Green is the shade of renewal, but in the hands of contemporary couture, it trades garden sweetness for sovereign majesty. Day Six arrives drenched in the cool mystique of deep moss, crushed olive velvet, peacock teal, and crisp raw silk. It is a pigment that naturally commands intrigue. When styled with high-fashion restraint, green moves effortlessly between old-world royal courts and modern after-dark galas. The trick lies in tactile juxtaposition: pairing liquid silks with architectural bullion or offsetting deep forest greens with heirloom uncut polki. Here is how the fashion circle decodes the palette with effortless flair.

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The Tactile Drapes: Crushed Velvet and Imperial Weaves

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Kriti Sanon delivers pure siren drama in this plush olive-green velvet saree. Velvet holds light like nothing else, giving the deep forest tone an almost liquid sheen across her form. She pairs the drape with a gold bullion-encrusted sweetheart bustier featuring halter straps that lift the eye directly toward bare shoulders. The ornate scalloped border frames her waist, requiring no neckwear whatsoever. She accessorises with sculptural diamond chandelier earrings and an oversized cocktail ring. Complete this nocturnal look with centre-parted glass hair, smoky brown kohl-rimmed lids, velvet nude lips, and soaring metallic stiletto pumps.  

Aditi Rao Hydari represents pure, undiluted royal heritage in a rich emerald silk saree detailed with circular golden peacock buttis and a fine zari hemline. Draped with textbook classicism, she pairs the weave with an elbow-length metallic gold brocade blouse that recalls vintage palace portraiture. Her styling choices are wonderfully unforced: oversized antique temple gold jhumkas brushing the neck, a clean middle-parted sleek bun, and radiant velvet skin punctuated by a deep berry-stained lip. Slip into embroidered gold mojaris and carry a small antique brass minaudiere to mirror her regal composure.  

Ananya Panday showcases the timeless allure of an understated drape in this light olive georgette saree. Bordered with intricate mirrorwork and tonal sequins, the fluid fabric cascades effortlessly into clean pleats. Her heavily encrusted short-sleeved blouse with a curved sweetheart neckline provides tactile contrast against the whisper-thin chiffon body. Ananya strips back the neckline entirely, choosing dramatic antique silver-gilt chaandbalis to anchor the upper frame. A loose, romantic updo with soft flyaways, warm flushed cheeks, and metallic ankle-strap heels make this ideal for sunset celebrations that shift into night.  

Janhvi Kapoor turns daytime festive into an unforgettable vision in a lime-green and teal ombre bandhani saree. The dense tie-dye dots and heavy metallic tassel fringe along the pallu creates vivid texture. She pairs the fluid drape with a contrasting dark bottle-green velvet sleeveless blouse that grounds the brightness of the silk. Around her neck sits a magnificent multi-strand uncut polki and pearl collar choker that commands instant reverence. Janhvi finishes the aesthetic with a soft, centre-parted low chignon, luminous dewy skin, and metallic bronze juttis.  

The New Silhouettes: Kinetic Tulle and Corseted Architecture

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Ananya Panday redefines lehenga dressing with an avant-garde edge against palace fountains. Her outfit pairs a voluminous sea-green and gold printed circle skirt with a sharply tailored, structured corset bodice. The halter-cut peplum blouse features ornate silver zardozi embroidery that tapers neatly at the ribs before opening over the hips. She accents the halter frame with an antique kundan choker and matching tops. A sleek half-up ponytail, brushed-up feathered brows, and metallic platform wedges allow the multi-tonal printed skirt to float dramatically with every step.  

Janhvi Kapoor leans into ethereal couture romance in this sage-moss green lace creation. Combining an embroidered floor-length jacket with a sheer front slit and a floating silk underlayer, the silhouette offers statuesque length without feeling heavy. The scoop neckline and fitted sleeves highlight clean lines. Janhvi chooses subtle ruby-drop earrings to inject a calculated sliver of contrast, keeping the hair in brushed-out, lived-in mermaid waves. Pair with champagne pointed courts, softly contoured cheekbones, and a delicate satin rose pout for a twilight gathering.  

Sharvari Wagh brings energetic youth and graphic charm to festive dressing in an earthy olive-green printed lehenga. The chevron-patterned crop top with delicate spaghetti straps pairs with a flared pleated skirt accented with crimson piping along the hem. A rich forest-green silk dupatta draped across the elbow completes the kinetic silhouette. Sharvari stacks silver bangles along her wrist and adds a delicate kundan choker around her throat. A half-up twisted hairstyle, soft coral lips, and flat embroidered juttis make this ensemble as practical for fast-paced garba rounds as it is photogenic.  

Kriti Sanon rounds out the edit with clever, multi-layered colour blocking. She layers a mint-green longline kurta over shimmering gold brocade sharara trousers, topping the look with a sleeveless bottle-green vest coat trimmed with delicate thread ties. The dialogue between seafoam, olive, and gold creates sophisticated visual depth. Kriti carries a micro structured gold crescent-handle bag swinging from her hand, finishing the styling with antique silver-toned jhumkas and soft bohemian waves. It is relaxed high-society fashion that feels both modern and delightfully irreverent.

