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FOR the past week,we have been inundated daily with images of Frieda Pinto,Vidya Balan and Sonam Kapoor at the worlds greatest fashion show: the Cannes Film Festivals red carpet. Pinto and Kapoor are winning with their princess waves,dressed in Dior and Dolce. Poor Ms Balan gets a constant thumbs-down for her lehengas,anarkalis and khadi saris,a tightly knotted bun and a nose-ring. Nath-ings working for Vidya,screams one headline. Bai-chic comments a writer.
Funnily,the wicked team that is Balan and her stylist,Sabyasachi Mukherjee,are giggling at the responses. Its exactly what we expected, says Mukherjee,over the phone from London,at the crack of a Sunday dawn. I had told Vidya only pockets of people will appreciate it,most people will be deriding her. She was ready.
Cannes is high-octane glamour alright,but theres also a large intellectual lobby on its fringes that Balan has won over. Moreover,she isnt here as a Barbie actress selling hair product,shes here in the highest profile a jury member,a position only her talent and achievement have procured.
If Balans 36-change wardrobe is called costume,the eyeball-grabber Sabya says a ball gown is costume too. What is its relevance to modern living? None. Balans (and her stylists) game-plan was to give the world an India that was India-forward,and they seem to be shifting that paradigm wonderfully.
Fashion is quickly moving away from being a global game with a uniform wardrobe to something thats far more relevant and rooted culturally. Sabya agrees wholeheartedly when he says: Luxury is created from a point of arrogance,not subjugation. If the French are arrogant about their heritage,we need to be too. Theres no more apologising about being Indian or exotic,now theres only showing it off as cleverly as you can.
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