The 26 Best Celebrity Bollywood Beauty Moments of All Time
- Oops!Something went wrong.Please try again later.
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links."
Anyone looking for beauty inspiration should take a closer look at Bollywood cinema. You don’t have to be a film devotee to appreciate the elaborate bouffants and razor-sharp cat-eye flicks worn by actors in the 1960s, or the pastel eye shadow shades and center-parted hair of the ’70s. Plus, the whimsical camp looks from the ’80s, smoky eyes in the ’90s, and bouncy blowouts of the ’00s filtered through an Indian lens prove that Bollywood has long stayed on top of global trends.
Stars like Rekha and Zeenat Aman have always been beauty catnip to those in the know, serving endless makeup and hair inspiration to millions with each new film release or red-carpet appearance. They’re understandably well represented in the following list of beloved Bollywood beauty moments for their era-defining looks—many of which continue to feed the imaginations of artists who still use them as reference points. But equally fascinating are the quieter industry trendsetters, the ones who sneaked into our consciousness and never left when the credits started rolling.
Bazaar asked a think tank of creatives across the beauty and fashion industries for their thoughts on some of the best beauty looks from Hindi cinema. These Indian and Indian-American professionals work directly with A-list movie stars and manage their own beauty companies, and all grew up on a healthy dose of Bollywood. Read on for their film selections below, which run the gamut between archival and modern.
Madhubala in Mughal-E-Azam (1960)
“Mughal-E-Azam is iconic for a reason, but it’s actress Madhubala whose makeup jumps off the screen. Her perfectly shaped red lips combined with half-winged eyes are impeccably executed, with a precision that inspires my work to this day.” —Kirin Bhatty, celebrity makeup artist
Sadhana in Woh Kaun Thi? (1964)
"Vintage Bollywood is full of insanely amazing beauty moments, with both traditional glam as well as modern global looks. I loved Meena Kumari in Pakeezah, but my favorite was the baby bangs on actress Sadhana, who I first discovered in Woh Kaun Thi? They really suited her face and completely transformed her entire look. It was no doubt inspired by Audrey Hepburn’s baby bangs in the ’50s, but in India, from then on, Sadhana became known for this hairstyle, which was nicknamed ‘the Sadhana Cut.’ She also mastered the winged eyeliner that was prevalent during her era.” —Tayaba Jafri, global beauty director at Laura Mercier
Sharmila Tagore in An Evening in Paris (1967)
“Sharmila Tagore was the first Indian actress to wear a swimsuit onscreen, in An Evening in Paris, but it’s her winged liner look that’s really stayed with me. It’s 1960s-thick, with a perfect flick, and feels so quintessential to her that I almost believe she invented it! She also often went for a double liner, with a big wing on top and another line underneath, creating a dramatic cat-eye with a double flick. I still reference it all the time.” —Kirin Bhatty
Zeenat Aman in Haré Rama Haré Krishna (1971)
“I have been influenced by Zeenat Aman consistently throughout her career, especially in movies like The Great Gambler and Haré Rama Haré Krishna. I think she was way ahead of her time, in terms of being the quintessential role model for feminine sexuality. When I look back, she was timeless in terms of both her beauty and style. How she transitioned from a girl next door in Satyam Shivam Sundaram to play all the fun disco roles, there was so much to learn and be inspired from.” —Sandhya Shekar, celebrity makeup artist
Meena Kumari in Pakeezah (1972)
“My mom was obsessed with Pakeezah, so we watched it a lot—and I mean a lot—while growing up. I was obsessed with Meena Kumari’s iconic eyeliner and her light-colored, flowy hair. I loved the parts of the movie where she was dressed to the nines and in full glam for her dancing scenes, but also when she wasn’t super dolled-up and natural. That scene where she’s reading a letter and puts her hair in the water is unforgettable. The film took 14 years to make; there was a halt due to the separation between Kumari and the director, who was her husband, and she was very sick during that time. So the last shots of her are different from those earlier in the film. She still looks beautiful all the way through, adding much depth to the character’s tragic life.” —Arati Sharma, cofounder, Ghlee
Parveen Babi in Suhaag (1979)
“Parveen Babi was my first Bollywood girl crush. She had that contemporary modern beauty, which appealed to me as a North American desi. In Suhaag, she plays a college student who lives in a dorm. In the song ‘Main To Beghar Hoon,’ she’s out clubbing for the evening and has had way too much to drink. The outfit, hair, and makeup were perfection. I consider that makeup absolutely stunning and still so contemporary. She had her own individual style and beauty, and reminds me of Jaclyn Smith.” —Tayaba Jafri
Zeenat Aman in Dostana (1980)
