For Indians, Cannes is inseparable from Aishwarya Rai Bachchan. The most-searched personality on the Film Festival’s red carpet, Aishwarya, is known for her risqué fashion choices that end up breaking the Internet. From proudly wearing a lilac lipstick (2016) that despite being trolled relentlessly at first for setting obnoxious beauty standards, later became a bold fashion choice, to having her Cinderella moment in Michael Cinco (2017), she never ceases to command attention, whether you hate or love her looks.
This year, Aishwarya has finally arrived, ending days of build-up. In her first look, the actress looked like an electrifying vision in a grand custom Amit Aggarwal-designed ‘Luminara’ couture gown. For her second appearance, she opted for a softer and dreamier look by the Azarbaijan-based label Sophie Couture. For the closing, Aishwarya opted for an edgy pant-suit by Chinese designer Cheney Chan with a feathered boa.
Aishwarya’s ‘Comeback’ at Cannes
Each of the looks is currently making waves at Cannes 2026. Many are calling it the former Miss World’s “comeback” as it earns a nod from fashion critics to fans alike. For the first time, Mohit Rai, celebrity stylist turned fashion designer, has come on board to style Aishwarya. “It’s a dream job for any stylist, and a thousand people would kill for it. I am lucky to be the chosen one!” says an excited Mohit speaking to Outlook Luxe from the French Riviera.
Decoding the first look, Mohit tells us, “When you think red carpet grandeur, you think drama, theatricality, colour, bling and glamour. The Amit Aggarwal abyss blue gown with crystal vein embroidery is just the kind of outfit which comes to mind. No other person of this stature could have pulled it off except Aiswarya.”
However, he deems the blush-pink gown by Sophie Couture as his “favourite” to style. “Blending the softness of femininity with the strength of the metal adornment is one of the best things we ended up doing,” he adds.
As the uncrowned ‘Queen of Cannes’ walked, she belonged to the red carpet, exuding an aural energy like no other. “Three things that only Aishwarya Rai Bachchan can pull off are the kind of beauty that she possesses, the drama and theatricality, and timeless intelligence,” says Mohit. Working with Aishwarya and watching her up-cose, he comments on her personal style, “It’s effortless, yet put together perfectly. It’s never sloppy. These are cues to be taken by people. I think propriety for a movie star is something that’s been forgotten, and you’d want to return to the world with a certain charm and perfection while being effortless. Aishwarya shows how that can be done.”
Who Is Mohit Rai?
Mohit Rai is among India’s most influential celebrity stylists turned fashion designers. The NIFT graduate has spent over 15 years shaping the public image of stars, including Paris Hilton, Sonam Kapoor, Kareena Kapoor Khan, Disha Patani, and Vaani Kapoor, before co-founding his craft-first fashion label, ITRH, in 2019 with his college friend Ridhi Bansal.
This time, styling a superstar like Aishwarya came with a huge responsibility of honouring her individuality. “What helps is understanding the aesthetic of the person we’re working with (Aishwarya in this case) and building from that, rather than chasing trends on the Internet and putting them together. Also, going ahead with instinct rather than what the Internet is saying, and making one choose really helps,” he tells us. However, creating the Cannes look for the most-awaited personality had its own set of design challenges. “Figuring out the right proportion for her, the walkability and making sure the 3D texturing and embellishment sit correctly on the body were some of the aspects that we took care of,” Mohit tells us.
He credits Aishwarya’s collaborative spirit, which led to the success of every look. “Aishwarya is very collaborative and involved throughout the process — not just through the clothes but even the thought that she puts into the jewellery, hair, makeup, all of it. Having said that, she has full faith in her team and is open to creative conversations,” Mohit says.
On Indian Representation
Aishwarya is not the only fashion icon who has worn an Indian designer this year at Cannes. Diana Penty wore a custom gold sari by Manish Malhotra, and a gown from Amit Aggarwal. Aditi Rao Hydari chose a champagne sari by JADE by Monica and Karishma, and Huma Qureshi opted for a mauve silk Banarasi saree by Shanti Banaras, amongst others.
