In recent years, Punjab has undergone a striking transformation in how style, fashion, and personal branding are perceived. What was once a landscape steeped in traditional attire and deep-rooted cultural expressions has now shifted towards a visually curated world, shaped increasingly by paid modelling, pre-wedding photoshoots, and short-form video reels on social media platforms. This cultural shift is not restricted to big centres like Ludhiana or Amritsar; rather, it has seeped into the very heart of Punjab’s small towns and rural areas, such as Moga, Barnala, Gurdaspur, and Ferozepur. What began as a trickle of urban influence has now become a sweeping wave, altering aspirations, aesthetics, and even social behaviours.
Across Punjab, a new visual culture has taken root. Young men and women are no longer just dressing up for events—they are preparing to be photographed, filmed, and posted online. Capturing the perfect shot or creating a viral reel has, in many cases, become more important than living and experiencing the moment itself. Social validation is increasingly measured in likes, comments, and shares rather than in the authenticity of the moment or the depth of connection with one’s roots. This transformation has not occurred in isolation; it has been supported by the rapid growth of a parallel economy based on stylized appearances and visual storytelling.
The rise of the “business of style” has created a completely new and thriving market in Punjab. Freelance photographers, videographers, makeup artists, fashion stylists, and content creators are in high demand. Small businesses are emerging to cater to the booming need for rented costumes, designer wear, shooting locations, and studio setups. Modelling agencies have started training and managing local talent, many of whom now dream not of conventional careers, but of becoming influencers or fashion icons. Locations, both natural and artificially constructed, are being specifically styled to serve as aesthetic backdrops for reels and photoshoots. A once-quiet agricultural town can now host a lavish, camera-ready pre-wedding shoot that mimics a Bollywood film set.
Undoubtedly, this burgeoning industry has created opportunities. For a section of the youth, especially those with creative inclinations, it offers a chance to earn, to be visible, and to express themselves in ways earlier generations could not imagine. It has promoted a culture of entrepreneurship and enabled small-town talent to compete in a global digital marketplace. The local economies in many towns have witnessed a surge due to the increased demand for these services. For some, it has been a path to fame and financial independence.
However, the glitter of this new economy hides a more complex reality. While it has created avenues for a few, it has become a source of pressure and false aspirations for many. Caught in the allure of curated perfection, countless youngsters and their families have started spending beyond their means on elaborate shoots, rented clothes, professional makeup, and stylized presentations. Even families of modest income are found allocating large sums for pre-wedding videos or birthday reels, believing it to be a mark of modernity and status. In many such cases, this shift becomes less about creative expression and more about keeping up with an ever-escalating trend. The result is not only a wastage of money and time but also an emotional and cultural detachment from one’s roots.
More concerning is the silent erosion of Punjab’s native style and traditions. As curated aesthetics take over, the organic beauty of traditional customs begins to fade. The rustic charm of village weddings, the warmth of unfiltered celebrations, and the grace of traditional attire like phulkari, jutti, and pagh have started to disappear from the collective imagination. Instead, we see an increasing dependence on borrowed styles, imported concepts, and exaggerated presentations that often have little to do with Punjabi culture. The native style, once an authentic reflection of identity, is being overshadowed by a synthetic version of selfhood that is camera-friendly but culturally hollow.
This change is accompanied by another subtler phenomenon—the normalization of a supplemented identity. The self, as presented on digital platforms, is increasingly enhanced with filters, accessories, angles, and edits. It is a version of selfhood that is performative and tailored to external validation. Over time, this curated self begins to influence real behaviours, fashion choices, and even emotional expressions. People begin to dress, speak, and pose for how they appear online, not necessarily for how they feel or who they are. This constant supplementation of identity is becoming so normalized that authenticity is now the exception, not the rule.
Punjab today stands at a cultural crossroads. On the one hand, the rise of the business of style represents aspiration, creativity, and economic diversification. It shows a society willing to evolve, to engage with modernity, and to explore new forms of expression. But on the other hand, it presents a serious risk of cultural alienation, mimicry, and excessive consumerism. If the trend continues unchecked—driven more by competition and display than by genuine passion—the region may lose touch with the values and aesthetics that once defined its unique social fabric.
What Punjab needs today is not a rejection of the new, but a reflective embrace of both the old and the emerging. Tradition and modernity need not be in conflict. The key lies in ensuring that the camera does not replace the mirror—that while we pose for reels, we do not forget to reflect on our roots. There is space for both curated reels and unfiltered rituals, but the balance must be carefully maintained. Only then can the business of style serve not just the market, but also the identity of Punjab.
