eco-
friendly’ labels came to life, ‘recycle’
became the new mantra, thrift store
culture boomed like never before
and greenwashing was the route
fast fashion brands took to escape
from the mass backlash. But after
all this, has anything changed at the
grassroot level after all?
On the 8th anniversary of the
infamous incident, Morgan once
again, came together with Livia
Firth, co-founder and creative
director of Eco-Age – to form a
short film that is a spiritual sequel
of the same. ‘FASHIONSCAPES: A
Living Wage’ is shorter but it hits
precisely – the point made across
remains the same – Who pays the
true cost of the cheap clothes we
buy? – its predecessor examined it
from consumerism, mass media,
disease, pollution and even global
capitalism, A Living Wage is more
specific and strives to focus on a
single point – the people. It is hard-
hitting and moving at the same
time, watching how next to nothing
has change even after more than
half a decade of awareness – the
concluding lines are particularly
brilliant it this is a must watch,
27
 Interviewed by: Vibha Arvind (FBM,FIT’23) and Raisa Rafique (FBM,FIT’23)
Written by: Aditi Pardeshi (FBM, FIT’23)
Layouts by: Aastha Rawat ((FBM, FIT’23)

Raisa interview

28 29
 Brooklyn: Eat Namkeen $$ illa Sandwhi
Loved by everyone and heavily popular on social media, Tikkav ch
this recent opening of a twist on an American favorite
with the flavorful zing of Indian culture is a stellar

The Taste of a Modern India combination to have when you’re tired of eating plain
old fried chicken. Think fried chicken but a hundred
times better with mint chutney! Their loaded Dhamaka
fries will have you ordering another plate right as you
New York City is often described as a melting pot of cultures from take the first bite! Their signature tikka sauce will have
all around the world. Queens– the World’s borough– is home to a you licking your fingers but worry not, their restroom is
wide variety of cuisines from the best halal street carts to the most fully decked out with Bollywood tunes and a disco ball for
top-notch traditional Slovak restaurants. Brooklyn– the new “Manhat- maximum enjoyment!
tan”-- has its own array of trendy eateries. an
n kulfi milk tea dd
hamaka fries!!!
Indian cuisine is one of the most flavorful and vibrant cuisines. Aro- pa
Aditi Pardeshi (FBM, FIT’24)
matic spices in curries, soft and pillowy naans, and a rainbow of colors Layouts by: Anvi Mangalmurti
and fresh vegetables all come together to form the beautiful art of (CD, FIT’23)
Indian cooking. Illustrations by:Vedha Chodhagam Long Island: Pyo Chai $$
(FD, FIT’26) What do you get when you cross masala chai and boba?
Let’s dip our spoon right into the top places you can visit to get a taste Absolute heaven! This small Indian bubble tea joint in
of our very own modern India. Stewart Manor has the best selection of Indian drinks
mixed with boba tea. Get a variety of drinks such as
Kulfi Milk tea to Rooh Afza milk tea or stick to the
basics with a refreshing mango green tea! Choose
Dessert K from a variety of toppings such as Brown Sugar
ulfis! Boba, basil seeds, mango popping jelly, lychee jelly,
!
or a scoop of mango, malai, or falooda kulfi!
Manhattan: Junoon $$$$
Looking for a place to splurge on Michelin-star
food? Look no further than just a four-minute
walk from the Flatiron building. Junoon offers super spic yyy
a sophisticated and beautifully plated array of Queens: Usha Foods $
Indian food with an updated addition to classic Named one of the best places to
Indian dishes. Choose from a variety of chaats with boba!! get Indian street snacks, this
as your appetizer, followed by vibrantly flavored long standing and family run
meat and vegetable dishes. End your meal with a fast food restaurant has held
dessert reminiscent of your mother’s rice pud- the heart of families all over
(th ding or take a lick at a sorbet tasting. With any Long Island, even the country!
eP
aan combination, you are sure to find your meal From their delicious chaats to
L ea not only Instagrammable but also worthy of a freshly made mango lassi, Usha
f an
d Sa Michelin star. Foods can appetize any of your
ffron
p ops food-fanatic desires. They offer a
pers are my
onal Da deep selection from Punjabi food,
favou hi P to South Indian, and even Gujarati
rites) uri Chaat sweets.

30 31
As the people started coming in, all dressed in ethnic but
contemporary attires, the excitement was building up for
what is to come. With a classical Bharatanatyam perfor-
mance by Vidhatri,
we kick-started the evening followed by the crowd break-
ing into freestyle dancing. A flash-mob by members of ICS,
dandiya, garba and a tik-tok reel, the crowd then dived into
the delicious Indian thaali with gulab jamuns, something
they had all craved for months. The international students
services put up a stall and applied mehendi tatoos for the
guests. The feeling of being close to home was completed
with having mango lassi in the breezeway - let’s just admit As is customary, Indian Cultural Society hosts the annual cel-
it, lassi on the streets of NYC wearing our coats has a charm ebration of Diwali Night at FashionInstitute of Technology.
of its own.
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Aastha, as she sips her mango lassi, after having stayed on
her toes the entire evening, says with a smile “I wouldn’t lie,
it was an absolute roller coaster - the last week especially, I
had my own ups and downs but with people that I could
rely on - we managed to pull it together. At the end of the
day, when I look at these faces, it makes all of the effort
worth it. Being able to bring people together and to make
them feel at home in a foreign country, I am glad I was able
to create this joy.”
This year, under the able guidance of Professor Rajasekhar
Vangapaty and support from Student Life, especially Jordan
and International Student Services with enthusiastic Cultur-
al Fellows - Aastha Rawat, the president of ICS led the team
in organizing the gala. Dubinsky Dining Hall was trans-
formed into a radiant clique with glittering lights and floral
arrangements - coupled with Bollywood hits on roll with DJ
Ahvik and Indian dinner thanks to .Honest, New York - the
night was all set for a perfect Indian fest.
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