'I wanted to bring my version of the French Riviera to Alia Bhatt's Cannes dress,' says Basuri Chokshi, whose dreamy hand-painted artwork transformed the outfit into a moving canvas.
All photographs: Kind courtesy Basuri Chokshi/Instagram
Alia Bhatt's first daytime appearance at Cannes 2026 instantly became one of her best red carpet moments ever as she walked in a hand-painted gown inspired by the French Riviera.
Behind the beautiful look was Ahmedabad-based artist Basuri Chokshi, whose dreamy hand-painted artwork transformed the outfit into a moving canvas.
In a chat with Rediff's Rishika Shah, Basuri opens up about leaving interior design to pursue art full-time, collaborating with Rhea Kapoor and the surreal experience of seeing her work on one of fashion's biggest global stages.
'Seeing artists paint evoked something inside me'
Born and brought up in Ahmedabad, Basuri originally studied interior design but always found herself gravitating towards art.
"I was always inclined towards art. I worked at art galleries and being around artists really evoked something inside of me," she says.
Eventually, she decided to step away from interior design and take a chance on herself.
"I gave up a lot of things I was doing earlier and thought, 'Okay, I just want to see how far I can stretch myself.'"
That leap led her to experiment with multiple surfaces and mediums over the years, from walls to wood to canvases, textiles and bespoke installations.
'I don't like loud art'
Basuri describes her artistic style as balanced, graceful and cohesive rather than attention-seeking.
"My intent is never that my art grabs all the attention because that's not my personality," she says. "I like things that have a certain grace. Even when I use muted colour palettes, I want them to hold presence."
While she doesn't believe in sticking to one signature style, she says the emotional language across her work remains consistent.
"No one project is similar to another because my practice is bespoke. But the similarities are always there in the feeling and the outcome."
The project that stayed with her
Before Cannes came calling, one of Basuri's most memorable projects was for actor Nayanthara.
The artist worked on a contemporary interpretation of Vrindavan for a private residence.
"It wasn't the traditional Pichwai form. We did a more European, contemporary version of Vrindavan," she says.
Because of privacy agreements, Basuri cannot share the full artwork publicly, but she admits the project still stays with her because of its design process and emotional connection.
The making of Alia Bhatt's 'wearable oil painting'
For her Cannes 2026 appearance, Alia Bhatt wore a custom 1950s-inspired landscape-print ball gown designed by Yash Patil from his label, That AntiquePiece.
The ensemble was widely described online as a 'wearable oil painting', thanks to its whimsical hand-painted artwork inspired by the French Riviera.
Basuri reveals that the collaboration came through stylist Rhea Kapoor, who wanted her interpretation of the Riviera translated onto fabric.
"She wanted me to bring out my version of the French Riviera onto the dress," Basuri says.
To prepare, the artist immersed herself in research.
"I researched the topography, the culture, the landscape and the vibe of the place. I wanted to understand why white holds the importance that it does there."
The artwork featured soft watercolour-style washes of deep forest green, blue, lavender and yellow, designed to mimic the Riviera's sunlit fields, coastlines and native botanicals.
Once the concept was finalised digitally, Yash Patil constructed the gown, after which Basuri hand-painted directly onto the semi-stitched garment.
'The pressure was definitely there'
Although Basuri has spent over 15 years painting, working on a couture gown brought its own challenges.
"When you paint on walls or canvases, the surfaces are stretched or sturdy. This was a loose garment so handling it was tricky," she says.
Then came the pressure of knowing the world would eventually see it on one of fashion's biggest stages.
"The responsibility of painting for something like this was definitely there."
Still, Basuri says she stayed focused on bringing their shared vision to life as beautifully as possible.
The entire process took about a week.
'It came across better than we imagined'
While Basuri did not directly hear Alia's personal reaction to the gown, she says the feedback from Rhea Kapoor and the team was overwhelmingly positive.
"Rhea mentioned that once the photos and videos were shot, everything came out really well and they were very happy," she says.
What surprised Basuri even more was how beautifully the final look translated on screen.
"It was way better presented than when we saw it at the working stage."
Basuri struggles with parting ways with her creations
"Our work is to sit in front of a piece for hours and hours until we finish it, so, of course, there is attachment," she says.
But over time, she has taught herself to emotionally detach once a piece leaves her studio.
"I think only until it's with me, it's mine. Once it leaves, it's for the world or for the client to enjoy."
What's next for Basuri?
Post Cannes, Basuri says the biggest change has been emotional rather than professional.
"I think I've become even more grateful than I already was," she says.
She is thrilled that the artwork connected with audiences exactly the way the team had envisioned "or probably even more".
As for what's next, Basuri simply wants to continue exploring new creative territories and unexpected collaborations.
And if manifestation works, she says, "My dream celebrity to create for next is definitely Deepika Padukone. Or the Met Gala, perhaps."
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