Sravan Kumar Priyanka Chopra as Everyone know She is Miss World and know about Fashion world deeply also. Madhur Bhandarkar chose priyanka in lead role that's good luck to him and kangana ranaut is best actress undoubtely. A Girl how start her dream career in Mumbai that was showed awesome. And the models are how trap in other ways and the risk of fashion life Cleverly implemented. Madhur always comes with good stories this is perfect modeling story, He has showed in that screen very hypothically. Priyanka and Kangana are best performance on the screen, as Priyanka worked in modeling world earlier that is great advantage to win National Award through this film and Kangana also won best supporting actress. Then Everyone know how the movie was judged by National awards team to announce the awards. N Number of films will come in future on fashion and modeling this is the best picture ever. Priyanka,Kangana and Mugdha Godse so cool leading roles in entire movie. Thanks to Madhur Bhandarkar to made a good picture in bollywood on modeling.

Rohan Muralidhar 'Fashion' is one such much movie which was out of the box, i still remember, i was in 10th standard when this movie came out. During that time i was hooked to its songs especially 'Kuch khaas' sung by neha bhasin and 'Mar Jaawa' by shruti pathak, which was quite hummable. I like the way director Madhur Bhandarkar weaved the story about aspiring models from small towns come all the way to achieve big in the glamour capital of India Mumbai. It even showed about the ruthlessness of the businessmen who manipulates these youngsters and hurt their emotions which is damaging. I especially liked the scene where Kangana motivates Priyanka Chopra to shut the mouth of the biggies who insulted her and never feel too guilty about oneself. The narration by Priyanka Chopra throughout the movie explaining about her life in the fashion industry was tight and captivating. Kudos to the star cast and the cameos in it.

silvan-desouza Madhur's films are reality driven mostly, like CHANDNI BAR, SATTA, TRAFFIC SIGNAL, PAGE 3 This time he shows the world of FASHION but sadly his research, ideas of Fashion seem too naive, superficiallike how does a supermodel not know about the no marriage clause and many thingsThe film could be handled better and though certain scenes like wardrobe malfunction, Kangana's character and some more are handled wellThe overall film is damn predictable, too simplistic and ends like a one dimensional filmThe ease at which Priyanka becomes a big model in the end is too much and also Madhur tries to show the bad side a bit too much also too many gays in the film, why? The entire sleeping with a black scene seems too much Madhur does handle some scenes well but overall not his best film Music is goodPriyanka does her part well but her make up, dresses, hairstyle are bad many times, that too for a model Her acting is good enough and manages to convey the turmoil.etc Kangana Ranaut steals the show with a natural performance, but she needs to get off this similar roles now Arbaaz Khan is good, Harsh is excellent Arjan Bajwa is good, Mugdha Godse is excellent, Sameer Soni is alright, Kitu Gidwani is adequate

