Nilufer Hatun has been four years in the making now. A soft launch held a few months ago proved to be a huge success with the glitterati, and Roopa Vohra, the jewellery designer who has dedicated her creative life to reviving traditional craft styles, is justifiably proud. Of course one is intrigued about the name – is it in tribute to the legendary Ottoman princess? A soft, “Yes” is the answer. %% “The Ottoman influence is very much evident in the collection, of course,” explains Ropa. “When the first few pieces started taking shape, a Turkish friend exclaimed that they looked fit to adorn the mysterious and exotically beautiful Ottoman princess Nilufer Hatun. And the name stuck.” %% The collection exudes as much grandeur and attraction as the princess it is named after. The jewellery is all about latticework with diamonds. “A lot of effort has gone into making this collection,” says Roopa. “The techniques used are probably unlike any used before.” %% Roopa, of course, is not new to the world of painstaking research and hard work. Since her first foray in reviving traditional forms of jewellery, it has been very much part of her work ethic. Roopa started her journey in this field with the revival of Thewa – the art of infusing designs in gold on glass. Today, she has traversed many miles along the route. %% “I was in Cyprus and it was the architecture of the orthodox churches that inspired me to start working with glass and gold,” she reminisces. “On one of my many trips to India, I picked up a book from the National Museum, and this had an image of a traditional hand fan, made in the Thewa style. The beauty of the piece literally blew me away. That was in 1992. Subsequently, when we moved back to India for good, I started researching the art and craft of Thewa jewellery.” %%

Thus began what would become a lifelong commitment and abiding dedication to the creation of “works of art for an evolved audience and buyer”, as she says. Today, Roopa’s name is more or less synonymous with Thewa and vice versa. %% She has not merely revived and popularised an art form which was in danger of dying away, but also helped raise the standard of living of hundreds of impoverished artisans whose very survival was threatened. “In fact, an entire generation of artisans in Chittor – the place where Thewa is believed to have originated – had stopped pursuing this art form, simply because it was not commercially viable,” says Roopa. “As I delved deeper into the art, I had to convince the few craftsmen who knew Thewa to go back to their roots. Now, this entire region is practically transformed, with the people leading undeniably better lives.” %% The social concern Roopa feels, finds an outlet in many other ways too. She is actively associated with the Red Cross for Thallasemic Children; the Women’s Cancer Initiative for Breast Cancer; and efforts like Magic Bus and Prerna, which support the children of commercial sex workers in Mumbai. In an age of “all glamour, no substance” it is heartening to note that Roopa believes that everything one does ought to have a purpose. “I, for one, believe that if through my work, I can help people who need my support, why not?” proclaims the designer, the fire of commitment evident in her eyes. “To that end, I ensure my connections with the media and celebrities are used well to give these social causes due exposure.”%% Roopa cites the example of one of her new collections, Maban the launch of which concluded with a fashion show in support of breast cancer awareness. %% The tale behind Maban is indeed intriguing and interesting – the origins of this particular collection lie in Roopa’s discovery of the most beautiful gemstones on a trip to Australia. “There was a veritable rainbow of colours in gemstones!” she exclaims. “Colour has always been a great inspiration for me and the shades I saw were at once startling and enthralling. In any case, I work material backward, I don’t design forward. This means that I let the stones or the metal take its own course, and when that happens, each piece tells its own story.” Explaining further, Roopa says, “For Maban, we used diverse methods of setting the stones. We also cut the stones differently and even carved them in irregular ways to bring out a symbiosis and harmony between the gold and the stones.”%% Maban, in Australian aboriginal mythology, is a material that is held to be magical – a material from which the “Clever Women and Clever Men and Elders” of indigenous Australia supposedly derived their magical powers. What we have then is a truly magical amalgamation of diamonds and gold with the rich, vivid hues of blue topazes, pink quartzes, purple and green amethysts, fiery and olive citrine and a myriad such stones. “Maban refers to many substances that are believed to have magical content but coloured stones are most synonymous to Maban,” elucidates Roopa.%%