Commenting on how Indian celebrity style at Cannes has evolved in the last two decades, Mohit shares, “I think people have now started thinking about Indian representation on a global level, which is why a lot of them will have our Indian designers amongst the roster of looks they do. Showcasing Indian craftsmanship, aesthetic, and a narrative at a global level has become key for them. Indian representation now has a seat at the table. Rightfully so, as designers/stylists across the fashion industry put forth the best of the best designs.”
However, this year at Cannes, there were many Indian attendees who were ridiculed for their over-the-top fashion choices, turning the Croisette into a red carpet circus. From Rajasthani ghoonghats(veils), to Maharashtrian nauvari kashta sarees and big Peshwa naths, the garish treatment of regional identity subverted the idea of Indian representation at the red carpet.
Mohit weighs in, “One styling mistake one should never do on Cannes is forgetting that it is first and foremost a film festival. So always pay homage to that. It’s not a costume gala. The idea is not to constantly try to do storytelling with your outfits. Sometimes, just looking beautiful and showing up is enough.”
On that note, Mohit talks about his best looks of all time by Indian celebrities on the red carpet, “Aishwariya for the Devdas premiere in the mango sari by Neeta Lulla, Natasha Poonawala in Schiaparelli x Sabyasachi at the MET and Sonam Kapoor wearing Iris Van Herpen Spring/Summer 2021.”
Why does Aishwarya’s Cannes looks matter?
Aishwarya’s presence is etched in memory not just as the belle of the ball at Cannes. She moves beyond the ‘grand reveal’ narrative. Beyond the aural energy loop. Beyond the beauty queen tag. In fact, her looks mirror the way India is looked at on the global red carpet.
In the early 2000s, India was trying to find its footing on the international red carpet. It was attempting to find its voice as a newly globalised economy. At such a precarious time, cultural assertion of identity became its armour. And Aishwarya wore that heritage on her sleeve. For instance, as a proud Indian, the Guru star wore a golden sari by Indian designer Neeta Lulla with gold jewellery for her debut at Devdas’ premiere (2002). The heavily ornate look divided the critics but became iconic for announcing ‘Bollywood has arrived’ at the film festival. Till 2004, she kept choosing Indian wear such as sarees and lehengas by Neeta Lulla.
But between 2004-2011, Aishwarya’s red carpet looks veer towards the West. Indian Maximalism was out. Instead, sleek, minimalist, polished, and Western silhouettes like gowns ruled her red carpet looks at Cannes. She was seen wearing gowns by Gucci, Roberto Cavalli, and Giorgio Armani in neutral shades, exuding Hollywood glamour. From plunging necklines, dramatic trains, to sculpted fittings, her looks made her the darling of the red carpet, garnering global attention.
Next came the 2010s. When India was exerting its global soft power, it felt just as fitting to find a global language while embracing Indian roots. Aishwarya switched between returning to the Indian craft and wearing Western couture. From a sheer Sabyasachi saree (2010) to making a case for chikankari sari by Abu Jaani Sandeep Khosla (2012), looking like a sexy siren on the Riviera with a golden gown by Cavalli (2014), to having her princess moment in Michael Cinco (2017), she has only got bolder and more experimental every year, unnerved by trolls and critics.
One year, it was Butterfly motifs in an electrifying purple gown matched boldly with red lips (Michael Cinco, 2018). Another year, she’s looking like art in motion in a sculptural gown by Gaurav Gupta (2022), and in another, she was being brutally trolled for a hooded metallic gown by Sophie Couture (2023) and looking like a “X-Mas tree” in a Falguni and Shane Peacock (2024). But she remained unfazed. Last year, she flexed vermillion (sindoor) in a Manish Malhotra saree.
With the latest look, Aishwarya has once again reigned at Cannes, making the case for an Indian designer and stylist to open for her at the red carpet.