ilpintl "Page 3", "Corporate", "Chandni Bar", "Traffic Signal", the previous efforts of Madhur Bhandarkar, wore their ragged production values as a badge of honor: the grainy film stock, the tatty wardrobes, the casts that appeared to be recruited right off the streets were meant to indicate a seriousness of purpose and a defiance of the accepted Hindi film aesthetic. These films were gritty, unlovely, a tad too earnest, and somewhat salacious, for, in their quest to expose societal filth, they had much in common with tabloid journalism and trash TV. What elevated them, however, was Bhandarkar's knack for drawing out strong performances from his actors. "Page 3" exposed, without any discernible glee, and more's the pity, the tawdry lives of socialites but gave film-viewers a vivacious Konkana Sen Sharma and a hard-as-nails Atul Kulkarni, while "Chandni Bar", a gloomy look at the lives of bar dancers, offered a piece de resistance performance from Tabu. I haven't seen "Corporate" or "Traffic Signal", but suspect they are similarly plodding and humorless.Bhandarkar's production budget was certainly quadrupled for his newest opus, "Fashion" to depict the glitz and glamor of the latest industry to come under his gimlet-eyed scrutiny. "Fashion" boasts slick production values, a thumping techno soundtrack, but unfortunately, not a lot of fun. Fashion, a worldwide multi-billion dollar industry, is certainly a serious business, but to be entertainment, it shouldn't take itself unduly seriously, because—let's face it—astrophysics and neuro-surgery, it ain't. Sure, the business has always attracted the pretty and none-too-bright, as also the predatory and disreputable, but if Bhandarkar's take on it is as accurate as touted, it has lost the all-important aspect of fun, which is what makes it attractive to millions the world over.Shobha Dé documents the infancy of the Indian fashion scene in her vastly entertaining memoir "Selective Memory". In one amusing anecdote, an industry lech proposes that the three young models Shobha, Zeenat Aman, and Asha Puthli perform a striptease for him. While the naïve Shobha and Zeenat are horrified, Asha Puthli giggles her readiness and darts off to her room to prepare. She emerges wrapped in shredded newspaper, does a saucy little dance, and says to the creep, "You got your striptease: here are the strips"—pointing to her newspaper costume; "and I am the tease." In the ensuing laughter, the man loses the nerve to pursue them further. It was this crucial element of light-heartedness that is missing from "Fashion". Sadly, Puthli, who also acted in the early Merchant-Ivory film "The Savages", vanished a long time ago, a rumored victim of drug addiction. I wonder if it is because fashion is now big business in India, as it always was elsewhere, that Bhandarkar doesn't find much levity in his enterprise."Fashion" tells the story of three fashion models at different stages in their careers: dewy fresh, somewhat plump Meghna (Priyanka Chopra) is the small-town girl recently arrived in Mumbai with a ferocious drive to succeed; Shonali (Kangna Ranaut) is the fine-boned, wild-maned reigning queen of the ramp, while Janet (sprightly newcomer Mugdha Godse) is the worldly long-time model who's never struck it big. Right off the bat, Meghna acquires a fairy (of course, he's gay) godmother Rohan, fashion industry small fry with some tenuous access to the bigwigs. Predictably, we witness Meghna's ascendancy even as Shonali's star is on the wane. The race is on, and it seems the one who can look more sullen who will emerge triumphant. Sensible Janet, ever on the sidelines, proffers nuggets of wisdom to upwardly-mobile Meghna, and settles for a marriage of convenience with a successful closeted gay designer. Shonali turns increasingly erratic, suffering drug addiction and much degradation from a parasitic lover, while Meghna, newly svelte, hardened and callous, nimbly steps into the top position, despite some dangerously high heels.If "Fashion" works as a cautionary tale, it is due to Kangna Ranaut and Priyanka Chopra, who rise above a rudimentary script, devoid of subtlety or nuance, and deliver haunting performances. Both have taken on daring (by Indian standards) roles depicting drug abuse, along with some truly scary scenes requiring them to appear without makeup. While not exactly bimbos, they do appear to confuse hubris with confidence and throw hissy fits that underscore their pettiness. But the girls succeed in bringing out the human frailties, ambitions, and hopes of the characters.Despite Madhur Bhandarkar's insistence that "Fashion" is the result of diligent research, the characters are stereotypical. The models are relentlessly vapid and all the gay characters (save one—the closeted one) flounce and lisp. Is this Bhandarkar's idea of humor? Stanley Tucci in "The Devil Wears Prada" is frighteningly efficient, clever, funny, and long-suffering, and one perceives immediately why he is the Meryl Streep character's right-hand man. He is gay, but that is never belabored.Smart writing would have punched up the proceedings, and made "Fashion" more watchable. Reality isn't all it's cracked up to be, and we're usually at the movies to escape it. Realistic cinema doesn't have to be as boring as real life; that's where artistic license comes in. I did like Kittu Gidwani, a model from the 'eighties who graduated to movie roles, looking remarkably fit and fine, playing the morally ambiguous fixer at the fictitious agency named Panache, where our model heroines futilely battle for supremacy. Panache is owned by one Abhijit Sarin—played with reptilian sang-froid by Arbaaz Khan—with Gidwani, stubbing out one cigarette after another with her long elegant fingers, as his prime enabler. The married Sarin routinely beds "the Face of Panache", whoever she might be at a given moment, and heartlessly inserts anti-pregnancy clauses into modeling contracts. They could have been cartoonish villains, but the pair possesses too much chic and—let's say—panache, to let their characters become laughable."Fashion" aspires to be serious cinema, but given its theme and scope, should have opted to be light as a soufflé, the better to get its point across.