Green carries an inherent nobility that needs no loud embellishment to be felt. On the sixth night of Navratri, it offers the ultimate palette for those who favour subtlety over saturation. Whether rendered in the liquid touch of velvet, the graphic swing of bandhani, or layered silk separates, wear it with architectural poise, keep your jewellery intentional, and let the quiet luxury of the hue claim the room.

Also Read: The Sunny Edit: Navratri’s Fifth Day in Radiant Yellow

Smita was one of those rare actors who made a director’s job an absolute pleasure. She was a complete director’s actor, immensely talented, instinctive and deeply committed to her craft. She had an extraordinary ability to understand a character and bring it to life with a naturalness that was only her.

My association with Smita goes back to Ghulami, my first film as a director, and it was during that film that we grew very close. What began as a professional association soon became a personal friendship. Smita, my younger brother Deepak, Vinod Khanna, our dear friend Prakash Menda and I were part of a close group . We were more like an extended family than just a group of friends, and some of the happiest memories of my life were spent with them.

One memory of Smita that has always stayed with me is from our days shooting Ghulami in the desert. We would be shooting for long hours, and the unit would return to our tents at all sorts of odd hours. Yet, no matter how late it was, Smita would make sure that there was food waiting for us and that hot rotis were being made for everyone. It was such a simple gesture, but it spoke volumes about the person she was. In the middle of a demanding shoot, she would think about whether everyone had eaten and was looked after. That warmth and thoughtfulness are things I have never forgotten.

I remember Smita not just as a brilliant actor, but as a dear friend who was very close to me. She had an extraordinary gift for her craft, but it was her warmth as a human being that made her so special. The time I spent with Smita and Vinod, and the friendship we shared during those years, remain some of the most cherished memories of my life. I miss her and him a lot. Some people leave behind great performances; others leave behind a part of themselves in your life. Smita did both.

Also Read: “Both Smita and I Were Expecting Our Sons at The Same Time” – Rati Agnihotri Recalls

Let us begin by mentioning that Smita Patil didn’t take any fees for Waaris. We were a young team of three which had previously produced the cult classic National Award-winning Punjabi superhit Chann Pardesee. Waaris was originally planned as a Punjabi film called Muklaawa, but when Smita came on board she suggested that we make this powerful script in Hindi to reach a wider audience. Smita was so excited when our director Ravinder Peepat gave her a narration that she went out of her way to put remuneration aside and give priority to her dates even though she was very busy doing double shifts at that point of time.

When we shot in Haryana, Smita wanted to get the authentic body language and learn the exact way that the village women cut the fodder in the fields and lift a heavy bundle on their heads. In the film she matched every move with the village women. Smita got under the very skin of the character Paro brilliantly written by Baldev Gill but there were times when she refused to go ahead if she felt she was not doing justice. There is a scene in which she tells her father-in-law that “ye vidhwa toh usee din suhagan banégi jab aap ka beta usey lene aayega”. Smita took a day off and thought about the scene. Next day she gave a perfect shot. What a brilliant and dedicated actor.

In between the shots if she had time to spare, she would be seen reading a book or happily chatting with the local women. We were shooting in Rajpipla, Gujarat and Smita not only went into the minutest details of her own costumes and make-up but also of the other

characters in the scene. She asked questions and until she was satisfied, she would not move on.

With just a song and some minor patchwork remaining and Smita being pregnant she insisted on finishing her work before her delivery was due. She shot the song Aare munjhe, taare munjhe and finished her entire work. It was her immense dedication and love for her

work that made it possible for us to complete the film. Alas, she did not live to dub her own voice.

It was out of love and respect for her that Rekha and Shaban Azmi offered to dub for her. When Rekha began to dub, she listened to Smita’s original track and got into each and every nuance and tone. When Rekha began dubbing, she spoke the lines and asked if it was

okay. Baldev argued that the lines have been dubbed but the thought behind is missing. Baldev Gill even walked out but Rekha called him back and asked him to tell her what was missing. Once Rekha got the feel and the spirit of the character she completed the dubbing

without a flaw.

Smita and Amrish Puri’s characters ran parallel to each other. It was a powerful face off but she held her own even when Amrish Puri had to push her and slap her in a scene her eyes blazing fire in that scene. In the Samadhi scene where Paro (Smita’s character) speaks to her husband. Smita was not happy with the scene. She said rewrite the scene like you first wrote it in Punjabi. It’s not as effective as in Hindi. I rewrote that scene and translated the Punjabi lines word for word in Hindi. She was happy and she gave a perfect shot.

40 years later when we look back and think of that wonderful self-respecting woman called Smita Patil we are still in awe of her larger-than-life character in Waaris. We miss all those associated with Warris, especially director Ravindra Peepat, our late partner Yog Raj Sedha, and of course the magical Smita Patil. Waaris wouldn’t have been half the film it was without her support and cooperation. Smita Patil was the soul and spirit of Waaris. Whence comes such another?

Also Read: “Both Smita and I Were Expecting Our Sons at The Same Time” – Rati Agnihotri Recalls