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

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

Bringing culture to the center-stage

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. The highlight of the sleek and simple ensemble however was the indigenous neckpiece garlanding her neck. The cylindrical beads in black, yellow, orange, brick red and white strung together 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.

The significance of jewellery in Nagaland culture

Andrea could have very well worn the traditional Nagaland attire - a shawl, a Mechala or a slightly more elaborate Azu Jangnup Su. The standalone torso-length neckpiece however, made for an impactful, eye-catching red carpet moment. The rationale behind this may be rooted in the 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 gender and class among other factors.

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

More on traditional neckpieces

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

Colours too have an elevated significance beyond providing vibrancy. For instance, green beads in the Likpha piece belonging to the Konyak community asserts the wearer's identity as being a tribeswoman - the same beads in turquoise blue would automatically signify royalty. Besides beads, the usage of metals and bones in these pieces serve the purpose of warding off the evil eye. A lot of other 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 not entirely lost, it is waning in intensity as it adapts to the growing effects of global acculturation. In a time when the youth is showing a willingness to incorporate traditional heirlooms into their contemporary fashion, Andrea's authentic and personal choice of embellishment at the Cannes red carpet does more than simply elevate her Western silhouette. It is essentially giving traditional jewellery - and culture - visibility on a global platform.