Nagaland culture in Cannes spotlight as Andrea Kevichusa's jewellery turns heads

Andrea Kevichusa walked Cannes red carpet on day 7 as part of Indian delegation supported by Ministry of Information & Broadcasting. Representing her state Nagaland, Kevichusa's Cannes debut came in company of filmmaker Kivini Shohe. Anek actress' fleeting Cannes red carpet moment however deserves to hold spotlight longer keeping in mind very elaborate and unmissable ode to her culture - hefty eight-stringed beaded necklace covering majority of her torso. Kevichusa's sartorial pick for Cannes represented more than her red carpet debut - it was a conscious decision to bring indigeus culture to one of biggest global events of year.

Bringing culture to center-st

Andrea Kevichusa's made-to-order shimmery black elara dress from "cruelty-free and craft conscious" brand Moonray fell right into line with red carpet protocol with its flowing tulle overlay and a sheer ruched neck. highlight of sleek and simple ensemble however was indigeus neckpiece garlanding her neck. cylindrical beads in black, yellow, orange, brick red and white strung toger more than just a statement for her red carpet outing. It was an effective exercise in marrying red carpet fashion with culturally-rooted statement storytelling.

significance of jewellery in Nagaland culture

Andrea could have very well worn traditional Nagaland attire - a shawl, a Mechala or a slightly more elaborate Azu Jangnup Su. standalone torso-length neckpiece however, made for an impactful, eye-catching red carpet moment. rationale behind this may be rooted in fact that Nagaland culture, across all its tribes, pedestalises jewellery as much more than its obvious ornamental purpose. Jewellery in Nagaland context stands tall as a representation of one's identity coupled with being a social differentiator in terms of and class among or factors.

Jewellery is a much prized adornment across s with both men and women sporting specifically curated pieces to accurately represent ir tribal belonging, social status and overall identity. Jewellery for people of Nagaland transcends purpose of aestics with rules regarding style and pieces in question, being strictly governed. 

More on traditional neckpieces

Thicker necklaces layered over chest with multiple strands are usually worn by women, much like piece Andrea wore to Cannes. girth of se neckpieces is also directly proportional to wealth of owner and ir family. Jewellery amongst people of Nagaland also profess to be tied to owner beyond ir lives, still belonging to m and ir family post ir demise. extensive us of beads in traditional neckpieces also holds spiritual relevance and are believed to carry prayers and protection which makes ir worth equivalent to that of gems in eyes of locals.

Colours too have an elevated significance beyond providing vibrancy. For instance, green beads in Likpha piece belonging to Konyak community asserts wearer's identity as being a tribeswoman - same beads in turquoise blue would automatically signify royalty. Besides beads, us of metals and bones in se pieces serve purpose of warding off evil eye. A lot of or materials used, such as glass beads, shells and ivory may also often be received as a result of trade. 

Nagaland's culture enjoys a global moment at Cannes

Though Nagaland's culture is t entirely lost, it is waning in intensity as it adapts to growing effects of global acculturation. In a time when  youth is showing a willingness to incorporate traditional heirlooms into ir contemporary fashion, Andrea's auntic and personal choice of embellishment at Cannes red carpet does more than simply elevate her Western silhouette. It is essentially giving traditional jewellery - and culture - visibility on a global platform.