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indiejones · 2 years ago

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INDIES TOP 136 HINDI TELEVISION ACTRESSES OF ALL TIME!

1. .Rita Bhaduri

2. .Prabha Sinha

3. .Uttara Baokar

4. .Seema Kapoor

5. .Nishi Malhotra

6. . Kavita Kapoor

7. . Manasi Joshi

8. . Supriya Pathak

9. . Shagufta Ali

10. .Moonmoon Banerjee

11. .Tabassum

12. .Anita Kanwar

13. .Nauheed Cyrusi

14. . Kamini Kaushal

15. .Sheetal Thakkar

16. .Sujata Mehta

17. .Vaishali Dandekar

18. .Poonam Rehani Sarin

19. .Mrinal Kulkarni

20. . Swaroop Sampat

21. .Bhagyashree

22. .Ritu Vashisht

23. .Archana Joglekar

24. .Poonam Narula

25. . Sushmita Mukherjee

26. .Neelima Azim

27. .Megha Chatterjee

28. .Bhoomika Chawla

29. .Sagarika Soni

30. . Aamna Sharif

31. .Simone Singh

32. . Anju Mahendru

33. . Shiny Doshi

34. . Surveen Chawla

35. . Ananya Khare

36. . Savita Prabhune

37. .Pamela Mukherjee

38. .Moushumi Chatterjee

39. .Alka Amin

40. .Himani Shivpuri

41. . Vineeta Malik

42. . Aruna Irani

43. . Farida Jalal

44. . Renuka Shahane

45. .Suchitra Krishnamoorthi

46. . Amita Nangia

47. . Malvika Tiwari

48. . Pushtiie

49. .Sarita Joshi

50. . Reema Lagoo

51. .Joan David

52. . Shweta Tiwari

53. . Sonarika Bhadoria

54. . Krutika Desai

55. . Mita Vashisht

56. . Bhavna Balsawar

57. .Shehnaz Kudia

58. . Navneet Nishan

59. . Sonika Gill

60. . Smita Bansal

61. . Nandita Thakur

62. .Dina Pathak

63. . Nisha Singh

64. . Mona Singh

65. . Urvashi Dholakia

66. . Loveleen Mishra

67. . Natasha Singh (Dekh Bhai Dekh)

68. . Amina Shervani (Fauji)

69. . Shoma Anand

70. . Mandira Bedi

71. . Nazneen

72. . Neena Gupta

73. . Savita Bhatti

74. . Jayshree Arora

75. . Manju Vyas

76. . Vandana Pathak

77. . Sheela Sharma

78. . Benu Kalsi

79. . Bharti Achrekar

80. . Rama Vij

81. . Shikha Swaroop

82. . Roma Manik

83. . Karishma Acharya

84. . Asawari Joshi

85. . Asha Sharma

86. .Ashwini Bhave

87. . Channa Ruparel

88. . Varsha Usgaonkar

89. . Debashree Roy

90. . Rajeshwari Sachdev

91. . Shammi

92. . Archana Puran Singh

93. . Natasha Sinha

94. . Menaka Babbar

95. . Meena Chakraborty

96. . Sushma Seth

97. . Lalita Pawar

98. . Sukanya Kulkarni

99. . Sadhana Singh

100. . Shernaz Patel

101. . Bhairavi Raichura

102. . Asha Sachdev

103. . Gracy Singh

104. . Delnaaz Irani

105. . Kiran Dubey

106. . Kavita Chaudhary

107. . Sangeeta Naik

108. . Shilpa Saklani

109. . Supriya Pilgaonkar

110. . Giaa Manek

111. . Ila Arun

112. . Jahnavi (Mahabharat)

113. . Ketki Dave

114. . Ritu Chaudhary Seth

115. . Seema Pahwa

116. . Sarita Sethi

117. .Pallavi Joshi

118. .Aloka Mukherjee

119. . Kiran Juneja

120. .Jaswant Kaur

121. . Prachi Shah

122. . Priya Tendulkar

123. . Aparajita

124. . Shilpa Shinde

125. . Renuka Israni

126. . Parijat

127. . Rajni Bala

128. . Nausheen Ali Sardar

129. . Jayshree Gadkar

130. . Megha Gupta

131. .Ekta Sohini

132. . Divya Seth Shah

133. . Deepika Chikhaliya

134. . Kamia Malhotra

135. . Roopa Ganguly

136. . Padma Khanna

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shankarjaikishanfansassnintl · 5 years ago

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Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di Judaai

August 30, 2019 | By Ratnottama Sengupta

Teesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Was it 1966 or 1967? Radio was big then. There was no television, so cinema lived in the lives of us pre-teenagers only through the songs. There was this kid who was boasting to his friend— both about ten years old— that his father had bought a new car. This had raised the social status of his family, a fact both the kids were aware of even at that juvenile age. Just then, Mukesh’s voice rang out, Na haathi hai, na ghoda hai, wahaan paidal hi jana hai… Sajan re jhootth mat bolo…” As if on cue, the second child responded, “Heard that? We will all have to go to God on foot. So what good is your father’s car?”

