Vanity vans are no longer just functional make-up rooms tucked away behind the chaos of production. They have transformed into highly customized, tech-enabled luxury spaces, often costing Rs. 1.5 crore to upwards of Rs. 5-7 crore, designed to reflect not just a star’s comfort, but their identity. What began as a practical solution for outdoor shoots has steadily evolved into a niche business of luxury design, where every detail is tailored to the habits and image of the celebrity using it.

The concept of vanity vans in India dates back to the early 1990s, when Poonam Dhillon introduced them after encountering similar setups abroad. While early vans offered a place to change clothes and sit comfortably, newer ones come loaded with sensory-activated fixtures, sound systems and more.

This evolution has fuelled a growing ecosystem of designers and modifiers specialising in luxury spaces on wheels.

Speaking about evolving client expectations, Pratik Malkan, chairman of an auto transformation company, says, “This shift is driven by demanding schedules, the need for privacy, and a growing focus on comfort and aesthetics. We’ve seen a clear move towards luxury, experience-led spaces. It’s no longer about simply owning a vanity van, but about how personalised that space feels.”

On costs, Malkan adds, “Typically, 25-30% of the cost goes into interiors and materials, 30-40% into technology and automation, and 20-25% into structural modifications and bespoke engineering.”

The demands have become more specific – and more ambitious. Sagar Parab, modifier, designer and owner of an automotive customization brand, points to a clear shift in priorities.

“Expectations have evolved from functional spaces to unique luxury suites that reflect a star’s public image. Over the last decade, the focus has moved from basic fit-outs to fully personalised environments,” he says.

With personalized upgrades and privacy taking priority, some of India’s biggest celebrities have turned vanity vans into extensions of their lifestyles.

Known to own one of the most sophisticated vanity vans in the industry, a Volvo-based unit reportedly worth Rs. 4-5 crore, complete with a gym, lounge, and advanced automation.

The vanity van features a large lounge, rehearsal room, kitchen, bedroom, and restroom.

Features an all-black interior – from the walls to the restroom – balanced by floor-to-ceiling windows that bring in natural light.

Features stylish, elegant decor that reflects her fashion-forward persona.

Owns a sleek, high-tech van designed to support his shoot schedule.

Opted for a personalised aesthetic, with sheesham wood interiors giving the van a warm, home-like feel.

The actor is believed to use multiple vanity vans while he’s on set – one for workouts, another for privacy, one for hair and makeup, and others for his team.

Reportedly uses a multi-zone van with a bedroom, office space and advanced entertainment systems.

Designed by Gauri Khan, the van reflects Alia’s personality through vibrant interiors.

Customised her vans to mirror the interiors of her home.

Incorporated a gym setup to stay fit during long shoots.

Owns a Rs. 7 crore-plus vanity van named Falcon, featuring a jet-black exterior, white interiors and a sleek modern design.

As Bhaag Milkha Bhaag turns 12, director Rakeysh Omprakash Mehra looks back at the film’s journey, relevance and longevity in an exclusive conversation with us.

On casting Farhan for the role, the director says, “I have often been asked if Farhan Akhtar was my first choice to play Milkha. He was the right choice. Let me put it like that. His eyes reminded me of Milkha sir. The way he looks at you – they have the same intensity and depth. I knew Farhan was a good athlete, and he kept himself fit. When you’re playing a character like Milkha, something intangible happens to you. Farhan didn’t play the role, he became the part.” 

Some stories don’t fade, they mature with time. Bhaag Milkha Bhaag is one of them. The story is timeless, not topical, so it does not lose its relevance. I wanted to tell a story woven around the Partition of the country, and in Milkha Singh’s biography, I found that. Besides being the first biopic of a sportsman in our country, there were two tracks in the film. One was Milkha Singh’s journey, and the other was one of the most seminal points in modern Indian history – the Partition. I am glad it’s re-releasing in theatres on August 8. Certain films are meant for the big screen. We should develop a culture of revisiting our classics, not just for business, but legacy.

The Partition is a seminal point because millions were celebrating the independence of the country, and millions were suffering. I was born in the 60s. I grew up listening to both horrific and beautiful stories of that time. They left an indelible mark on me. When I joined college, we shifted to a colony in Delhi, which was given to refugees of Partition, and they rebuilt their lives from scratch there. Borderline politics is another thing. I see myself through the lens of human beings. I am drawn to the common man. Ek aam aadmi kya kar raha hai, kya soch raha hai, uske sukhdukh kya hai. What moves them is very important for me. As a filmmaker, you get to choose your gaze, and mine is human.

It is a story of have-nots. Milkha had nothing to lose. When you don’t come from privilege and you make it, that resonates with me a lot. I grew up in Delhi. I used to swim and play cricket in the National Stadium. Before my time, Milkha Singh, Dara Singh and Dhyan Chand used to practise there. We grew up on these three names. They were our Sachin Tendulkar and Virat Kohli. Milkha ji didn’t have shoes at one point and ran barefoot. We all identified with it because our entire generation grew up without having proper facilities. I come from a lower middle-class family. I could relate to characters who were thrilled when they got to wear a Team India blazer like Milkha ji did. He won his first race for a glass of milk and two eggs. He didn’t win to make a world record or become a great athlete. I have practiced swimming because at the end of the practice section, we would get a glass of warm milk with Horlicks and two boiled eggs. It was great breakfast and that too for free. This is everybody’s story in India.

