My love for films is bigger than my love for fashion, says Ponniyin Selvan costume designer
The film adaptation of Ponniyin Selvan, which was once a distant dream for Tamil cinema, was finally realised in 2022. Apart from the stellar star cast, aesthetic visuals, glorious music, and of course, Mani Ratnam’s vision, the fashion of the Cholas received wide appreciation.
The vibrant Kanjivaram saris, traditional zari, temple borders, exquisite kemp jewellery and firm armours did aid in bringing to life the golden era of the Cholas. “We could nail it because we did a lot of research on how the audience perceived these characters to be, and created a visual representation of their imagination,” says the film’s costume designer, Eka Lakhani, who speaks to us about what to look out for in the second part of Ponniyin Selvan.
Following Ponniyin Selvan 1’s release, fans showered so much love for the costumes, accessories, and styling. Many even recreated the looks from the film…
Initially, all the love was so new to me. I wasn’t sure how to react to it. I saw brides and kids dressed up like Kundavai and Nandhini. As a designer from Mumbai, I was nervous about how South Indian audiences would accept what I am doing. Now, I feel so overwhelmed by all the love coming my way.
Ponniyin Selvan 1 boasted a vibrant range of Kanjivaram fabrics to temple jewellery. Is there a particular style statement we can look out for in the second installment?
The second part is simply an extension, so the essence will be the same. As far as the costumes and jewellery are concerned, it will reflect the golden age of the Chola Dynasty. The detailing on the clothes will be more elaborate and there will be a lot more grandeur. You will see Kanjivaram, temple borders and accessories. But the layering of fabrics will be different this time. PS 2 will introduce some new characters and there will be more action sequences compared to PS 1. It was also interesting to work on Aishwarya Rai Bachchan’s Oomai Rani look.
A colour palette is crucial when it comes to designing the outlook of the characters, especially to complement the tonality and mood of the scene…
Mani sir gave adjectives describing each character. Based on this, we decided on the colour palettes. Kundhavai (Trisha) is born into royalty. She is authoritative and has a strong voice in the family. So we opted for metallics like gold and silver that will reflect her nature. On the other hand, Nandhini (Aishwarya Rai) has acquired royalty almost like new money.
So she would show off her jewellery. At the same time, she is mystical, mysterious and sensuous. So we chose colours like black, bronze and red. While Kundhavai’s pallu is stiffly pleated, Nandhini’s is let loose to reflect their authoritative and sensuous qualities, respectively.
Speaking of the men in the film, for Aditha Karikalan (Vikram), we chose darker tones that will define his rage and passion. Arunmozhi Varman (Jayam Ravi) is Prince Charming. He is a public figure who people look up to for stability. So we chose armours and attire that reinstate his simple yet royal stature.
While Arunmozhi Varman and Aditya Karikalan’s armours are suitable for battlefields, for Vandhiyathevan (Karthi), we designed armour, which is more like travel gear with intricate detailing on the shoulders. Since he wears it throughout the film and travels to different places, our idea was to make it comfortable and durable.
It wouldn’t have been easy to get into the age of the Cholas. What helped you push your limits to widen your horizons?
I could do all this only because of Mani sir’s constant support and guidance. First, he makes us understand his vision and then he pushes us to do better and unleash our untapped potential. For PS, he wanted the costumes to be a blend of fantasy and reality. Processing this expectation and creating the desired output was challenging and exciting at the same time. I got introduced to a completely new culture. I understood why many generations love this tale of fiction and their excitement for the film adaptation. This was the first time I did a costume recce. My working process was new.
Above all, I learnt that whatever scares you will give you the most joy and satisfaction. We worked on this film during a pandemic. We were all in PPE suits on the sets and managed to dress up around 3,000 artistes after doing regular Covid-19 tests. It was challenging, but now when we see the final output, I feel a sense of great satisfaction.
From starting as an intern designer in Ravanan to making your independent debut in Kadal, and now, Ponniyin Selvan… how has the journey been?
I feel the little lost child who once entered the sets of Ravanan has now evolved as a confident individual whose understanding of cinema has widened. Working with Mani Ratnam was a dream, but I never knew I will get to work with him this early in my career. I am forever grateful to him.
As a costume designer, who has the power to dictate new trends, and design the latest fads, what is success according to you?
I always say, my love for films is way bigger than my love for fashion. I believe costumes should aid actors in transforming into characters and take the narrative forward. If I can do this skillfully, it is a victory for me. The film does not need to speak fashion but tell a story. The success is not when I have given a new trend out, but to ensure costume design goes hand-in-hand with the story.
You have recently ventured into styling…
Yes, this is something different from what I do in films. I really enjoy styling Ranveer Singh and Karan Johar, who are known for their eccentric styles. I am extending my styling venture with PS actors for their promotional tours. I am elated to see a lot of appreciation for their looks. However, I would still say films are my first love. And on the film front, my next would be Rajkumar Hirani’s Dunki starring Shah Rukh Khan, Karan Johar’s Rocky Aur Rani Ki Prem Kahani and I am also styling Trisha for the Vijay-starrer Leo.
ALSO READ | ‘Ponniyin Selvan-2’ review: The intimate in the grand, the emotion in the chaos
This copy originally appeared on cinemaexpress.com
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