SKU: 3733628394
variegated snake plant

variegated snake plant Aastha

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Description

variegated snake plant AasthaMeet Aastha Your New Green Best Friend! This gorgeous snake plant isn't just another houseplant she's about to become your favorite roommate! You know that friend who's always reliable, never demands too much attention, but somehow makes everything better just by being around? That's Aastha for you. This stunning variegated snake plant (the fancy name is Sansevieria trifasciata 'Laurentii', but we'll stick with Aastha) comes with those beautiful

Meet Aastha - Your New Green Best Friend! 🌿

This gorgeous snake plant isn't just another houseplant - she's about to become your favorite roommate!

You know that friend who's always reliable, never demands too much attention, but somehow makes everything better just by being around? That's Aastha for you. This stunning variegated snake plant (the fancy name is Sansevieria trifasciata 'Laurentii', but we'll stick with Aastha) comes with those beautiful golden edges that catch the light just right.

Why You'll Fall in Love with Aastha

Picture this: It's been a crazy week, you forgot to water your plants (again!), and you're expecting to come home to a botanical disaster. But there's Aastha, standing tall and gorgeous, completely unbothered by your hectic life. She's basically the zen master of the plant world.

What makes her special:

  • Those stunning yellow-striped leaves that look like nature's own artwork
  • She actually cleans your air while you sleep (talk about a helpful roommate!)
  • Perfect for plant newbies and experts alike
  • Thrives in our unpredictable Indian weather

Living with Aastha - The Real Talk Care Guide

Finding Her Happy Place

Aastha's pretty chill about where she lives. She loves a bright spot but won't throw a tantrum if your apartment doesn't get much natural light. That corner near your window? Perfect. That spot in your bedroom? She'll love it there too.

Just keep her away from that afternoon sun that feels like a furnace during our summers - nobody enjoys being roasted!

The Watering Game (Seasonal Style)

  • Summer Months (March to May): Your AC is running, the heat is intense, and Aastha might get a little thirsty. Give her a drink every week or so, but stick your finger into the soil first - if it's still damp, she's good to go.

  • Monsoon Madness (June to September): This is when things get interesting! While you're dealing with soggy streets and humid air, Aastha is actually quite happy. But here's the thing - she doesn't need much water when it's this humid. Maybe every two weeks, and definitely bring her indoors when those heavy downpours start.

  • Cool Months (October to February): Perfect weather for everyone, including Aastha. She'll sip water slowly during these months, so every 10-12 days should do it. Just remember - she'd rather be a bit thirsty than drowning.

Temperature Talk

Aastha handles our Indian climate like a champ. She's perfectly happy in your non-AC bedroom, loves the warmth, and won't complain during those humid Mumbai days or Delhi's dry heat. Just keep her cozy if temperatures drop below 15°C in winter.

The Soil Situation

She's not picky, but she does appreciate good drainage. If you're in an area with heavy clay soil, mix in some sand - she likes her feet to breathe. A simple mix of regular potting soil with some sand works beautifully.

When Things Go Wrong (Don't Panic!)

  • Yellow leaves showing up? Usually means you're being a bit too generous with the watering can. Cut back and let her dry out. She'll forgive you.

  • Brown crispy tips? Could be your water supply. If you're in an area with hard water (looking at you, North Indian cities!), try using filtered water or let tap water sit overnight before using.

  • She seems stuck in slow-mo? Totally normal during monsoon season. Plants, like us, sometimes just want to chill during the rains.

Why Aastha is Perfect for Indian Homes

She gets our lifestyle - the irregular schedules, the varying power cuts, the extreme weather changes. Plus, there's something really satisfying about having a plant that not only survives but thrives in Indian conditions.

And here's a cool bonus: according to Vastu, keeping her in your southeast corner brings positive energy. Whether you believe it or not, she definitely brings good vibes!

The Oxirban Promise

When Aastha arrives at your door, she's already been through our plant health check. We've made sure she's strong, happy, and ready to settle into her new home.

What you get:

  • One gorgeous, healthy snake plant
  • A lovely pot 
  • Quality soil mix that drains well
  • Our plant parent guide (because we've got your back)
  • Free delivery across Bhubaneswar

Price: ₹200 (pot, soil, and our plant care expertise included)

Pro tip: Order two and get free delivery - perfect for gifting or starting your plant family!