“There were some key moments that stood out for me in Bollywood cinema. They might not be the beauty looks that are most popular among Bollywood fans, but they were certainly a revelation for me as a young, first-generation Canadian with immigrant parents. My first introduction to Zeenat Aman was Dostana. I had never seen a Bollywood actress wearing Western clothes with thin, arched eyebrows and ’70s-influenced makeup, and her hair was shorter than what Indian actresses wore at the time. Although I loved watching Bollywood movies, I didn’t really relate to them. This look made me realize that Indian cinema might actually be cool to me as a teenager!” —Harry Josh, celebrity hairstylist and founder of Harry Josh Pro Tools
Hema Malini in Naseeb (1981)
“Another moment that stuck out to me was Hema Malini in Naseeb. There is a wedding scene where she is in a white wedding gown, and when she lifts her veil, she has short, curly bangs. I had never envisioned an Indian woman in a Christian wedding dress, let alone with curly bangs! It was something memorable to me, and a revelation for my younger self to learn that there was an Indian Christian community.” —Harry Josh
Rekha in Umrao Jaan (1981)
“Rekha in Umrao Jaan always stuns me. The film has stayed with me for a long time—it’s one of the most beautiful movies I’ve ever seen. She’s equally remembered for Khoon Bhari Maang, in which she was iconic, but I think of that as camp, while Umrao Jaan was an out-and-out glamorous beauty. She plays a courtesan, and when she sings and dances with the dark mouth and the exaggerated eyes, it’s the pinnacle of a cinematic experience. Of course, there are predecessors to this look, like Madhubala in Mughal-E-Azam, but for me, it’s always been Rekha. Her red lips are impeccably defined, with a hint of shimmery gloss in the center, and the eyes are accentuated with eye shadow, not just eyeliner or kohl, making it even more glamorous. The way Rekha evolved in her beauty was way ahead of its time.” —Mitesh Rajani, fashion and Bollywood hair and makeup artist
“I will always be a fan of Rekha’s classic South Asian beauty. The beauty was so graceful and poignant in her more traditional roles, like in Umrao Jaan, where she plays a courtesan. Her makeup is amazing, and there are so many scenes where it seems like tears are resting or pooling in her eyes right before rolling down her face. It was so appropriate for the tragic life she was portraying. That film will always make me cry. Rekha also played the village girl so perfectly. A memorable beauty note was her braided hair and the dot tattoos in a diamond formation on her chin in Mr. Natwarlal, which was super cool and appropriate for her character.” —Tayaba Jafri
Parveen Babi in Namak Halaal (1982)
“As a kid, I thought Parveen Babi in Namak Halaal had an iconic look—the big hair, the frosted metallic shadow, and the gold sequined dress really stuck with me. Around the time I saw this movie, I went to a drag show and the queen of the parade had a similar look—and that, for me, epitomized glamour at its best! Many years later, this inspired a magazine cover I styled with Cindy Crawford in a gold sequined Balmain gown—unabashed ’90s supermodel vibes, with an uncut diamond necklace to add an Indian touch. It was definitely a nod to Parveen’s hot style and dance moves!” —Anaita Shroff Adajania, Bollywood stylist
Sridevi in Mr. India (1987)
“I cannot overlook the eternal beauty and grace of the late Sridevi. Her presence onscreen was captivating; her beauty knew no bounds. Whether it was her ethereal appearance in Chandni or her mischievous, spunky role in Mr. India, Sridevi effortlessly carried every look with elegance. Her versatility in hair and makeup styles is incomparable—she could pull off any look, from soft and romantic to bold and dramatic. Sridevi’s ability to captivate audiences with her radiant smile, expressive eyes, and flawless makeup was unparalleled.” —Manish Malhotra, fashion and costume designer
Rekha in Khoon Bhari Maang (1988)
"I’ll talk about two iconic beauty moments, one that I admire and one I created. The first was Rekha in the now cult-classic film Khoon Bhari Maang. It was stardom and glitter, razzle-dazzle and over-the-top glamor at its best. It was the Bollywood that we love." —Sabyasachi Mukherjee, couturier
“Rekha has always been a standout. I loved her beautifully accented eyes in Khubsoorat, and her role in Khoon Bhari Maang, where she changes her character to evolve into this chic persona with an array of glamorous headpieces. The makeup is so on point with the shimmery eyes. I heard that she did her own makeup, and still does. A lot of my inspiration comes from back in the day, from the days of the graphic eyeliner and strong contour, with everything so chiseled out. Actresses in the ’60s and ’70s like Saira Banu were known for their graphic liner looks and the way they experimented with them. My influences come from these times and less so from cinema from the ’90s and onward.” —Sandhya Shekar
Urmila Matondkar in Rangeela (1995)