From Thewa to Maban and Nilufer Hatun, Roopa’s journey has been liberally peppered with milestones. The Naqqashi collection used the ancient Mughal architectural art form in jewellery – another technique, which was in a dwindling state. The Cocktail collection was dedicated to statement jewellery that uses black onyx, pink tourmalines, yellow sapphires, blue topazes with diamonds and gold. The Rosecut collection was artful deception with a Victorian look and feel created with the traditional Indian rose-cut diamonds. With such a wide variety in her oeuvre, it is little wonder that celebrities galore should unhesitatingly flaunt her jewellery at red carpet events, earning her the well-deserved tag of jeweller to the stars. These celebrities include divas and style icons like Anushka Sharma, Raveena Tandon, Suchitra Pillai, Bhagyashree, Chitrangada Singh, Madhuri Dixit, Jacqueline Fernandez, Ishika Mohan, Raageshwari, Mona Kapoor, Mandira Bedi, Gul Panag, Kulraaj Randhawa – the list goes on endlessly. Needless to say she has recived exhaustive press coverage in prominent lifestyle magazines and newspapers. Fame and celebrity adoration sit lightly on her shoulders though, and for Roopa it is the fact that her jewellery gets appreciated by people who are so well-travelled and exposed to the best in the world, that really matters. For all this success and recognition, the designer has her feet firmly planted on the ground and head screwed tightly on her shoulders. A large part of this humility and graciousness comes from having had a rather tough beginning in the trade, coming as she did from a family with a political background rather than in the jewellery trade - Roopa is the granddaughter of ex-Prime Minister Gulzarilal Nanda, and daughter-in-law of Mahavir Chakra recipient General Raj Mohan Vohra. “When I started, the struggle was doubly difficult because I had no background in jewellery, and because I was a woman,” recalls Roopa. “I remember the initial jewellery exhibitions including the IIJS where I would be invariably asked to “Call the boss” – people refused to believe that I was the brains behind the concept! Another difficult part was when people used to see the Thewa jewellery pieces and come up with responses like ‘Well, it’s nice…but what in heaven’s name is it?’”

Another issue that she has dealt with very often is that of “people getting inspired by her work”. With just a hint of bemusement, Roopa relates an anecdote which gives ample proof of the old adage that imitation is the sincerest form of flattery. “A few years after Thewa had become popular, there was this sudden crop of Thewa experts in the market,” she says. “I got to know about this “Exhibition of Roopa Vohra’s Thewa Jewellery”, by some copycat designer! I decided to take a look walked up to the booth, and was actually showed pieces by ‘Roopa Vohra’!” says Roopa with a laugh. %% However, her experience in the industry has definitely taught her one thing – patience. “I have developed truckloads of it, primarily because my jewellery is decidedly different from the run-of-the-mill. Each piece is a work of art, and with each piece I try to break down the notion of jewellery-as-investment,” says the designer. “Yes, my jewellery is an investment, but it is not an investment for money, it is an investment in art, it is an investment in something that is one-of-a-kind and unrepeatable. Taking this sort of jewellery to the market and popularising it takes a fair bit of blood, sweat and tears.” %% Her message to budding designers is a resounding cry from her heart, “Don’t copy! Please don’t follow trends blindly. Please understand that jewellery creation is much beyond just getting hold of a babu and the materials, picking designs out of a catalogue and holding exhibitions.”%% As far as favourite gemstones and metals go, Roopa adores emeralds and gold – but in uncommon forms “Gold is a favourite because one can bend it, twist it, hammer it…practically mould it anyway one wants to give it such an unusual look and feel,” she says.%% The piece of jewellery toughest to create was a very large Nefertiti style Thewa necklace that Roopa had exhibited at the 2001 Baselworld show. “For the show, the challenge lay in retaining the ethnicity of the craft, and yet making it contemporary in look,” Roopa explains. “Instead of the usual reds and greens and blues, we used shades like butter yellow, baby pink and powder blue – path breaking for this ancient art form. Even the glass was of different types, and I had to be very persuasive and patient with the craftsmen who were not very open to experimentation. What we had then was a glass finish that looked like mother of pearl, and this was the largest Thewa jewellery piece that I ever worked on.”%% Roopa is certainly not one to rest on her laurels. Ask her what the future looks like, and the deigner unfazed by all her struggles says with a smile, “Who knows what the future holds? Maybe an international presence for brand Roopa Vohra, with a store or two in the fashion capitals of the world?” %% We can only say “Inshallah!” - quoting her favourite expression - even as the lady turns back to her work bench and the current task of ensuring that Nilufer Hatun gets the recognition it deserves.%%