Song link Sajan re jhooth mat bolo (Shankar-Jaikishan/ Shailendra/ Mukesh)

That was the impact of the enchanting combination of Shailendra’s words, Mukesh’s voice, and Shankar-Jaikishan’s melody. And the song got further etched in my consciousness once I saw the film – albeit long after its release in 1967. By then it had got the National Award for the Best Film of 1966. Shailendra had passed away. Waheeda Rehman was a major star for me after Guide. I had come to revere Subrato Mitra as a hero who had made Pather Panchali – in fact the Apu Trilogy – a lesson in cinematography. Phanishwar Nath Renu had come to our house in Malad, to discuss Maila Aanchalwith my father – Nabendu Ghosh – and I had learnt that Baba was a screenplay writer who was soon turning director with that novel. And what is screenplay? “It is direction on paper,” my mother Kanaklata had simply explained.

Got the hang of it? Teesri Kasamwas made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Yes, Raj Kapoor was somewhat flabby, and looked too sophisticated as a gaadiwaan. Yes, the film could have been edited more tightly. Yes, it was rooted in a region that was far, far away from the world of Sangam and Guide, Mamta and Teesri Manzil – the megahits of that time – so the average viewer had to recalibrate his sensitivity in order to relate to a Nautanki dancer in rural Bihar who leaves her company rather than crush the love of a naïve bullock cart driver who worships her as a goddess. Love stories such as Hiraman and Hirabai’s are the stuff of folklore.

song link Laali laali doliya mein (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

But let me today unfold the other loves that went into the making of Teesri Kasam. And, no two ways about it, I must begin with Shailendra. For, even today, people believe that the lyricist who was anointed Kaviraj by The Raj Kapoor died heartbroken because of the commercial failure of the film which was his first production and his last ‘child’, carrying forward his name in the world of moving images. The truth, his son asserts, is a long way away: “Shailendra was commanding a princely sum for writing songs like Wahaan kaun hai tera. So he would have certainly recovered his financial investment. He was shattered by the shards of his dream!”

Shailendra met Basu Bhattacharya, in all probability, during the making of Parakh. Bimal Roy was an icon for whom he had already written unforgettable songs for Do Bigha Zameen, Madhumati and Yahudi, which anointed him the Best Lyricist at the 6th Filmfare Awards. And Basu was a regular visitor to his house, along with the director’s daughter he would soon marry. Basu Bhattacharya had a striking ability to cast a spell when he spoke: every one from Shailendra to Raj Kapoor, Rajesh Khanna to Sharmila Tagore, Sanjeev Kumar to Rekha— why, even Indira Gandhi!— was to come under his spell.

But, and perhaps more importantly, Shailendra was in love with the rustic simplicity of the two personas, Hiraman and Hirabai, who called each other Meeta. It was a love story rooted in the soil of Bihar, the land of his ancestors who had travelled all the way from Ara district to Rawalpindi where Shailendra was born, and then moved to Mathura. The song writer made up his mind to produce it, perhaps also because the short story had every possibility of becoming a musical masterpiece. Basu Da was to direct it; Mehmood was to be the gaadiwaan, and Nutan the dancer.

Song link Chalat musafir moh liyo re (Shankar-Jaikishan/ Shailendra/ Manna Dey)

The first roadblock came from the actress who had played Sujata. She was pregnant with Mohnish, and refused to shoot any film at that point. Waheeda Rehman was a natural choice, being a dancer and also having acted for Satyajit Ray’s Abhijaan. Subrata Mitra was already on board, remember? Even today we cannot imagine a better Hirabai. Just think Paan khaaye saiyyan hamaro, Laali laali doliya mein, or watch the Mahua ghatwarin sequence!

Song link Paan khaaye saiyyan hamaro (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

For the sake of realism, actors were picked up from theatre groups. And umpteen other roles were to be enacted by his own family of friends and mates. What a chest of delights the credit titles are! Nabendu Ghosh, who transcripted the short story into ‘a love-lyric on celluloid’ played a drunkard who gets beaten up by Hiraman for suggesting that he pimp on his behalf for the “nautanki ki bai”.

