The region has a tragic history. Humanity has suffered at the hands of deceptive politics of the ruling humans, through a history of rulers, over the years. Due to the human right mishandlings and deception, it has been a nation of individuals perpetually fighting for their independence, now from one of the biggest democracy claiming Governments. The recent abrogation of article 35A and 370 is a milestone that has inflicted a significant setback to the already haemorrhaging kashmiri fight for freedom. The nullification of articles has ripped off the Kashmiris from their basic rights of self-determination. These people are robbed-off their self - esteem and identity.

Kashmir was known as the paradise of the Subcontinent. It is experiencing decline in human rights conditions since decades. Malik identifies with this melancholy and repression as expressed through her colours. the artist has crocheted a Pheran with irregular patterns and holes representing injustices and sufferings of the Kashmiris symbolically. Black colour represents low vibrations and the dimming light of the individuals’ spirits. Moreover, red colour symbolizes the demons of blood-shed emerging from it every now and then.The Kashmiri title تار تار پھیرن linguistically means atrocities, abuse and tortures faced by a woman. Furthermore, there are holes and gaps left, which also represent those missing men that have left a significant void in the lives of women leaving them as incomplete souls in return. The outlook of the artefact aptly symbolizes it.

At a closer look there is a map of Kashmir, the boundaries of which are yet to be defined, woven around the neck of the garment in red wool. The placement of the map and its colour depicts the continuing suffocation and bloodshed. Within this map are shown scattered flowers and leaves, depicting traditional kashi kari (Kashmiri embroidery) used for female cashmere shawls. Unlike, the traditional method where flowers and leaves are tightly embroidered together, in this artefact they are scattered all over highlighting the region’s vulnerable state. Twisted dried leaves and deformed pedicels of buds and flowers portray the “un-blossomed” state — as if they blasted even before spring arrived. Some closed buds illustrate already blasted buds — blasted before even becoming a flower— that have fallen off. Various stages of these flowers, buds, leaves signify how the environment of this region is deeply affected and has stopped living. The artist voices her concern that all the sacrifices made and sufferings are going wasted. These flowers and motives are animated as gloomy and lifeless objects.

This artefact is bordered with embedded letters 35a and 370 and all around edges of the dress. At a point these become loose elements, which further accentuate it`s recent detachment from the region. Therefore, these figures are jumbled up, depicting confusions and dilution. Consequently, this dress becomes a NON dress, faceless and unwearable. However, this whole dress looks consistent in its outlook, yet deep down lie irregularities, twists, repetitions, roughness and leftover gaps, signifying it´s life contingencies. Thereby, making it an UN-settled entity.