Who won the Cannes red carpet?

A new wave of indie brands powered by the quiet swagger challenged the red carpet’s high-glamour status quo

Midway through the 77th Cannes film festival last month, a palpable shift altered the red-carpet fashion narrative. Suddenly, the spotlight shifted from the big designer ensembles worn by Bollywood celebrity ambassadors to the costumes of independent cinema’s cast and crew. Here, the focus turned to outfits designed by smaller, indie labels with an alternative pulse, signalling a big coming-out moment.  

It was less about appearances and more about clothes that celebrated self-expression and individuality, registering a stoic defiance against the controlled, uniform codes of staccato poses and styles of the past that had manifested into successive princess-like ensembles. 

Indie film and fashion converged on the Cannes 2024 red carpet to represent diverse sartorial expressions reflecting the power and influence of India’s women.

Diya John of Salt Studio designed Kani Kusruti’s clutch in the shape of a slice of watermelon using gaji silk, drawing attention to Palestine  

Ratna Pathak Shah x Re-Ceremonial 

How brilliant is Ratna Pathak Shah? Let us count the ways. She wore a pre-loved Chanderi silk saree in the Samandar Leher technique, designed by Somya Tambi for Meekhalio, at the screening of Shyam Benegal’s restored 1976 film, Manthan. 

Equally remarkable was her decision to collaborate with Re-Ceremonial, a young and upcoming label, to craft a bespoke lilac jacket and blouse from Aurangabad’s ancient Himroo weave. During an initial phone call to Ateev Anand, founder and designer of Re-Ceremonial, she casually asked, “Can I wear my own saree?” Anand describes her request as refreshingly unconventional, noting, “It’s not every day that you have a critically acclaimed actor confidently declaring her intent to wear her own clothes at Cannes. She is the epitome of cool,” he told mid-day.    

Since 2022, Ateev’s Mumbai-based label has been recycling handloom fabrics into Re-Ceremonial collections, using only natural dyes. “The phrase that resonates with me to describe my label is ‘preferred practices with a clear conscience’ regarding our clothing production,” Anand explains. 

Shah’s alignment with Re-Ceremonial values on a global stage has not only given it visibility but also validation for its founder. “It has sparked interest in our 
label and Ratnaji’s cross-sectional appeal has helped broaden our reach. While it might not have directly resulted in sales, [what’s more important is that] it has strengthened every interaction we have had, from discussions with my family to engagements with my retail partners.” 

Diya John; Ateev Anand; Santanu Das; Arjun Saluja

Payal Kapadia x Maku 

Who says the most impactful statement an Indian woman can make on a global stage is in a saree? Payal Kapadia shattered this notion by becoming the first filmmaker of Indian cinema to win the coveted Grand Prix for All We Imagine As Light. Her chosen attire? A navy blue jacket and dress from artisanal brand, Maku. Santanu Das, Maku’s founder and creative director, revealed during a phone interview from Kolkata:  “She wore the ensemble twice, choosing to have the quilted jacket open during the film screening and buttoned at the award ceremony.

When Das founded the brand in 2012, he envisioned it as a symbol of dissent against fashion’s fetishisation of gloss and glamour. His brand represents a slow fibre movement, allowing natural fibres, traditional hand-dyeing techniques and artisanal craftsmanship to speak up. 

Maku’s pieces are not trendy in the literal sense—his simple silhouettes are similar across seasons—but they are undeniably cool. “My clothes are devoid of meaning without personality; it is the wearer who infuses life into them. My design approach is about forging a connection with the person wearing my clothes. Dressing Payal was a joy, despite the tight deadline of four days. Her understated yet compelling personality resonated with me.” He adds, “And just to clarify, Payal graciously paid for the outfits.” 

Ratna Pathak Shah, Naseeruddin Shah and Prateik Babbar on the red carpet for the screening of the restored version of the classic film, Manthan, at Cannes. Pics/Getty Images

Kani Kusruti x Salt Studio 

In a gesture reminiscent of actor Cate Blanchett’s collaboration with designer Haider Ackerman, who created a red carpet gown subtly incorporating the colours of the Palestinian flag in a statement of support for Palestinian liberation, Kani Kusruti partnered with Diya John to craft a gaji silk clutch shaped like a watermelon. The fruit’s significance in Palestinian activism lies in its colours mirroring those of the flag.   

 Though small, it made a bold statement against her textured ivory dress, featuring puff sleeves evoking the style of blouses worn beneath sarees by women in Kerala. “Kani preferred understated elegance, steering clear of anything overly flashy or dramatic, especially for the film’s premiere,” explains John. “For ease of movement, we designed a short dress with a deep cleavage, made from self-woven Banarasi fabric mixed with cotton. However, for the award ceremony, we injected some cheek into her look, opting for a crepe silk saree with a playful pop of colour.”  

Their friendship, as well as a shared wardrobe, predates Kusruti’s role as one of the leading protagonists in Payal Kapadia’s All We Imagine As Light. “When Kani first approached me to design outfits for her Cannes appearance, my initial thought was to curate her look from bigger brands accessible through my boutique. But, she was determined to use the global platform to promote a small, homegrown brand like ours.”

Established in 2010 by John with her husband, John Joseph, Salt Studio began as an independent store and Western ready-to-wear brand in Kochi. “On the vast Indian fashion scene, which often revolves around Mumbai, Delhi and Bollywood star endorsements, we were just a tiny speck.”

However, all this changed with Kusruti’s involvement, who not only brought global attention to the store but also altered perceptions. “Suddenly, I am being treated like a celebrity,” she laughs. “On a serious note, I am thrilled that after 14 years, our unwavering commitment is paying off. The buzz around our brand is amazing—we need volume to grow our business. My parents didn’t see the practical value in fashion as a profession; that narrative has definitely changed.”  

Anasuya Sengupta captures the zeitgeist with her left index finger painted in Pride colours, complemented by conceptual jewellery from Studio Kassa and Studio Metallurgy

Anasuya Sengupta x Rishta 

Could Anasuya Sengupta’s historic win as the first Indian to receive the Best Actress for The Shameless signal a transformative shift in the archetype of the Indian heroine, moving beyond the confines of an insider elite? Only time will tell. 

Yet, her choice of garment at the photocall—a deconstructed sherwani-dress by Rishta, teamed with boots, and with left index finger painted in colours of the Pride flag—nailed the current zeitgeist of a modern Indian woman, equal parts practical and daring. “She embodied a new attitude when she wore India on her sleeve but in her own way,” feels Arjun Saluja, the Delhi-based brand’s designer and founder. “Though the impact on sales is yet to be seen, we are happy to have contributed to the broader dialogue surrounding indie cinema.” 

Saluja’s irreverent approach often leads him to utilise essential Indian shapes and silhouettes like the sherwani, dhoti, saree drape or ganji, but with a deconstructed twist. The hybrid ivory dress worn by Sengupta was made from cotton canvas twill hand-painted in metallic and gold. He eschews mainstream or gender norms, opting instead for an alternative approach that emphasises individuality. “For us, it is about understanding who you are, what excites and seduces you. This outsider perspective gives us freedom instead of constraint, to offer a fresher, more relevant approach to Indian fashion.” 

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