SELECTED WORK
A selection of my work across Acting, Presenting, Fashion styling and Voiceover.
Fashion Film:
Bharat Raj in Britain
This fashion film explores the richness of Indian textiles and craftsmanship through an avant-garde lens, styled with regal, Maharani-inspired elements: traditional jewellery, bold makeup, and sculptural silhouettes - set against the iconic Tower Bridge. It reflects a contemporary reclaiming of cultural identity, positioning Indian heritage with power and presence in a post-colonial context shaped through resilience and self-expression.
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The costume reinterprets traditional garments in a modern, conceptual form: featuring exaggerated dhoti-inspired draping, a blouse derived from the saree, and layered elements influenced by everyday working silhouettes - bringing together references from across social, cultural, and professional identities. Subtle tribal influences further honour the diversity of Indian communities, while red-accented gloves introduce a deliberate cross-cultural element, merging British styling with Indian symbolism of auspiciousness and strength.
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Created as my national costume entry for Miss India TGBC 2025, the look also incorporates a symbolic paw-print motif inspired by traditional bridal markings, representing prosperity while advocating for animal welfare and coexistence.
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Styling, concept, and execution were collaboratively developed, blending heritage with modern expression.
VLCC India:
Advertisement Series
Advertisement series for VLCC India, a leading name in India’s beauty and wellness industry.
'The Sofa' - Music Video
'The Sofa' Music Video by British brand Wolf Alice shot in London, UK.
'Kinni Sohni' - Music Video
'Kinni Sohni' Music Video by singers Semwal and Sparsh Dangwal shot in India
Reimagined Monologue
An improvised interpretation of the monologue - not planned or rehearsed, but instinctive and living in the moment moving away from scripted delivery and allowing something real to emerge.
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I approached it as a concept rather than just a performance, imagining a scenario where I’m asked to respond to the word “reinvention.” It begins with an awareness of expectation - something polished and scripted - but gradually shifts as I stop performing and respond more honestly, letting the moment take over.
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The piece moves through a range of emotions: sarcasm, humour, frustration, nostalgia, ambition, hope, and moments of hopelessness - building naturally rather than being pre-decided. It draws from my own experiences as an Indian artist in London, navigating identity, opportunity, and the realities of the industry.
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It also reflects on how the industry can sometimes be limiting in how it defines people, often prioritising physical criteria over individuality, despite conversations around inclusivity. For me, art goes beyond that: it’s about expression, authenticity, and breaking conventional boundaries.
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The ending was unplanned: I noticed a continuity detail (my necklace positioned incorrectly) only at the final moment and chose to incorporate it instantly, creating a full-circle conclusion that contrasts honesty with the idea of perfection and “retakes.”​
Bollywood Movie Scene: Recreation
This piece is a recreation from Tanu Weds Manu Returns, where I stepped into one of Actress Kangana Ranaut’s most iconic, chaotic characters. I’ve always been drawn to bold, expressive, slightly unhinged roles like hers - they’re punchy, emotional, a little dramatic, and feel very instinctive to my performance style.
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The role was particularly enjoyable as the character came naturally to me. Rather than heavy preparation, it was more about instinct and improvisation - staying true to the essence of the scene while adding my own nuances, subtle dialogue shifts, and personal interpretation.
The character moves through a layered emotional arc - starting with frustration and anger, yet delivering it with an underlying humour, and gradually transitioning into a more vulnerable, almost regretful tone. Playing that balance between intensity and humour, and building those emotional shifts, was the most exciting part of the process.
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A highly character-driven piece that allowed exploring spontaneity, timing, and layered expression in performance.
Self-tape for Airtel: Multinational Telecommunications Company
Character: Hoity-toity, Delhi-based personal assistant to a high-profile Actor - polished, dramatic, and fully aware that she runs the room.
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The role fun was exploring her duality. Internally, she’s constantly dealing with chaos - unreasonable demands, things going wrong on set, endless coordination - but externally stays composed, controlled, and perfectly put together to maintain the Actor’s image.
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She’s switching gears all the time: bossy and commanding one moment, sweet and composed the next: masking everything and carrying on like nothing happened. Playing with that up-and-down tonality, the control, restraint, and underlying chaos, was the most interesting..
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I focussed on building the smaller details: the tone, expressions, and body language that subtly say “I run things here” without needing to be loud about it.​ Also, this character is completely opposite to who I am, which made stepping into her even more fun.
Lifestyle Acting
Character: Naturalistic café scene built around everyday interactions - conversations with friends or a partner, moments of humour, shared interests, ordering food, and the presence of live ambient music.
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There is no fixed script; the focus is on presence, listening, and responding truthfully in real time. Naturalistic work often requires restraint, as the challenge lies in avoiding over-performance while maintaining authenticity.
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The piece is rooted in observation - drawing from real-life behaviour and allowing it to flow organically. It explores the idea that sometimes the most honest performances come from simply being present, rather than trying to perform.
Self-tape for Veet
Character: Young, working professional navigating a very relatable, everyday frustration - dealing with unwanted upper lip hair that shows up at the most inconvenient times. The character moves through different settings - from office meetings to social moments and casual interactions - constantly trying to manage her discomfort while maintaining composure.
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It was fun was exploring her behaviour subtly shifting in each environment - more confident and social in some moments, slightly self-conscious in others - all while trying to mask her frustration.
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The performance was largely expression-driven, with minimal dialogue, relying on timing, change and layering of emotions, micro-reactions, and physical cues to convey embarrassment, hesitation, and humour.
Voiceover - UAL:
London College of Fashion
Voiceover for promotional video of UAL: London College of Fashion