There was Kesto Mukherjee who would later get typed in the role of an alcoholic. It marked the debut of A K Hangal on screen. Iftekhar stepped into the role of the zamindar when a theatre actor from Bihar failed to deliver a single line. Dulari got under the skin of Hiraman’s bhaujai. Pacchi, who had produced Jaali Note in 1960 (directed by Shakti Samanta), was then directing Around the World(1966) pairing Raj Kapoor with Rajshri. And there was the Producer himself, playing a villager, who tries to peep in on the romantic couple when Hiraman and Hirabai are sitting in the open, eating curds and rice. Shailendra runs away when Raj Kapoor chases him. It was a fun role that got deleted in the final cut.

However I am more surprised to see that the credit titles attribute the lyrics to ‘Shailendra-Hasrat’. Why did the man who wrote O Sajna barkha bahar aayi, Yeh mera deewanapan hai, Mera joota hai Japani, among hundreds of other unforgettables, share the songs of his own film with a peer who one expects to be seen as a rival? My reading: The producer was perfecting the mood of the scene since Hasrat Jaipuri had penned the number, Maare gaye gulfaam. There’s another reason, says Dinesh. “Shailendra wanted the team of Shankar-Jaikishan, Hasrat Jaipuri and Shailendra to be together. That is why he shared the credit for lyrics with a peer.”

Song link Maare gaye gulfam (Shankar-Jaikishan/ Hasrat Jaipuri/ Lata Mangeshkar)

So, the unit was one big family of friends in an era of celluloid camaraderie. But that was to take its toll on the producer in terms of both, production cost and emotional turbulence. The first day Shailendra took Basu to meet Raj Kapoor, he hugged the lyricist of Awara hoon and said, “You’ve discovered a genius.” However, after the first day’s shoot, he took Kaviraj aside to say, “You are screwed. This gentleman is a novice in cinema.” This, by some accounts, was not off the mark as Basu had not graduated to be one of Roy’s trusted lieutenants. Later, “Subrata Mitra’s outbursts during the shooting would bear him out,” says Dinesh Shankar, the youngest son of Shailendra.

“The cinematographer, whom Kodak would send their newly developed raw stock for his approval, had startled Mumbai technicians by putting white paper on the walls to obtain ‘bounce light’. He was a very important person all through,” he adds, “as Basu Chatterjee, who was the chief assistant, left even his job as a cartoonist to pursue his own interest in direction. BR Ishara proved to be the only qualified man to shoot a film.” He is said to have written some of the dialogues too. Thus started the journey of a man (BR Ishara) who rose from being a Tea Boy serving on the sets to be a director who, at one point of time, was completing a film virtually every other month – including watershed titles like Chetana – and presenting talents like Rehana Sultan, Anil Dhawan, and Parveen Babi among others.

Another casualty of investing in friends was that a large chunk of the film was shot in Bina in Madhya Pradesh. I know for sure that the riveting last scene, where Hiraman glances back, to see Hirabai’s train recede into the horizon was shot in Borivali, close to Malad in Bombay, and no one can fault it for not being in Bihar. Much else could have easily been shot in some rural pocket outlying Bombay. Yet, the entire bullock cart journey was taken to a far-flung location, only to help the Production Controller Santosh— Shailendra’s wife’s brother— court a lady, later recognised as Nandita Thakur. Their romance had a happy ending when they got married. But in the process, the shooting of the entire film became a picnic for everyone, at the producer’s cost. So much so, that they would shoot during the day, and at night they would go hunting!

One funny incident happened when Pachhi shot what he thought was a Neelgai – and it turned out to be a buffalo owned by the village Pradhan. As a result, the group of shooters were taken into custody and Shailendra had to pay a fine. But at the Police Station they were royally treated by the constables who stood at attention, with folded hands, before the ‘hunters’ as it included Raj Kapoor too! Funny? Yes, but would you like to know the cost of the entertainment? When all the arrangements were made for the outdoor shoot, the Distributor said he had no money to finance the film that was in the making from 1961 till 1966. Further, the leading lady could not be expected to join in until she was paid.