Real Talk from Plant Parents

"I was convinced I'd kill any plant within a week, but Aastha has been thriving for 8 months now. She's literally the only green thing in my house that's still alive!" - Ankit, Bhubaneswar

"My friends call her the 'unkillable plant' and honestly, they're not wrong. Best investment for my mental health." - Kavya, Patia

Ready to Meet Aastha?

Hit that order button and get ready to welcome your new green companion. Trust us, this is the beginning of a beautiful friendship.

Questions? WhatsApp us - we love talking plants almost as much as we love growing them!

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 3733628394

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Amanda Becker
Waukegan, US
★★★★★ 5
Best wrap mask!
Color: Lifting (Jericho Rose)
Just the best wrap mask!! A lot of peptides that make my skin soft and moisturizing. Very effective in only 20min use!
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Reviewed in the United States on May 20, 2026
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Amanda Boyd
New York, US
★★★★★ 5
Great face mask
Color: Lifting (Jericho Rose)
Love this mask. I have really sensitive skin and this mask doesn't irritate my skin at all. It absorbs nicely and leaves my skin feeling moisturized and glowing. Great value for the price!
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Reviewed in the United States on April 21, 2026
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Tammy Marshall
Omaha, US
★★★★★ 3
Full Moisturization of the face is lacking
Color: Lifting (Jericho Rose)
I would give it a 5 based on the appearance after the mask is removed your skin is glassy but the moisture level is lacking. It leaves behind an oily residue and my face didn’t feel hydrated. The search continues.
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Reviewed in the United States on March 25, 2026
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John P. Jones III
Whiting, US
★★★★★ 5
“The fragments of a life”…
A formidable movie, in the stricter sense of the word. In a looser sense, it has helped shape the way that I’ve seen the world, ‘lo these past six decades. I saw this movie when it first came out, in 1963, at one of my favorite art theaters in Pittsburgh. Like most of us at the time, we’d only viewed rather straightforward movies of “good and evil,” Westerners, and the like. Predictable endings. The director of “8 ½,” Federico Fellini, offered something radically different, a foreshadowing of the stream-of-consciousness technique in literature, how the fragments of one’s life get all jumbled up in the brain. And he provided some takeaways that have long been with me. I was 16 at the time and took a date who was 15. In re-watching it now, if I thought it somewhat baffling at 16, I wonder what my date thought about the portrayal of the women in the movie, who are “fragments” in the life of the movie director, Guido Anselmi, excellently played by Marcello Mastroianni. There is his wife, Luisa, wonderfully played by Anouk Aimée, who was the motive force behind the re-watching of it now. There is the “virginal” Claudia Cardinale, usually in white (I had not realized that she was originally Tunisian). Sandra Milo plays Guido’s flighty bimbo of a mistress. And so many others: The airline stewardess; the caring mom who wraps the infant Guido in a blanket; the first stripper; the insightful and nagging friend of his wife… “Upstairs when you are 40.” That was one of the big takeaways. Anselmi is having this male fantasy about his “harem,” all those fragmented women who are there to serve him and do so in complete harmony when he realizes that the “stripper” is now 40 and must go upstairs, the metaphor for being placed on the “discard pile” for being too old. He gets out his bull whip even, to drive her up the stairs. Even at 16, when 40 is more than twice your life away, it did seem a bit harsh, particularly when the same rule does not apply to the guy with the bull whip. It was also my first viewing of the prototype of those pompous pedantic critics of movies or literature who toss around expressions like “impoverished poetic imagination,” “overabundant symbols,” and, of course, “self-indulgent.” I was in parochial high school at the time, so the scenes in which the priests were chasing down the young student Guido in order to shame and humiliate him because he found sexual imagery to be of interest, imagine that, strongly resonated. It was also the era that the Catholic Church published “The Index of Forbidden Books,” (which now seems to have been taken over by the woke crowd of today), and thus the scene in which Anselmi has to pay homage to the Cardinal also resonated. Anouk Aimée is absolutely mesmerizing. She has been a “fragment” of my own life, ever since I viewed “A Man and a Woman” in the ’60’s. Again, she played opposite the equally formidable Jean-Louis Trintignant, of “Z,” “Three Colors, Red,” and so much else, fame. Far more relevantly, the two of them