Nilufer Hatun has been four years in the making now. A soft launch held a few months ago proved to be a huge success with the glitterati, and Roopa Vohra, the jewellery designer who has dedicated her creative life to reviving traditional craft styles, is justifiably proud. Of course one is intrigued about the name – is it in tribute to the legendary Ottoman princess? A soft, “Yes” is the answer. %% “The Ottoman influence is very much evident in the collection, of course,” explains Ropa. “When the first few pieces started taking shape, a Turkish friend exclaimed that they looked fit to adorn the mysterious and exotically beautiful Ottoman princess Nilufer Hatun. And the name stuck.” %% The collection exudes as much grandeur and attraction as the princess it is named after. The jewellery is all about latticework with diamonds. “A lot of effort has gone into making this collection,” says Roopa. “The techniques used are probably unlike any used before.” %% Roopa, of course, is not new to the world of painstaking research and hard work. Since her first foray in reviving traditional forms of jewellery, it has been very much part of her work ethic. Roopa started her journey in this field with the revival of Thewa – the art of infusing designs in gold on glass. Today, she has traversed many miles along the route. %% “I was in Cyprus and it was the architecture of the orthodox churches that inspired me to start working with glass and gold,” she reminisces. “On one of my many trips to India, I picked up a book from the National Museum, and this had an image of a traditional hand fan, made in the Thewa style. The beauty of the piece literally blew me away. That was in 1992. Subsequently, when we moved back to India for good, I started researching the art and craft of Thewa jewellery.” %%

Thus began what would become a lifelong commitment and abiding dedication to the creation of “works of art for an evolved audience and buyer”, as she says. Today, Roopa’s name is more or less synonymous with Thewa and vice versa. %% She has not merely revived and popularised an art form which was in danger of dying away, but also helped raise the standard of living of hundreds of impoverished artisans whose very survival was threatened. “In fact, an entire generation of artisans in Chittor – the place where Thewa is believed to have originated – had stopped pursuing this art form, simply because it was not commercially viable,” says Roopa. “As I delved deeper into the art, I had to convince the few craftsmen who knew Thewa to go back to their roots. Now, this entire region is practically transformed, with the people leading undeniably better lives.” %% The social concern Roopa feels, finds an outlet in many other ways too. She is actively associated with the Red Cross for Thallasemic Children; the Women’s Cancer Initiative for Breast Cancer; and efforts like Magic Bus and Prerna, which support the children of commercial sex workers in Mumbai. In an age of “all glamour, no substance” it is heartening to note that Roopa believes that everything one does ought to have a purpose. “I, for one, believe that if through my work, I can help people who need my support, why not?” proclaims the designer, the fire of commitment evident in her eyes. “To that end, I ensure my connections with the media and celebrities are used well to give these social causes due exposure.”%% Roopa cites the example of one of her new collections, Maban the launch of which concluded with a fashion show in support of breast cancer awareness. %% The tale behind Maban is indeed intriguing and interesting – the origins of this particular collection lie in Roopa’s discovery of the most beautiful gemstones on a trip to Australia. “There was a veritable rainbow of colours in gemstones!” she exclaims. “Colour has always been a great inspiration for me and the shades I saw were at once startling and enthralling. In any case, I work material backward, I don’t design forward. This means that I let the stones or the metal take its own course, and when that happens, each piece tells its own story.” Explaining further, Roopa says, “For Maban, we used diverse methods of setting the stones. We also cut the stones differently and even carved them in irregular ways to bring out a symbiosis and harmony between the gold and the stones.”%% Maban, in Australian aboriginal mythology, is a material that is held to be magical – a material from which the “Clever Women and Clever Men and Elders” of indigenous Australia supposedly derived their magical powers. What we have then is a truly magical amalgamation of diamonds and gold with the rich, vivid hues of blue topazes, pink quartzes, purple and green amethysts, fiery and olive citrine and a myriad such stones. “Maban refers to many substances that are believed to have magical content but coloured stones are most synonymous to Maban,” elucidates Roopa.%%

