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The Death of the Indian Supermodel — Is Bollywood to Blame?
From paparazzi picks to social media metrics, Indian fashion is chasing celebrity over credibility. Kareena Kapoor Khan, Janhvi Kapoor, Ananya Panday and Ibrahim Ali Khan lead the runway, but industry voices weigh in on the real cost of the Bollywood showstopper.
In India, fashion isn’t just about style, it’s about spectacle. Rahul Mishra’s recent show at the 25th edition of Lakmé Fashion Week (LFW) opened with actor Janhvi Kapoor stepping out of a car, trailed by flashing cameras and the echo of paparazzi calling her name. And if that wasn't filmy enough, they even played songs like ‘Tamma Tamma Loge’ from Sanjay Dutt’s Thanedaar (1990).
Ananya Panday turned showstopper for AK-OK, Karisma Kapoor did for Satya Paul, Ishaan Khatter for Saaksha & Kinni, Ibrahim Ali Khan for Shantnu & Nikhil, and Bhumi Pednekar for Amit Aggarwal, among many others.
But when was the last time an Indian fashion show was closed by an Indian supermodel, and not a celebrity or actor? Unlike global fashion houses, where models are the main event, India’s runways belong to actors.
“If you just want to get the eyeballs, a Bollywood actor is good enough,” says supermodel Ujjwala Raut, who has walked for designers like Tom Ford, Elie Saab and Roberto Cavalli, among others, since she began her career at 18. She blames the absence of a new generation of Indian supermodels on the designers and brands that won’t pay for them. She adds, “There are supermodels like Bhumika [Arora] or Pooja [Mor], but Indian designers won’t [hire them] because they charge international rates. So what? They sell one ghagra for ₹50 lakhs.”
Vahbiz Mehta, fashion director at LFW agrees, noting that some celebrity showstoppers add no real value. “Nothing sells the way Bollywood does,” she explains. “Of course, few celebrities do justice to it, but many don’t. And they require a bigger budget.”
In conversation with actors, supermodels, executives and show directors, The Hollywood Reporter India reveals whether the rise of the celebrity showstopper comes at the cost of the supermodel.
Big Names, Bigger Budgets
Recently, Instagram’s anonymous fashion critic, Diet Sabya posted, “For them [models] to have this job — especially runway — the designer needs to showcase their collection. And for the designer to showcase, there needs to be financial banking & sponsors.” To keep sponsors happy, designers depend on celebrities bringing in the return on investment. Not to mention, they drive audience engagement.
Pallavi Pandey, Vice President and Head of Marketing at MAX Fashion, who marked the brand’s debut at LFW this year, shared that they aimed to make a lasting impact. She says, “A celebrity showstopper was essential in creating that buzz and establishing our presence on such a prestigious platform.” As brand ambassador, [actor] Kalki Koechlin was their top choice.
Kiran More, a 2024 Mr India finalist also commented on Diet Sabya’s post, saying, “Here, [there] will never be another supermodel going forward as there are no opportunities!” A sentiment echoed by Raut. “[Brands] call me [to model] and say they cannot disclose the client or the designer. How do they expect someone to charge if they don't know who they're working for?” she asks, explaining that they’re trying to book models for the lowest possible rates.
Mehta adds that while show directors hire the models, “the negotiation for [celebrity] showstoppers happens separately. Agencies are involved and their job is to sell their talents as showstoppers,” she says. Until the last minute, brands are typically bargaining and getting quotes from competing agencies. “I just integrate the showstopper in a way that gives them their moment — usually with a dramatic entry and separate music — to create that ‘wow’ moment, since a lot of resources have gone into it,” says Mehta.
Raut reveals that Indian brands and designers also request models for favours, citing a lack of sufficient budget. “When they need favours they think of models, and when they have money, they get Bollywood [stars]. I've been doing such favours since I was 18 years old and in the last 24 odd years, I haven’t gotten one back,” Raut muses.
On the other hand, she recalls that when she worked with Tom Ford, he would say, ‘If I can make my girls feel like a million dollars, they're going to deliver that on the runway and it's going to be better for the business.’” A mindset absent in India.
But Mehta understands that fashion is ultimately a business. “If the outfit worn by the showstopper resonates with people, it’s sure to be a commercial hit.” Having hired models for many of the shows at LFW this year as well as other shows across the country, she admits that even the few models that do get acknowledged in India are the ones that have previously made an impact on international runways. She adds, “That's why many of them go abroad, it elevates their status locally.”
