‘I'm really happy to have Indian homecooked meal at Cannes': Janhvi Kapoor shares the dishes she enjoyed before her red carpet appearance
Janhvi Kapoor recently attended the 78th Cannes Film Festival for the screening of her short film Homebound. For her red carpet debut, the actor chose a soft pink custom Tarun Tahiliani ensemble made of real Banarasi tissue.
Its crinkled, hand-crushed texture made it look almost like wearable silk origami. At the premiere of her film, she wore custom Anamika Khanna couture, along with a mix of archival traditional Indian jewels and custom jade and jade creations. A voluminous sea-green skirt accentuated the gold bodice of her outfit.
Taking a sharp detour from her traditional looks, Janhvi also tried her hand at French fashion in archival YSL and Dior, during other events at the film festival.
In an episode of Vogue Arabia's Room Service in Cannes, Kapoor took us behind the scenes of getting ready for one such look, Styled by cousin sister Rhea Kapoor, she paid tribute to the luxury label in an ensemble featuring a sculptural saucer hat from Yves Saint Laurent Rive Gauche, 1987, and a velvet jacket from 1989, paired with diaphanous silk chiffon skirt inspired by Yves' poetic era between 1987 and 1991. She completed her look with yellow diamonds by Chopard, paying homage to the golden years of the French luxury house.
Taking us through everything she ate before slipping into the maximalist ensemble, she shared: 'Let me show you what I have eaten now: Chana daal, rice, green chilis, aachar and some matar bhaaji. I'm really happy to have my Indian homecooked meal at Cannes,' said the Ulajh actor.
Giving us some insight into the vision behind the look, Janhvi credited her stylist and cousin, Rhea. 'I had absolutely zero contribution in choosing it (the outfit) and it was all my sister Rhea didi – it was her brainchild and in her words, 'this vision came to her on a Swiss Air flight', so it was pretty last minute. But I'm pretty excited, it's out of my comfort zone — there's this big hat on my head. I've been instructed not to smile; like I get really excited at these fancy red carpet events, but that's not the vibe with the big hat,' revealed the actor.
'There was a lot of panic. I didn't know what I was wearing till like, 10 minutes before, and then we zeroed in on Rhea didi's vision. So there was a lot of panic, a lot of food, and a lot of hecticness,' she further added.
Talking about the one thing she misses at that moment, Kapoor spoke about room service, especially with her sister Khushi, who was accompanying her on the trip, but was currently out exploring the city. 'I'd love to be in bed with her, ordering room service and watching a movie,' quipped the star.
Besides this look, she was also photographed in an archival black backless gown from Yves Saint Laurent's Rive Gauche 1975 collection, paired with diamond studs, wedged Christian Louboutins and a mini Hermès Kelly. Kapoor had also attended another press event in a Christian Dior 1957 haute couture black slub silk dress.
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From the India Today archives (2011)
(NOTE: This article was originally published in the India Today issue dated June 20, 2011)"As I begin to paint, hold the sky in your hands; as the stretch of my canvas is unknown to me."—M.F. Husain With the death of Maqbool Fida Husain in a London hospital on the morning of June 9, India has not only lost her most iconic contemporary artist but also perhaps one of the last living symbols of the very idea of her modern, secular and multicultural nationalism. Born in 1915 at the temple town of Pandharpur in Maharashtra, Husain came from a lower middle class Sulemani Muslim family and rose through the ranks to become India's most famous painter of people, places and a visual artist-especially a mid-20th century modernist painter-Husain was precariously perched on the crest of a nascent and evolving national consciousness. In the post-Partition era, when he first burst on the Indian art scene, Husain became a much celebrated symbol patronised by the Nehruvian state looking to create modernist role models. Yet, that very celebrity made him and his works vulnerable to be hijacked, misrepresented and reviled three decades later by a semi-literate cabal claiming to represent the collective voice of a largely silent Hindu majority. In fact, the torrid love affair between Husain and 'modern secular' India and their eventual dismaying disengagement makes for a civilisational sociologist Veena Das remarks, this "impossible love" had an inherent fragility because the idol, the image and the word are all strongly contested entities. It is also further complicated by the illicit intimacy between history and the 'perception of history' in post-colonial imaginations. The tantalising and tragic relationship-between a nation's notion of the self and Husain's visualisation of it in his art practice-became the vexed terrain over which competing political alignments fought their proxy wars for a good two decades before it eventually led to Husain's self-imposed exile from India in 2006. Four years later, he accepted Qatari nationality, spending his time between Dubai, London and Husain was educated in the streets of Indore, a madrassa in Baroda, the Indore School of Arts and very briefly the J.J. School of Arts, Mumbai. He was an immensely talented and intelligent man with an enormous curiosity about the world who learnt effortlessly from life and people. He arrived in what was then Bombay in the early 1930s, penniless but bursting with enthusiasm and energy, traits that he retained all through his first started out by walking the streets of Bombay offering to paint portraits of people who could afford to pay him Rs 25. There were not too many commissions but some of these early portraits still survive. In 2008 in London, I saw a portrait Husain had done of Lord Ghulam Noon's elder brother in a Bhendi Bazaar sweet shop. Soon, he moved to painting cinema hoardings, first for V. Shantaram's Prabhat Studios and later for New perched high on bamboo scaffolding, Husain learnt to be able to concentrate amid the noise and chaos of the street below. He used to paint 40 foot hoardings for four annas a foot under the blazing sun in Mumbai for many years. From painting hoardings, he progressed to designing toys and painting children's furniture for Rs 300 a month. "But even at that time I knew I would be an artist one day," he used to say, adding, "there was a time when I painted furniture by day and my own art by night. I painted non-stop." Cinema held a life-long fascination for Husain and decades later, he went on to make several much-talked about films. Of these Through the Eyes of a Painter (1967) won the Golden Bear at the Berlin Film Festival but the most well-known is Gaja Gamini (2000) that featured Madhuri Dixit as his muse. In 2004 he made the semi-autobiographical Meenaxi: A Tale of Three Cities with Tabu in the lead role which ran into trouble with Muslim life started to change radically around the time of Independence. Francis Newton Souza (1924-2002), the prodigious enfant terrible of Indian art, spotted Husain's talent by chance and immediately included him in his Progressive Artists Group (PAG) in 1947. Husain's work was noticed right from that first showing and with the encouragement of Rudi von Leyden, the German Jewish art critic, he held his first one-man show in Mumbai in 1950. With prices ranging from Rs 50 to Rs 300, the exhibition sold out. 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Srivastava struck a deal for 124 Husain paintings for Rs 100 crore; not for love of art but as good investment. Indian art was appreciating at a higher rate than most stocks and brand Husain was now Husain Inc. After his emigration from India, Sheikha Mozah of Qatar was his last great all his fame and wealth, Husain was personally untouched by both. He could be as comfortable in a dhaba as in a five-star hotel relishing an expensive meal. He stopped wearing footwear as a tribute to the Hindi poet Gajanan Madhav Muktibodh in 1974 and he used to walk barefoot into the most exclusive and august gatherings as well as clubs the world epic saga is ever perfect. And Husain had more than his share of controversies and brickbats. However, it is in posterity that Husain's art and persona will get a truer reckoning. Perhaps the best tribute the Indian state could give would be to set up a museum devoted to the life and art of this most talented son of the to India Today Magazine
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