From Thewa to Maban and Nilufer Hatun, Roopa’s journey has been liberally peppered with milestones. The Naqqashi collection used the ancient Mughal architectural art form in jewellery – another technique, which was in a dwindling state. The Cocktail collection was dedicated to statement jewellery that uses black onyx, pink tourmalines, yellow sapphires, blue topazes with diamonds and gold. The Rosecut collection was artful deception with a Victorian look and feel created with the traditional Indian rose-cut diamonds. With such a wide variety in her oeuvre, it is little wonder that celebrities galore should unhesitatingly flaunt her jewellery at red carpet events, earning her the well-deserved tag of jeweller to the stars. These celebrities include divas and style icons like Anushka Sharma, Raveena Tandon, Suchitra Pillai, Bhagyashree, Chitrangada Singh, Madhuri Dixit, Jacqueline Fernandez, Ishika Mohan, Raageshwari, Mona Kapoor, Mandira Bedi, Gul Panag, Kulraaj Randhawa – the list goes on endlessly. Needless to say she has recived exhaustive press coverage in prominent lifestyle magazines and newspapers. Fame and celebrity adoration sit lightly on her shoulders though, and for Roopa it is the fact that her jewellery gets appreciated by people who are so well-travelled and exposed to the best in the world, that really matters. For all this success and recognition, the designer has her feet firmly planted on the ground and head screwed tightly on her shoulders. A large part of this humility and graciousness comes from having had a rather tough beginning in the trade, coming as she did from a family with a political background rather than in the jewellery trade - Roopa is the granddaughter of ex-Prime Minister Gulzarilal Nanda, and daughter-in-law of Mahavir Chakra recipient General Raj Mohan Vohra. “When I started, the struggle was doubly difficult because I had no background in jewellery, and because I was a woman,” recalls Roopa. “I remember the initial jewellery exhibitions including the IIJS where I would be invariably asked to “Call the boss” – people refused to believe that I was the brains behind the concept! Another difficult part was when people used to see the Thewa jewellery pieces and come up with responses like ‘Well, it’s nice…but what in heaven’s name is it?’”

Another issue that she has dealt with very often is that of “people getting inspired by her work”. With just a hint of bemusement, Roopa relates an anecdote which gives ample proof of the old adage that imitation is the sincerest form of flattery. “A few years after Thewa had become popular, there was this sudden crop of Thewa experts in the market,” she says. “I got to know about this “Exhibition of Roopa Vohra’s Thewa Jewellery”, by some copycat designer! I decided to take a look walked up to the booth, and was actually showed pieces by ‘Roopa Vohra’!” says Roopa with a laugh. %% However, her experience in the industry has definitely taught her one thing – patience. “I have developed truckloads of it, primarily because my jewellery is decidedly different from the run-of-the-mill. Each piece is a work of art, and with each piece I try to break down the notion of jewellery-as-investment,” says the designer. “Yes, my jewellery is an investment, but it is not an investment for money, it is an investment in art, it is an investment in something that is one-of-a-kind and unrepeatable. Taking this sort of jewellery to the market and popularising it takes a fair bit of blood, sweat and tears.” %% Her message to budding designers is a resounding cry from her heart, “Don’t copy! Please don’t follow trends blindly. Please understand that jewellery creation is much beyond just getting hold of a babu and the materials, picking designs out of a catalogue and holding exhibitions.”%% As far as favourite gemstones and metals go, Roopa adores emeralds and gold – but in uncommon forms “Gold is a favourite because one can bend it, twist it, hammer it…practically mould it anyway one wants to give it such an unusual look and feel,” she says.%% The piece of jewellery toughest to create was a very large Nefertiti style Thewa necklace that Roopa had exhibited at the 2001 Baselworld show. “For the show, the challenge lay in retaining the ethnicity of the craft, and yet making it contemporary in look,” Roopa explains. “Instead of the usual reds and greens and blues, we used shades like butter yellow, baby pink and powder blue – path breaking for this ancient art form. Even the glass was of different types, and I had to be very persuasive and patient with the craftsmen who were not very open to experimentation. What we had then was a glass finish that looked like mother of pearl, and this was the largest Thewa jewellery piece that I ever worked on.”%% Roopa is certainly not one to rest on her laurels. Ask her what the future looks like, and the deigner unfazed by all her struggles says with a smile, “Who knows what the future holds? Maybe an international presence for brand Roopa Vohra, with a store or two in the fashion capitals of the world?” %% We can only say “Inshallah!” - quoting her favourite expression - even as the lady turns back to her work bench and the current task of ensuring that Nilufer Hatun gets the recognition it deserves.%%