Naturally, the producer was dejected. Seeing his downcast chehra his wife asked him, “What’s the matter?” Once he confided in her, she opened her cupboard, took out her saris one by one, and shook them. As she did so, currency notes started falling on the floor like leaves in autumn. And by the time she touched the bottom of her pile of saris, Shailendra had enough to see him through the shoot – “and more,” Dinesh laughed as he narrated the incident during a screening at Nandan, in March 2016. It had marked the 50th year of Teesri Kasam; of Shailendra’s passing, and had also set off the Nabendu Ghosh Centenary Celebrations.

Song link Haaye gajab kahin taara toota (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

For those interested in saris, here’s a bit more. Mrs Shailendra, like you and I, was fond of saris and every now and then she would buy what caught her eye. But, instead of taking them home, she would give them for stitching falls and then drop it at the laundry. When the poet husband noticed his wife in a sari he had never seen before, he’d ask her if it was new. She’d point to the laundry tag and say, “This is what happens if one is married to a poet. He doesn’t even notice his wife is wearing only old saris!” What’s more, every day after he came home, the smart lady would siphon off the ‘small change’ he carried in his pocket and stow away the notes in the folds of her ‘fresh from the laundry’ drapes. That’s why she could rise to his assistance when he was let down by his investment in people.

The song book of Teesri Kasam— one of my prized possessions from my school days— opens a can of memories. I had not recognised Baba when I first saw the classic: A beggarly fella who’s beaten up not once but twice by the hero! Not surprisingly, an aunt of his had advised my mother, “Bouma (bahu), don’t you go to watch this movie. Mukul (Nabendu’s pet name) has got such a thrashing from that no-good gaadiwaan!”

My brother Subhankar, director of Woh Chhokri and of the teleserial Yugantar, adds another anecdote. “One night, Shailendra came to Baba accompanied by Renu. ‘Dada, I will trash what I have shot but I will not change the ending just because Raj Saab wants me to,’ he told Nabendu Da. ‘But why would he want that?’ Baba asked. ‘So that the film has a happy ending with Hiraman and Hirabai becoming man and wife. But that would kill the story!’ Renu joined in, ‘Dada you must explain this to Rajji.’ At midnight, they set out to meet the star who told the screenwriter, ‘You have the pen in your hand, you must change the ending.’ Nabendu Da said, ‘Certainly the ending can be changed but before that you must change the Title of the film.’ ‘Why?’ Raj Kapoor was startled. ‘Because, if they marry and settle down, why would he take the third vow and promise that – like smuggled goods and bamboo poles – he will never ferry a dancer in his cart?’ That settled it and— like Bandini— it went on to play out its inevitable resolution, flowing unabated like a river.

Song link Aa aa bhi ja (Shankar-Jaikishan/ Shailendra/ Lata Mangeshkar)

More than half a century ago, when Shailendra screened the completed film for his friends, he meticulously noted down the comments of all those present. While Trade Guide had ranked it as ‘Average’ and Bunny Ruben had written ‘Press report excellent but audience conflicting’, Hrishikesh Mukherjee had predicted, ‘Award film.’

Teesri Kasam remains one of the gems in the filmography of actor Raj Kapoor. The showman knew the potential of the character and had therefore bulldozed his way into the role that had not an iota of glamour about it. But, in return, he did not come forward to give financial tips when his trusted Kaviraj was in deep waters. The optimist that he was, Shailendra had jotted down in his diary, ‘It will be a hit.’ But he was shattered when, though he was too unwell to step out and his entire family was suffering in silence, his dream film was premiered in Delhi with celebrations in full swing.

Song link Sajanva bairi ho gaye hamaar (Shankar-Jaikishan/ Shailendra/ Mukesh)

Some listeners have pointed out that sifting through the songs he penned between 1961 and 1966 gives an insight into his dejection. Sample this: Dost dost na raha… Zindagi hamein tera aitbar na raha in Sangam. When friends offer ‘reasons’ for staying away, he says, Sajan re jhootth mat bolo, Khuda ke paas jaana hai. He questions himself, Tune toh sabko raah bataayi, Tu apni manzil kyoon bhoola (Guide). He concludes: Rula ke gaya sapna mera (Jewel Thief).

“Mukesh was the only one of his many ‘friends’ who had rushed to Northcote Nursing Home on December 14, 1966 when he heard Shailendra’s condition is worsening,” recounts Dinesh. Mukesh alone was let in, while Shailendra’s wife and children stood in the corridor outside the room and the hospital staff kept rushing in and out of the room. Alone, the Voice of Raj Kapoor watched the AwaraPoet give up his battle for life. Two days later, the creditors procured a court order and attached every piece of furniture in Rimjhim, the bungalow in Khar, that had been mortgaged to complete his Teesri Kasam.

