“I think it is lovely to have memories around,” says Narayan, looking around at the room where every little item evokes nostalgia. On one wall is a framed ghaghra and headgear. “My first Kathak costume,” says Narayan. “I wore that when my mother took me to Sadhana Bose, my first Kathak teacher.”

The adjoining wall holds framed awards and certificates—Padma Shri, the Sangeet Natak Akademi and the Oisca of Japan. Prominent on another wall is a traditional Thai zari work representation of a dancer that Narayan was gifted during a performance. And displayed all over are photographs, the several black and white portraits of Narayan’s mother and father, and colour shots of her husband, former Austrian ambassador to India, Herbert Traxl and their son. The photographs take up space on the walls, on side tables and occupy the corners, sharing space with statuettes of Ganesh (“a gift from my husband on our silver wedding anniversary”) and Buddha. “Though there are loads of ethnic artefacts here, I have never consciously collected anything. All I collect are my dance and my kids, the young dancers,” she says.

Then, there is The Mirror—the staple of every dancer’s creative space. Hers is a gilt-edged affair that reflects the entire room. “I have mirrors in all rooms,” she laughs. The antique furniture, which is highly appreciated during the parties Narayan throws, had belonged to her parents. “I rarely change the décor, even during Consul parties. The room is warm and homely, and that’s what’s important,” she says.