Nilufer Hatun has been four years in the making now. A soft launch held a few months ago proved to be a huge success with the glitterati, and Roopa Vohra, the jewellery designer who has dedicated her creative life to reviving traditional craft styles, is justifiably proud. Of course one is intrigued about the name – is it in tribute to the legendary Ottoman princess? A soft, “Yes” is the answer. %% “The Ottoman influence is very much evident in the collection, of course,” explains Ropa. “When the first few pieces started taking shape, a Turkish friend exclaimed that they looked fit to adorn the mysterious and exotically beautiful Ottoman princess Nilufer Hatun. And the name stuck.” %% The collection exudes as much grandeur and attraction as the princess it is named after. The jewellery is all about latticework with diamonds. “A lot of effort has gone into making this collection,” says Roopa. “The techniques used are probably unlike any used before.” %% Roopa, of course, is not new to the world of painstaking research and hard work. Since her first foray in reviving traditional forms of jewellery, it has been very much part of her work ethic. Roopa started her journey in this field with the revival of Thewa – the art of infusing designs in gold on glass. Today, she has traversed many miles along the route. %% “I was in Cyprus and it was the architecture of the orthodox churches that inspired me to start working with glass and gold,” she reminisces. “On one of my many trips to India, I picked up a book from the National Museum, and this had an image of a traditional hand fan, made in the Thewa style. The beauty of the piece literally blew me away. That was in 1992. Subsequently, when we moved back to India for good, I started researching the art and craft of Thewa jewellery.” %%

Thus began what would become a lifelong commitment and abiding dedication to the creation of “works of art for an evolved audience and buyer”, as she says. Today, Roopa’s name is more or less synonymous with Thewa and vice versa. %% She has not merely revived and popularised an art form which was in danger of dying away, but also helped raise the standard of living of hundreds of impoverished artisans whose very survival was threatened. “In fact, an entire generation of artisans in Chittor – the place where Thewa is believed to have originated – had stopped pursuing this art form, simply because it was not commercially viable,” says Roopa. “As I delved deeper into the art, I had to convince the few craftsmen who knew Thewa to go back to their roots. Now, this entire region is practically transformed, with the people leading undeniably better lives.” %% The social concern Roopa feels, finds an outlet in many other ways too. She is actively associated with the Red Cross for Thallasemic Children; the Women’s Cancer Initiative for Breast Cancer; and efforts like Magic Bus and Prerna, which support the children of commercial sex workers in Mumbai. In an age of “all glamour, no substance” it is heartening to note that Roopa believes that everything one does ought to have a purpose. “I, for one, believe that if through my work, I can help people who need my support, why not?” proclaims the designer, the fire of commitment evident in her eyes. “To that end, I ensure my connections with the media and celebrities are used well to give these social causes due exposure.”%% Roopa cites the example of one of her new collections, Maban the launch of which concluded with a fashion show in support of breast cancer awareness. %% The tale behind Maban is indeed intriguing and interesting – the origins of this particular collection lie in Roopa’s discovery of the most beautiful gemstones on a trip to Australia. “There was a veritable rainbow of colours in gemstones!” she exclaims. “Colour has always been a great inspiration for me and the shades I saw were at once startling and enthralling. In any case, I work material backward, I don’t design forward. This means that I let the stones or the metal take its own course, and when that happens, each piece tells its own story.” Explaining further, Roopa says, “For Maban, we used diverse methods of setting the stones. We also cut the stones differently and even carved them in irregular ways to bring out a symbiosis and harmony between the gold and the stones.”%% Maban, in Australian aboriginal mythology, is a material that is held to be magical – a material from which the “Clever Women and Clever Men and Elders” of indigenous Australia supposedly derived their magical powers. What we have then is a truly magical amalgamation of diamonds and gold with the rich, vivid hues of blue topazes, pink quartzes, purple and green amethysts, fiery and olive citrine and a myriad such stones. “Maban refers to many substances that are believed to have magical content but coloured stones are most synonymous to Maban,” elucidates Roopa.%%