But the story has a silver lining. Mukesh came forward to inform Mrs Shailendra that he had paid off the mortgage amount and the bungalow was free again. ”It’s not a favour,” he assured her. For, his company, Mukesh and Sons had acquired the distribution rights of Teesri Kasam for Bombay. That was Mukesh – not only a balmy voice but a friend indeed. The company ensured the film’s release in late 1967, but only for a week, as the theatre was pre-booked for Duniya.

Was it poetic justice that viewers of this film came out singing Hiraman’s lines –

Duniya bananewale, kya tere mann mein samaayi!

Kaahe ko ‘Duniya’ banaayi…?

Song link Duniya banane waale (Shankar-Jaikishan/ Hasrat Jaipuri/ Mukesh)

(The views expressed by the author are personal.)

Courtesy : https://learningandcreativity.com/silhouette/shailendra-teesri-kasam/?utm_campaign=shareaholic&utm_medium=facebook&utm_source=socialnetwork&fbclid=IwAR1D5vibOMN2I2XzA9DR2kYCVeW-8TwMNdP0Gw7f_OnCPtsqtvN1Kob6uMc

#Teesri Kasam #Shailendra and shankar jaikishan #shankar jaikishan with shailendra #shailendra #hasrat jaipuri #mukesh

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entertainmentnewsblogworld · 6 years ago

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Rang De - Where Colours Speak A Grand Event Celebrated on March 16th 2019 - Evershine Club Thakur Village Kandivali East By Maa2Mom And Avsar

New Post has been published on http://www.leadingnews.ooo/rang-de-where-colours-speak-a-grand-event-celebrated-on-march-16th-2019-evershine-club-thakur-village-kandivali-east-by-maa2mom-and-avsar/

Rang De - Where Colours Speak A Grand Event Celebrated on March 16th 2019 - Evershine Club Thakur Village Kandivali East By Maa2Mom And Avsar

It was a great Saturday on 16th March 2019, when ‘Rang De’ was Celebrated entire day organised by Maa2Mom & Avsar many celebrities like Nandita Puri, Anaida Parvaneh, Gurpreet Gurah, Delnaz Balsara & Mehak Mirza Prabhu were guest of honour.

Rang De was a unique Pre Holi Bash, where men, women and children enjoyed the entire day upto late evening. Various types of stall having food variations, cosmetics and handloom products were displayed.

A mind blow stage show was put up by underprivileged kids of Matrabhoomi School supported by NGO Inseed and beautifully choreographed by Ritu Manek and Team

Group dance contests judged by Ritu Manek, Sneha Shah, Vidya Sriram and Akash, power packed Zumba, musical performance by Pamela Jain, Krishna Berua and Sarvpreet Singh created waves, Odyssey dance with Ganesh vandana was mesmerising, highlight was Talaash-A collaboration of story narration by Swaraj Singh, with live flute music by Shushant Singh and painting by Rupesh Sharma. Kids put up an amazing show of Dance and Fashion Show choreographed by Akkash which showed all colours of Rainbow and was applauded a lot by the audience.

This Grand Pre Holi Bash “Rang De” was organized by Jyoti Agrawal founder of Maa2Mom, along with Divya D Solanki & Divya J Solanki of Avsar.

Entire show was beautifully hosted by RJ Rahil Khan of 107.1 FM.

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optimisticprincepainter · 6 years ago

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Mrunal Thakur is on a roll. After bagging a plum project opposite the Greek God Hrithik Roshan in his upcoming Super 30, the actress was seen in an international project Love Sonia. Thakur, played the titular character in the movie which also featured biggies like Rajkumar Rao, Freida Pinto and Richa Chhadha. While Super 30 is about to release, the actress has bagged another plum project in her kitty. John Abraham is playing DCP Sanjeev Kumar Yadav, who’s won nine Gallantry Awards, on the big screens in Nikhil Advani’s Batla House. The movie is inspired by a real-life incident that took place a decade ago on September 19. While Abraham would be essaying Yadav’s character, the makers have got on board Mrunal to play his wife. Her character Nandita, will be modeled on journalist, Shobhna Yadav who is Sanjeev’s better half in real life.While talking to Mumbai Mirror, Advani added, “Sanjeev Kumar Yadav’s relationship with his wife Shobhna, a well-known news anchor in a Hindi news channel, is a significant part of the story so correct casting for this role was important. We were looking for someone who didn’t have a set image but at the same time was talented. Mrunal fit the bill. We start shooting from October 20, she joins us from November 1.”The movie will go on floors in Mumbai, followed by a schedule of 30 days in Lucknow, after which the unit will move to Delhi and Nepal. Talking about her character, Thakur shared, ” I am very excited to be directed by Nikkhil too.” She further added, “I’ve already started prepping up to play a news anchor convincingly, observing their body language and behaviour in person and on news clips. I’ll be meeting a few anchors after I return, and since my uncle is a cop, it’s easier to relate to the story.”The Bollywood.Life.com : 15th. Oct,18