recently played in “The Best Years of Our Lives,” again directed by Claude Lelouch. Aimée is now a young 90. In her role as Anselmi’s wife, Luisa, she wore those glasses that connotated a greater thoughtfulness than him. I searched that ever-so-youthful face watching for the subtle expressions of later movies. It struck to the core. Luisa is utterly fed up with Guido’s philandering and constant lies. And Guido is suffering from “director’s block” in trying to finish his movie, with what sort of message? Luisa fires off THE classic line that I have long remembered: “But what can you say to strangers when you can’t tell the truth to the one closest to you…”. The only problem is that I’ve felt that line was said in Ingmar Bergman’s “Scenes from a Marriage.” And maybe that line was ALSO said in Bergman’s movie, which means one more movie I need to watch to find out. As I said earlier, things can tend to get jumbled up in the brain, even more so as one ages. Fellini would understand, maybe Aimée would also. 5-stars, plus for Fellini’s classic, formidable film.
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Reviewed in the United States on March 14, 2023
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Stephen McLeod
Draper, US
★★★★★ 5
One of the greatest in SPECTACULAR DVD package
This new Criterion Collection edition of *8 1/2* is one of the best DVD "special edition" sets I've come across. The Movie: Fellini's breakthrough film is a movie about itself. It is archetypal in the Fellini canon because it both settles old scores and announces a new cinema. The film's hero is an Italian filmaker (Mastroianni as "Guido" a quasi-alter ego for the director) who has just had his first major hit (=La Dolce Vita). He is not resting on his laurels, however. He is confronted with the necessity of the next movie. This necessity is both personal to the director and apparently contractual: the producer is forever hovering... To Guido, it is an inner necessity, an unrest, a creative suffocation, objectified in the opening sequence of the movie where Guido is seen/not seen by the camera, trapped inside a tiny car that is itself trapped in a traffic jam that stretches endlessly beyond available light as the car fills with toxic gas. We see the as yet unidentified hero in silhouette from behind. We see his hands and feet from outside the car, through the window as he desparately tries to escape. Then, he mysteriously escapes through the car's roof like a new bird escaping its shell and is carried off into the clouds, etc. The trouble is, this is a wish fulfillment dream. In "real" life, Guido is about to make a movie, and he has no idea what it's going to be about, or what to do with all the actors and extras, and the giant launching pad for some kind of space-ship that is the only thing even close to a concrete idea for the projected picture. The film is not, however, a perfect autobiographical fit. For one thing, Fellini gets to finish his movie and Guido, evidently, does not. But, that said, the movie is a virtual mirror of itself, which was a very hard thing to pull off in 1962, before the concept of "virtual" was annexed by the codifiers of computer jargon, and *8 1/2* is nothing if not a virtuoso performance. Fellini's breakthrough is the film we watch. But in the film, the hero finds the resolution to his anguish, not in finding the project - that is, in making what would have been the film-about-itself within the film-about-itself within the film-about-itself that we are, finally, watching - but in letting go of the project, in surrendering to the impossibility of finding it or making it. Precisely *on the other side of his own fantasy-suicide*, at the moment when he apparently gives in to despair, he discovers the circle of life and becomes able to join into the procession of lives into which his own life is finally intertwined. So, this is an essential film. And it is a film so rich in texture that a person could watch the movie a hundred times and find new things to wonder at, and discover new connections between the One and the Many - Fellini's personal/existential problem. The DVD: First disc contains a sparkling transfer of the movie that restores a luster to the angular lights and shadows in Fellini's final black & white movie. Audio commentary by a couple of scholars and Fellini's former close accomplice Gideon Bachman. Second disc contains Fellini's famous "Director's Notebook" of 1968(-9), an hour-long movie that was originally made for television, as well as another documentary about composer Nino Rota, and various interviews, including one with the ever-fiesty Lina Wertmueller who was Fellini's Asst. Director on *8 1/2*. The package also comes with a really interesting little booklet with lots of information and a thoughtful mini-essay. Overall a great package that I'll not regret buying.
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Reviewed in the United States on January 5, 2002

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