
Alia Bhatt and Deepti Sadhwani dazzle at Cannes 2025 closing ceremony
While Alia Bhatt charmed with her refined grace, it was Deepti Sadhwani who stole the spotlight with a dramatic, Cleopatra-inspired gold ensemble that redefined red carpet royalty.
Sadhwani's gown, designed by Kosovo-based couture duo Kujta & Meri, shimmered with the opulence of a golden era. The fitted bodice, accented with regal diadems, flowed into a molten gold skirt that flared like a sculpted masterpiece—fit for an empress of old. She carried the look with a powerful presence, walking the red carpet not merely as an actress but as a woman embodying command, mystique and grandeur.
'For me, this look at the Cannes 2025 closing ceremony is not just fashion, it's a modern feeling of royal,' Sadhwani stated. 'It's a Cleopatra-inspired outfit exuding royalty and giving me the goddess vibe.'
The ensemble did more than just captivate; it carried meaning. As an Indian actress presenting her work at one of the world's most prestigious film festivals, Sadhwani's decision to wear a look that bridged cultures spoke volumes. 'I chose this because it speaks to the kind of woman I aspire to be on the global stage: unapologetically powerful, rooted in grace, and unafraid to take up space,' she shared.
Her appearance quickly ignited social media, where fans hailed her as 'the Indian in Egyptian queen avatar' and praised her for bringing 'gold-drenched glamour with a legacy of power' to the red carpet. 'Cannes got her new goddess,' one user wrote.
Sadhwani later posted a photo from the evening with the caption, 'Channelling Cleopatra, dripping in drama,' encapsulating the impact of her look, which merged fashion with historical resonance.
But for the actress, the moment was about more than glamour. 'I wanted to close this chapter in something that doesn't whisper elegance, it declares legacy,' she said. And with that, she delivered a statement—bold, beautiful, and unforgettable.
Cannes 2025 had many dazzling moments, but Deepti Sadhwani's appearance will be remembered as one that elevated the red carpet to the realm of legend—where history, heritage and ambition converged in a dress of gold.
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The team did not say much but were curious about the techniques and peppered the artisans with queries. 'They asked many technical questions about the procedure, like how the thin braids are made,' Satpute recalled. Subsequently, Prada acknowledged the artisans more explicitly in a letter to MACCIA: 'We acknowledge that the sandals featured in the recent Prada Men's 2026 Fashion Show are inspired by traditional Indian handcrafted footwear, with a centuries-old heritage. We deeply recognize the cultural significance of such Indian craftsmanship.' Also Read: What Prada did in Kolhapur—bought 7 pairs of Kolhapuris, spent 2 days at factory units Art of making a Kolhapuri The craft of Kolhapuri sandals relies on two marginalised communities. It starts with the Dhor community, based about 30 km away in Ichalkaranji, which handles the tanning of raw hides. Each region has its own tanning style, and Kolhapur is known for the traditional bag-tan method, which uses vegetable dye and takes around 15 to 22 days. 'It's similar to how we prepare pickles using salt, spices, and oil,' explained Satpute. 'We use natural ingredients like babbool bark and hirada (myrobalan fruits) to preserve the animal hide.' Although buffalo skin is naturally dark, Kolhapuri chappals have a signature light-brown colour. That, Satpute said, comes from the natural tanning agents. If the leather is any other shade, it likely means chemical-based treatments were used. Once the leather is ready, the Dhor community sells it to local artisans, mostly from the Chambhar community, who then craft it into Kolhapuri sandals, usually in the small houses lining the narrow and unpaved Chappal Gali. In one such house, a middle-aged woman, Bharthi, sits cross-legged on the floor in a green floral saree, carefully braiding strips of tanned sheep leather. Women in the community are responsible for the intricate work—braiding, stamping, and attaching the T-strap to the toe ring. 'I learned it from my father, and later my husband taught me the finer sheep braiding used in the strap of Kapshi,' said 53-year-old Bharthi, with a bunch of sandal bases kept to one side. On a good day, she earns between Rs 500 and Rs 1,000. But during the monsoon, business slows down. Many of these shops are now run by second-, third-, even fourth-generation owners. For them, the shop is more than just a place of business—it's sacred. Customers are expected to remove their shoes before entering. Inside, the air carries the rich scent of rose and sandalwood. Prasad Shate, who runs his father's 70-year-old business, said that while there are many variations of Kolhapuris, the four main styles are: Kapshi, Khaas Kolhapuri, Kurundwadi, and Buiwadi. Each of these has multiple subtypes. The differences lie in the 'kaan' (ear-like side flap), the braiding, the leaf, T-strap, stitching, colour, and embellishments. The type of leather varies as well and is a factor in the price, according to Shate. Buffalo hide is the cheapest; ox hide is the most expensive. Cowhide used to be the priciest, but with the closure of slaughterhouses, it's no longer available. Over the years, artisans have also adapted to changing markets by using rubber soles. At Shate's shop, a pair made with animal hide and a rubber sole sells for Rs 600-700, while a fully traditional pair crafted entirely from leather using age-old techniques starts at Rs 1,800. 'The price goes up to Rs 30,000-35,000, depending on which animal hide is used,' Shate said. Twenty years ago, Kolhapur had over 10,000 artisans, according to the Kolhapur Chappal Association. Today, only 2,000 to 3,000 still practise the craft. Satpute's workshop now hums with the steady rhythm of 12-13 seasoned artisans, all in their 40s and older. But what he hopes for is a space where wrinkled, time-tested hands work side by side with young, eager ones. 'That's the only way this 800-year-old craft will survive,' he said. (Edited by Asavari Singh)