AFTER SHARING SCREEN WITH HRITHIK ROSHAN AND RAJKUMAR RAO, MRUNAL THAKUR PAIRED OPPOSITE JOHN ABRAHAM : Mrunal Thakur is on a roll. After bagging a plum project opposite the Greek God Hrithik Roshan in his upcoming Super 30, the actress was seen in an international project Love Sonia.

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televisionworldchannels · 6 years ago

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Mrunal Thakur confirmed for ‘Batla House’as John Abraham’s love interest

Rumours of her joining the cast had been doing the rounds and now it’s been confirmed that Mrunal Thakur will be featuring in ‘Batla House’ .

Thakur will be playing Nandita, wife of DCP Sanjeev Kumar Yadav who is played by Abraham. Producer Nikkhil Advani revealed to Mumbai Mirror, “Sanjeev Kumar Yadav’s relationship with his wife Shobhna, a well-known news anchor in a Hindi news channel, is a…

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titoslondon-blog · 7 years ago

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New Post has been published on Titos London

#Blog New Post has been published on http://www.titoslondon.in/shraddha-kapoors-latest-style-statements-fab-or-drab/

Shraddha Kapoor’s latest style statements: Fab or drab?

By: Lifestyle Desk | New Delhi | Updated: September 19, 2017 7:54 pm While some looks of Shraddha Kapoor are drool-worthy, some are below par. (Source: Instagram/Shraddha Kapoor) Related News

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Shraddha Kapoor has been really busy promoting her upcoming film ‘Haseena Parker’, which is set for a September 22 release and as is the norm, she is dressing up the part in the trendiest of designer wears – well at most times – because she has also managed to leave us disappointed with her bizarre sartorial choices. For instance, this one time when she stepped out wearing an oversized printed white tee with a sheer skirt.

Recently, we saw her at four different events, giving us four unique looks but only one could actually inspire us. Let’s start with our favourite where she was seen in a pair of black ripped jeans from Zara which she teamed with a grey tank top and layered it with a printed jacket from Hemant and Nandita, which was undoubtedly the highlight of her look. We think the jacket is just perfect to break the monotony of the outfit. You too can try wearing it with a basic jeans and white tee combo!

Celebrity stylist Shaleena Nathani accessorised her look with black stilettos and gold loop earrings while celebrity make-up artist Shraddha Naik opted for deep red lips and neutral make-up. Hairstylist Amit Thakur complemented it with a textured ponytail.

Then for the Delhi part of the promotions, she wore a satin wrap skirt that she paired with an olive green bomber jacket, both from the house of Purple Paisley. She rounded up her look with a pair of metallic shoes from Dune London. The pieces on its own are good but what we don’t like is the colour combination of her outfit. But the most striking feature of her entire look are those pair of mismatched earrings. Previously, we have seen B-town celebs follow this trend with footwear but never with earrings. Kapoor has taken the unsual pairing to a whole new level and we love it!

However, her beauty game was on point with hairstylist Amit Thakur pulling her hair up into a neat ponytail and Shradhha Naik going for neutral make-up to complement her outfit.

For the second day of the Delhi promotions, Kapoor chose a black ripped jeans paired with a black tank top and a transparent full sleeve dress. She teamed her outfit with a pair of strappy heels. Shraddha Naik gave the gorgeous diva red smokey eyes with pink lips, and uploaded a photo on Instagram captioning, ” when I get to play with lipsticks”.

Meanwhile, Amit Thakur gave her a wavy hairdo with ombre highlights. While her make-up and hair gets full marks from us, her outfit couldn’t work wonders. The large belt though is a standout and is a must-have.

Another look caught our attention when for a casual outing, Kapoor stepped out in a cold shoulder dress from Global Desi. The light blue printed outfit which was from the brand’s ‘child of nature’ collection and was paired with a belt and off-white sandals failed to impress us.

Which look do you like the most? Let us know in the comments below.

For all the latest Lifestyle News, download Indian Express App

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Celeb Fashion

Haseena Parkar

Shraddha Kapoor

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