“As someone who has been deeply involved in the world of fashion and beauty in Bollywood, it’s a challenge to single out just a few standout looks amidst all the iconic moments onscreen. Most of them are not merely beauty looks—they are moments that have transcended time, leaving an everlasting impression on the hearts and minds of audiences worldwide. If I were to reflect on some of my most memorable ones, I must start with Rangeela. This film holds a special place in my heart, as it marked the beginning of my rise in the industry as a costume designer. Urmila Matondkar epitomized raw beauty, effortlessly working every look thrown her way. Her voluminous hair almost became a character in itself; and for makeup, I aimed to showcase her in a spectrum of looks, so her makeup ranged from subtle nude lips to bold, dramatic shades, with a fair amount of smoky eyes.” —Manish Malhotra
Manisha Koirala in Bombay (1995)
“I’m a hopeless romantic, and I like to think of beauty as a romantic idea. My frame of reference has always been Bollywood—that’s what I grew up watching. The early films of director Mani Ratnam—from Roja to Bombay, and some of his movies in Tamil and Telugu cinema—were all a defining experience for me. The way he shot women was so beautiful; I still look at the way the hair and skin have been shot in those films as references. These days, we talk about quiet luxury, and to me, his films felt like that back then. They were way ahead of their time. He has perfected how to make women look beautiful without doing too much. It’s definitely not conventional Bollywood glamour.” —Mitesh Rajani
Juhi Chawla in Yes Boss (1997)
“I was really little, but I loved seeing Juhi Chawla’s curls in Yes Boss—specifically, in a scene in which she wears the yellow dress. I had super-curly hair when I was younger, and I remember watching Juhi’s curly hair and feeling seen! I felt similarly about Kangana Ranaut’s long, coily hair in Gangster. That was another memorable moment for me—the realization that curly hair could be beautiful! Of course, it took me decades to start embracing my own waves and curls, but I distinctly remember those two beauty moments when I was growing up.” —Kiku Chaudhuri, cofounder of Shaz & Kiks
Kajol in Kuch Kuch Hota Hai (1998)
“How I feel about the scene in Kuch Kuch Hota Hai where Kajol dresses up to impress Shah Rukh Khan—who only laughs at her, to her embarrassment—has had such an evolution. When I first watched it as a child, I thought the makeup was ‘bad.’ It reinforced the stereotype that I grew up with, that one could wear makeup only in a specific way, and not unless we were conventionally pretty or had a full glow-up. Revisiting it now, I think it’s such a fun, playful makeup look that personifies Kajol’s lovable, outgoing character. That hot-pink lip is iconic! In my imagination, if this movie were made in 2024, Kajol would rock that look for herself, and not to impress a boy. As a side note, I’ve also always loved Kajol’s unibrow in all her movies.” —Priyanka Ganjoo, founder of Kulfi Beauty
Aishwarya Rai in Hum Dil De Chuke Sanam (1999)
“I grew up wanting to be a Bollywood actress—yes, I know, like pretty much every other South Asian out there. But I was fully convinced that it would happen, and I would spend hours re-watching scenes, practicing dialogues, and learning dance moves. And beauty was a huge part of the films for me. Aishwarya Rai’s eye makeup from Hum Dil De Chuke Sanam in the song ‘Nimbooda’ is one of my all-time favorite looks, and completely captivated me as a kid. Her bold eyeliner and smoky eye were so beautiful paired against the baby blue of her outfit. Her hair was another classic look: a high bun slicked back with oil, with a long, jewelry-adorned braid attached. Her blue outfit even inspired the colorway for my brand, Squigs! Funny enough, my two-year-old now makes me play this music video on repeat, and she tries to copy all the dance moves.” —Nikita Ramsinghani Charuza, founder of Squigs Beauty
Aishwarya Rai in Taal (1999)
“I remember seeing Aishwarya Rai in Taal, which was the first time I had seen a clean, no-makeup look in mainstream Hindi cinema. Seeing a main character in a big Bollywood movie with no-makeup makeup felt revolutionary back in the early 2000s. Growing up in the overly glitzy ’80s and ’90s and never being a big makeup wearer myself, I was excited to see a really different and fresh take on makeup that I could relate to.” —Shaz Rajashekar, cofounder of Shaz & Kiks
Kareena Kapoor Khan in Kabhi Khushi Kabhie Gham (2001)
“Honestly, Kabhi Khushi Kabhie Gham has one incredible look after another, but the scene with Kareena Kapoor Khan in the pink sparkly crop top and miniskirt with the pink-lavender eye shadow and light pink lips was a beauty moment I still come back to, even 20 years later. It was classic Y2K and the first time I remember seeing fun, colorful eye shadow paired with light pink lipstick on the big screen—and it just worked so well. It felt so modern for the time, and looking back now, it doesn’t look dated at all.” —Nikita Ramsinghani Charuza
Dimple Kapadia in Leela (2002)