It was a difficult story to mount because everyone said, ‘Where is the romance? The hero is just running. Where is the action? Athletics kaun dekhta hai India mein?’ Saare sawaal sahi thay. But it was important for me to prove the detractors wrong. If I didn’t believe in what I made, I wouldn’t make it in the first place. Pacing derives its essence from the story and how it is told. Look at the modern-day epics like Avatar, Oppenheimer and Brutalist. When you’re enjoying a movie, you are completely lost in that world and time flies. This whole length concern came from distribution, it never came from the audience or critics.

“When I approached Sonam Kapoor, I clearly told her she would appear for 15 minutes. Her character changes Milkha’s life by making him question his choices. I told her she won’t appear later in the film, and I don’t know if she will appear in the trailer or the poster. She heard me out and said the film must be made, and she will charge me a bomb for it. I told her bata dena fees, koshish karenge. Her contract came, and she had only charged me Rs, 11 as a shagun. She brought so much dignity to the part.”

Every girl must feel like they are going on the red carpet. You may be more of a behind-the-scenes person, but it is important to feel great and enjoy (your wedding). Do all that makes you feel like the Madhuri Dixit of your moment

Every actor has that one song that makes them a star. For me, it was Masakali. Even after so many years, I am remembered as Masakali

- Sonam Kapoor

I've always found old Delhi to be a microcosm of India. It's as if India has shrunk, and everything that's in India has been placed within the Walled City. And that was my whole mindset as we were writing and filming Delhi-6. It's my favourite film, my favourite child.

- Rakeysh Omprakash Mehra

There were too many challenges in shooting at the real location. So, we created sets in Sambhar near Jaipur and filmed there. From signboards, havelis and lanes to even posters on the walls - everything was a replica of what we saw in old Delhi

- Nitin Wable, art director

Kolkata | New Delhi: Jewellery brands are scrambling to get new celebrity endorsements, both at the national and regional level, sparking a spike in celebrity fees and stringent terms and conditions. But the demand is skewed in favour of glamour icons.

A senior executive of a prominent jewellery brand, asking not to be identified, said the asking price of big stars is roughly around Rs. 8 crore a day.

“It's becoming unviable for the business. Even at this hefty price, they are reluctant to give more than three days in a year to the brand they are endorsing, won’t change costumes more than two times on the day of shooting, and won’t work more than eight hours on that day including traffic time.”

He said actors such as Allu Arjun, who used to charge Rs. 35 lakhs a few years ago, now charge around Rs. 6 crores a day after the stupendous success of the movie Pushpa.

While Madhuri Dixit charges Rs. 1 crore for 8 hours, newer generation actresses like Kiara Advani charges Rs. 1.5-2 crore per day which includes photoshoot, opening of stores and attending events related to the brand.

“We have Kajol as our brand ambassador for the last 8 years and we are on a hunt for a fresh face. But we are not getting one as every other jeweller has booked someone or the other new-gen actors,” said Anish Varghese, head of marketing at Joyalukkas.

Malabar Gold & Diamonds have roped in Alia Bhatt this year, Junior NTR, Anil Kapoor, Kareena Kapoor Khan and Karthik Sivakumar, popularly known as Karthi, who predominantly works in Tamil cinema. Malabar signed up Alia Bhatt for the first time, while it renewed its contract with Junior NTR, who became famous for the Natu Natu song in the film RRR.

Mia By Tanishq has appointed Bollywood actor Rakul Preet Singh as its latest brand ambassador. Sonam Kapoor Ahuja is the face of Zoya Jewels. “We have signed with south Indian actress Nayanthara as our new brand ambassador to enhance the visibility of the brand in the southern region, where we have plans to expand,” said Ajoy Chawla, CEO of Tanishq, though he refused to divulge the details of the terms and conditions with the actress. Reportedly, Nayanthara charges ₹5 crore for brand partnerships.

It’s raining brand endorsements for film stars from the South. After the term “pan-India” became ubiquitous in the wake of the successes of their films and OTT shows, actors from Allu Arjun to Samantha Ruth Prabhu (of The Family Man and Oo Antava fame) are being courted aggressively by advertisers. Trade insiders say that the South Indian stars are now charging 8X of their earlier fees (pre-2021) for brand partnerships.

“We too are looking for one for our new line of silver jewellery. But everyone is booked. Thanks to social media like Instagram, Facebook or X, consumers can constantly see the celebs and therefore for jewellers, it acts as a major brand recall. So, the jewellers are chasing celebrities to endorse," explained Saurabh Gadgil, MD of PNG Jewellers, adding that they are confident of getting a new face soon.

Suvankar Sen, MD of Senco Gold and Diamonds, said his company has roped in Kiara Advani and she is very professional.