From Thewa to Maban and Nilufer Hatun, Roopa’s journey has been liberally peppered with milestones. The Naqqashi collection used the ancient Mughal architectural art form in jewellery – another technique, which was in a dwindling state. The Cocktail collection was dedicated to statement jewellery that uses black onyx, pink tourmalines, yellow sapphires, blue topazes with diamonds and gold. The Rosecut collection was artful deception with a Victorian look and feel created with the traditional Indian rose-cut diamonds. With such a wide variety in her oeuvre, it is little wonder that celebrities galore should unhesitatingly flaunt her jewellery at red carpet events, earning her the well-deserved tag of jeweller to the stars. These celebrities include divas and style icons like Anushka Sharma, Raveena Tandon, Suchitra Pillai, Bhagyashree, Chitrangada Singh, Madhuri Dixit, Jacqueline Fernandez, Ishika Mohan, Raageshwari, Mona Kapoor, Mandira Bedi, Gul Panag, Kulraaj Randhawa – the list goes on endlessly. Needless to say she has recived exhaustive press coverage in prominent lifestyle magazines and newspapers. Fame and celebrity adoration sit lightly on her shoulders though, and for Roopa it is the fact that her jewellery gets appreciated by people who are so well-travelled and exposed to the best in the world, that really matters. For all this success and recognition, the designer has her feet firmly planted on the ground and head screwed tightly on her shoulders. A large part of this humility and graciousness comes from having had a rather tough beginning in the trade, coming as she did from a family with a political background rather than in the jewellery trade - Roopa is the granddaughter of ex-Prime Minister Gulzarilal Nanda, and daughter-in-law of Mahavir Chakra recipient General Raj Mohan Vohra. “When I started, the struggle was doubly difficult because I had no background in jewellery, and because I was a woman,” recalls Roopa. “I remember the initial jewellery exhibitions including the IIJS where I would be invariably asked to “Call the boss” – people refused to believe that I was the brains behind the concept! Another difficult part was when people used to see the Thewa jewellery pieces and come up with responses like ‘Well, it’s nice…but what in heaven’s name is it?’”

Another issue that she has dealt with very often is that of “people getting inspired by her work”. With just a hint of bemusement, Roopa relates an anecdote which gives ample proof of the old adage that imitation is the sincerest form of flattery. “A few years after Thewa had become popular, there was this sudden crop of Thewa experts in the market,” she says. “I got to know about this “Exhibition of Roopa Vohra’s Thewa Jewellery”, by some copycat designer! I decided to take a look walked up to the booth, and was actually showed pieces by ‘Roopa Vohra’!” says Roopa with a laugh. %% However, her experience in the industry has definitely taught her one thing – patience. “I have developed truckloads of it, primarily because my jewellery is decidedly different from the run-of-the-mill. Each piece is a work of art, and with each piece I try to break down the notion of jewellery-as-investment,” says the designer. “Yes, my jewellery is an investment, but it is not an investment for money, it is an investment in art, it is an investment in something that is one-of-a-kind and unrepeatable. Taking this sort of jewellery to the market and popularising it takes a fair bit of blood, sweat and tears.” %% Her message to budding designers is a resounding cry from her heart, “Don’t copy! Please don’t follow trends blindly. Please understand that jewellery creation is much beyond just getting hold of a babu and the materials, picking designs out of a catalogue and holding exhibitions.”%% As far as favourite gemstones and metals go, Roopa adores emeralds and gold – but in uncommon forms “Gold is a favourite because one can bend it, twist it, hammer it…practically mould it anyway one wants to give it such an unusual look and feel,” she says.%% The piece of jewellery toughest to create was a very large Nefertiti style Thewa necklace that Roopa had exhibited at the 2001 Baselworld show. “For the show, the challenge lay in retaining the ethnicity of the craft, and yet making it contemporary in look,” Roopa explains. “Instead of the usual reds and greens and blues, we used shades like butter yellow, baby pink and powder blue – path breaking for this ancient art form. Even the glass was of different types, and I had to be very persuasive and patient with the craftsmen who were not very open to experimentation. What we had then was a glass finish that looked like mother of pearl, and this was the largest Thewa jewellery piece that I ever worked on.”%% Roopa is certainly not one to rest on her laurels. Ask her what the future looks like, and the deigner unfazed by all her struggles says with a smile, “Who knows what the future holds? Maybe an international presence for brand Roopa Vohra, with a store or two in the fashion capitals of the world?” %% We can only say “Inshallah!” - quoting her favourite expression - even as the lady turns back to her work bench and the current task of ensuring that Nilufer Hatun gets the recognition it deserves.%%