There are television characters, and then there are cultural memories. Long before streaming fragmented our attention into endless scrolls and fleeting obsessions, Bengali households gathered around a single screen, surrendering each evening to stories that unfolded with an intimacy now almost impossible to replicate. Among the many heroines who entered our living rooms during television’s golden era, few left a mark quite like Bahamoni Soren. She arrived not as a polished urban protagonist, but as an 18-year-old tribal girl from the secluded village of Palashboni in the mega serial Ishti Kutum. Wide-eyed yet quietly resilient, innocent yet instinctively wise, Bahamoni — affectionately known simply as Baha — possessed a rare quality: she felt real. Her courage was never loud, her determination never performative. Instead, she embodied a kind of rooted strength that resonated across generations of viewers. For countless young girls growing up alongside her, Baha became an unlikely blueprint for perseverance, self-growth and pride in one’s origins.
Part of that enduring appeal lay in the extraordinary authenticity with which the character was constructed. Her dialect, mannerisms and unfiltered innocence grounded her firmly within her world. But equally instrumental was the visual language she carried through costume. Played by actor Ranieeta Dash — who, even today, is lovingly referred to as “Baha” by her fans — the character’s wardrobe became a phenomenon in its own right.
Handloom cotton saris draped with effortless ease. Contrasting blouses that created striking blocks of colour. Bright palettes colliding with temple borders, and the occasional checked weave. The styling was simple, yet unforgettable. It captured a distinctly rural tribal aesthetic while possessing a vividness that felt entirely its own. So influential was the look that it escaped the confines of television and entered the marketplace. Soon, sari shops across Bengal were selling what came to be known as “Baha saris”. Young women sought out the distinctive checked cottons and vibrant border combinations that instantly evoked the beloved character. Though Baha most frequently appeared in plain-bodied handloom drapes accented by colourful borders, the market interpretation embraced checks so enthusiastically that they became inseparable from the memory of her aesthetic.
Fifteen years later, designer and stylist Neel Saha revisits that memory — not through replication, but reinvention.
Created under his label Sarada Calcutta by Blue, this t2 exclusive shoot imagines a contemporary Baha: a woman who remains deeply connected to her roots while inhabiting a distinctly modern world. Checks become a recurring visual motif, not as nostalgia alone, but as a design language. Traditional handwoven textiles converse with contemporary silhouettes. Rural references are elevated through fashion-forward construction. The result is a meditation on how Baha might look if she were introduced to a new generation today.
On the sidelines of the shoot, our muse actor Ranieeta Dash sat down with us for a special chat, revisiting the visual legacy of Baha through a contemporary fashion lens and reflecting on nostalgia, personal style, comfort dressing and what it felt like to embody one of Bengali television’s most beloved characters all over again.
Baha sari carries such a strong cultural identity. What excited you most about reinterpreting it through contemporary silhouettes?
More than anything, it was incredibly nostalgic. Baha is a character who will always be very close to my heart, so revisiting her felt deeply personal. The idea itself fascinated me. We often talk about iconic television characters, but many people from the younger generation don’t really know the cultural impact Baha’s look had at the time.
Her costumes were among the first television wardrobes in Bengal to become a phenomenon outside the screen. So the question became: how do we introduce that visual language to a new generation? We wanted to take those familiar elements — the cotton fabrics, the solid colours, the stripes, the silver jewellery — and imagine how they might exist today. How do you make them relevant, wearable and exciting for contemporary audiences, especially in a climate like ours where comfort is so important? We spent a long time thinking about that, so seeing it finally come together felt very rewarding.
Out of the five looks from the shoot, which silhouette felt the most like you?
Definitely the blue-black-white look. It felt incredibly wearable and comfortable, which is always important to me. The long flared skirt moved beautifully, and I loved the brightness of the colour. The shirt with the knot detail added a very smart, modern touch without making the outfit feel complicated. It felt like something I could genuinely incorporate into everyday life rather than reserve only for a photoshoot.
How do you think traditional weaves and drapes can be made more relevant for younger audiences today?