Beyond the lack of fair payments, Raut reveals that in India, schedules are a mess and fittings are disorganised. Even small things like breaking for lunch must be requested for. “That's why I left, even though I was getting so much work in India,” she explains.
The Selection Process
Sometimes, celebrities walk for free, which makes for a tempting offer. “I’ve done shows where the biggest showstoppers took no payment because they were friends with the designer,” says Anu Ahuja, show director at LFW. Mehta adds, “Designers and brands reach out to celebrities, but the opposite happens too. Some even agree to walk as a barter deal or a collaboration. When that happens, I always tell designers — if they’re offering to do it for no cost, they need you more than you need them.”
But both directors insist that what’s most important is that the celebrity fits the bill — matches the energy of the collection and brand being presented. As Pallavi Pandey says, “We have to look beyond just star power. It’s about finding someone who resonates with our brand’s ethos of self-expression, confidence and individuality.”
Designers Shantnu Mehra and Nikhil Mehra saw actor Ibrahim Ali Khan as the perfect fit for their recent show at LFW. “When you look at a collection, you wonder about the kind of person who wears it. When we were making the pinks and the pistachios, we felt that Iggy’s [Ibrahim Ali Khan] got the right vibe. He’s young, he’s sassy…,” said Nikhil.
Shantnu added, “There’s a sense of sexiness to his royalty, also. This collection was all about matching the European flair with Indian sartorial heritage. I think he fits the bill perfectly.”
When asked how they made the choice, Nikhil laughs, admitting, “They pick us, girl.”
The process is often more collaborative, when it comes to a celebrity actor in place of a model. Kalki Koechlin recalls that while the MAX designers had a vision for the look and feel, they were open to her suggestions as well. “I think it’s important to strike a balance — honouring the concept while also adding a bit of my own touch. I love talking through the outfit and the mood they’re aiming for, because it helps me get into the right mindset for the walk,” says the actor. Ahuja reveals the celebrity is generally given about three looks to choose from.
Ahuja also considers a star’s stature — and more importantly, their Instagram following — that dictates their selection, as brands aim to expand their reach. Mehta explained that back in the day, the only way to advertise a showstopper was through newspaper headlines, but now that is almost obsolete. She notes, “As social media has grown, the obsession with showstoppers has gained momentum.”
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The Influencer Takeover
When it comes to reach and recall, social media creators are in a league of their own. With their direct audience engagement, they’ve become a powerful force in entertainment — and now, they’re making their mark on the runway too. For instance, influencers Rida Tharana and Sakshi Sindwani recently walked for Saaksha and Kinni at LFW, signalling the growing influence of digital stars in fashion.
Mehta notes that some brands now split budgets across multiple social media creators for greater traction, but she isn’t a fan of the approach.
“Right now, a showstopper’s worth is dictated by the number of [Instagram] followers they have. It plays a pivotal role in being cast.” But both she and Ahuja commend the brands who bring in people from other worlds, like that of sports. In fact, one of Shantnu and Nikhil’s earliest celebrity showstoppers was cricketer Harbhajan Singh, back in 2004. “It would be nice to see influencers in the audience instead,” Mehta adds. “They can still influence from there, right?”
Also, despite not being professional models, she reveals that most actors and influencers don’t have any extra rehearsals. Not to mention, paparazzi presence is a big part of the game, Mehta believes. She says, “The paparazzi may not be that enthusiastic unless it’s a big brand, but as soon as they know a Bollywood star is involved, you’re guaranteed their presence.”
Subsequently, Raut highlights the lack of media coverage for models in India, unlike the West, a key reason why none achieve supermodel status. “People used to ask me about Indian fashion magazines, and why they are all about Bollywood actresses when we have so many Indian models.” No adequate pay or recognition has driven many models toward the film industry, seeking opportunities the runway no longer provides.
In the words of Kareena Kapoor Khan, “25 years of Lakmé Fashion Week is not about us actors walking the finales, it's about each and every one of them backstage,” she said at the LFW gala, referring to the make-up and hair artists, fashion stylists and models as being the real ‘icons’ behind the shows.
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In the end, the brands’ obsession with celebrity showstoppers may boost visibility, but if the industry truly values craft over clout, it must ask itself — does the future of Indian fashion belong solely to the famous, or will it let supermodels reclaim the runway, and bring the focus back to the craft?