The female figure is depicted as wearing a traditional outfit where the lower garment is an off-white cotton cloth, which is a common ingenious material on off-white cotton cloth among tribal women in central India for its simplicity, comfort, and connection with the nature. Her descriptive hands are crafted with white beaded bangles and coiled cotton threads, which only suggest the tradition of the Maria Gond in body adornments being an identity of cultural pride and femininity. The most attractive part of the sculpture is its neck ornament, said to consist of eight rows of golden-colored beads. Such types of neck ornaments are normally worn during festivals, marriages, and other important occasions related to culture, signifying wealth and status and identity among the tribe.
A decorative headband is made with about three rows of pink-colored glass beads set around the top of the head, giving a ceremonial and festive appearance to the figure. Therefore, these not only possibly create beauty or perhaps enhance it beyond the ordinary but additionally impart meaning to social and marital statuses. This clay model is a narrative in itself, a narrative not merely of art but of identity-the identity of the Maria Gond woman and, in turn, her culture and tradition, which capture this ideal of traditional beauty for themselves and also the deep sense of nature and fine craft making.