I think younger generations are far more practical than we often give them credit for. They’re not interested in following trends simply because everyone else is doing it. They’re looking for authenticity, comfort and functionality. That’s why I believe local textiles and traditional craftsmanship have such a strong future. Bengal has an incredibly rich weaving heritage, and fabrics like handloom cotton are extraordinary. Today, we’re already seeing traditional textiles being reinvented in new forms — Jamdani becoming jackets, kurtas or dresses, for example. If we continue to reinterpret these textiles in ways that suit modern lifestyles, younger audiences will naturally connect with them. And beyond fashion, there’s also an important social aspect. Supporting these traditions helps sustain the communities whose livelihoods depend on them. The beauty of handwoven fabrics is that they are not only culturally significant but also incredibly comfortable to wear.
As an actor, do costumes help you step into a different mindset during a shoot?
Absolutely. Costume has the power to push you into spaces you might not otherwise explore. When you’re working on a daily soap, you’re usually operating within a fixed character and a familiar visual identity. Fashion shoots are different. They require experimentation. To be honest, before a shoot like this, I often feel nervous. I wonder how the look will translate, whether I’ll be able to carry it, whether it will suit me. Fashion photography is still something I do less frequently than acting. But once the images begin to come together and you see the final result, it becomes incredibly satisfying. There’s always a challenge at the beginning, but that challenge is also what makes the experience exciting.
Was there a particular look from the shoot that surprised you once you saw yourself in it?
What surprised me most wasn’t necessarily a garment. It was the makeup. I completely fell in love with the eye makeup. Combined with the silver jewellery, it created a version of myself I hadn’t quite seen before. There was something striking about it. The close-up shots especially made me realise how transformative those details were. I genuinely kept looking at my eyes and thinking, I want this makeup again someday.
In your opinion, what makes a traditional outfit feel powerful rather than simply nostalgic?
The textile itself. When a garment is crafted from a rich, well-made textile, it instantly feels elevated. Traditional weaving techniques carry a depth and authenticity that cannot be replicated. But beyond appearance, comfort is equally important. When traditional craftsmanship is combined with wearability, the result feels relevant rather than historical. A beautiful weave that is comfortable, practical and easy to carry will always feel powerful.
If you were styling a Baha sari for your own wardrobe today, how would you wear it?
I don’t think a traditional sari needs to remain confined to traditional styling. You can wear it with boots. You can pair it with a corset. You can throw on a denim jacket. That’s the beauty of fashion today — we’re constantly finding new ways to reinterpret heritage pieces. A traditional weave can easily be adapted to a contemporary silhouette without losing its identity. In many ways, that’s exactly what we explored during this shoot.
What was your first reaction when you heard about the concept for this shoot?
Complete panic. I genuinely wondered how we were going to pull it off. I kept teasing Neel and questioning whether this was even possible. Recreating something so closely associated with a beloved character felt intimidating. But Neel kept reminding me that Baha had become a benchmark. He felt strongly that younger audiences deserved to discover that story and that aesthetic. Once I saw the moodboards and creative direction, I began to understand the vision. Looking back now, I’m very glad I trusted the process.
Do traditional drapes and saris remind you of any personal memories?
Saris have always been part of my life. There was a time when I wore them constantly — to events, appearances, almost everywhere. Because of my work, I became extremely comfortable in them. They never felt intimidating or restrictive to me. These days I wear them less often in everyday life, but they still carry a sense of familiarity. They’re one of those garments that always feel like home.
Do you enjoy experimenting with fashion, or do you naturally gravitate towards comfort and simplicity?
Comfort and simplicity, always. I’m not naturally someone who experiments a great deal with fashion on my own. I tend to stay within what feels comfortable and authentic to me. That said, when a stylist or designer pushes me out of my comfort zone, I often end up enjoying the experience far more than I expect.
This shoot brings together tradition and modernity. Does that balance reflect your personal style as well?
Very much so. In my everyday life, I’m fairly simple in the way I dress. But whenever I’m attending an event or dressing up for an occasion, I naturally gravitate towards a balance between traditional and contemporary elements. I rarely go completely Western in my styling. I enjoy mixing things — pairing something traditional with something modern. That middle ground feels the most like me.