“Dimple Kapadia from Leela still haunts me. She was about 45 or plays a professor around that age, who’s visiting the U.S. I loved seeing a middle-aged woman in a lead role and as the romantic interest of a younger man. She’s beautiful in this film, with her signature voluminous halo of impeccably blown-out hair.” —Mitesh Rajani
Deepika Padukone in Om Shanti Om (2007)
“In 2007, Deepika Padukone was in a film called Om Shanti Om. In one of these dance numbers, ‘Dhoom Taana,’ she plays out four or five iconic re-created scenes from other films. There are so many hair and makeup changes, and they truly show off the ability of what hair and makeup can do to transform an actress, with wigs, eyelashes, and hair extensions. So many transformations in a four-minute song was truly a wow moment.” —Harry Josh
Aishwarya Rai Bachchan in Guzaarish (2010)
“The second film I worked on as a costume designer was Guzaarish. It starred Aishwarya Rai Bachchan as a forlorn nurse looking after a paraplegic, who hides her loneliness behind an incongruous red lip.” —Sabyasachi Mukherjee
Deepika Padukone in Cocktail (2012)
“Cocktail, one of the films I styled, was the first in which the lead actress, Deepika Paudkone, has distressed, tousled hair. Before this, neatness had long been the focus of Bollywood actresses’ hairstyles, with every hair always in place. I was clear I wanted her to have a wild, carefree look that was fashion-forward and not too precious. No mainstream ‘heroine’ had done this before. That was the start of a freer, less uptight look for Bollywood stars, and now everyone is on board with a disheveled, textured look. Even her makeup was barely there, a cool-girl look with a dash of liner and a hint of a soft lip, which was so unlike the full-on foundation and heavy makeup we were used to seeing.” —Anaita Shroff Adajania
Priyanka Chopra in Dil Dhadakne Do (2015)
“One of my favorite Bollywood films is Dil Dhadakne Do. I re-watch it all the time, and that’s saying a lot, because I’m not too fond of newer Bollywood; I mostly stick to the classics. I love Priyanka Chopra’s beauty and fashion in it. I know the film receives criticisms because it’s a story about very wealthy, upper-class and -caste India, but coming from a Punjabi family, it resonates a lot. Priyanka’s looks are well thought out; her glam is natural and aims for subtle and pretty. I was so motivated to do proper blowouts after seeing her hair. Her beauty looks are perfect for the character: She is a family-oriented businesswoman with her own individual style.” —Arati Sharma
Deepika Padukone in Padmaavat (2018)
“The inspiration for my beauty line Ranavat actually came from my family’s Rajasthani lineage. The movie Padmaavat and its predecessor, Jodhaa Akbar, were and are still a huge inspiration for me. The elaborate royal palaces, the traditional jewelry, and extravagant saris showcase the incredible talent of Indian craftspeople. I always love to see the historical and traditional makeup looks from that era. The red lip and brown or gold smoky eye with heavy kajal or kohl is so quintessential, and it will forever have a place in my heart.” —Michelle Ranavat, founder and CEO of Ranavat
Kareena Kapoor Khan in Laal Singh Chaddha (2022)
“I recently started working with Kareena Kapoor Khan and watched some of her movies that I hadn’t seen before. Her bridal look from Laal Singh Chaddha has stayed with me as a reference point in recent times. She plays a minimalist bride, wearing a pale pink salwar, with subtle makeup. The finish of the base makeup on the skin is invisible, letting her skin shine through, and it’s paired with a soft smoky eye and blushing pink lips and cheeks.” —Mitesh Rajani
Anyone looking for beauty inspiration should take a closer look at Bollywood cinema. You don't have to be a film devotee to appreciate the elaborate bouffants and razor-sharp cat-eye flicks worn by actors in the 1960s, or the pastel eyeshadow shades and center-parted hair seen during the '70s. Plus, the whimsical camp looks from the '80s, smoky eyes in the '90s, and bouncy blowouts of the 2000s filtered through an Indian lens prove that Bollywood has long stayed on top of global trends.
Notable stars, such as Rekha and Zeenat Aman, have always been beauty catnip to those in the know, serving endless makeup and hair inspiration to millions with each new film release or red-carpet appearance. They’re understandably well-represented in the following list of beloved Bollywood beauty moments for their era-defining looks—many that continue to feed the imaginations of artists who still use them as reference points. But equally fascinating are the quieter industry trendsetters, the ones who snuck into our consciousness and never left once credits started rolling.
Bazaar asked a think tank of creatives across the beauty and fashion industries for their thoughts on some of the best beauty looks from Hindi cinema. These Indian and Indian-American professionals work directly with A-list movie stars and manage their own beauty companies, and all grew up on a healthy dose of Bollywood. Read on for their film selects below, which run the gamut between archival and modern films.
You Might Also Like
