My Iconic Bollywood Costume Styling Journey
Thirty years of cinema, from Jo Jeeta Wohi Sikandar to Tiger 3. Join me as I walk through the characters, the research, and the fabrics that defined my career.
It’s been 25 years since Hum Saath Saath Hain. I have such fond memories of designing the looks for Sonali Bendre, Karisma Kapoor, and Neelam. Sooraj Barjatya was my inspiration, and this film was a milestone.
Here is a glimpse of the song 'Leke Prabhu Ka Naam' from Tiger 3. I worked on the looks for Salman Khan and all the dancers, collaborating with the amazing Vaibhavi Merchant to bring this vision to life.
It’s a joy to see the next generation shine. I styled my dear Alizeh Agnihotri for her debut film, Farrey. I’ve watched her grow into a beautiful lady, and I'm so proud to be part of her journey into cinema.
For the film Chameli, sourcing the right look was a real challenge. I remember driving through Kamathipura to get the details right, and it was intense. But we survived and created an iconic look for Kareena Kapoor.
Dressing Tabu for Chandni Bar was one of my favorite projects. To get the styling right, we used to visit the actual bars and talk to the girls. It was hard work, but that authenticity is what made the look so real.
A throwback to styling the lovely Tabu for the iconic film Chandni Bar. She is my jaan, and working with her on this film was an unforgettable experience that pushed my creative boundaries.
Working with Aamir Khan on Hum Hain Rahi Pyar Ke was a breeze. He is known for being particular, but he was the easiest to work with. No drama, only pyaar, and we created some truly memorable looks.
This was a cool, young, and fun film. I styled Genelia D'Souza and Imran Khan for Jaane Tu... Ya Jaane Na. Genelia was a darling, and Imran was so real. It felt like a breeze to create their college-style wardrobes.
Pyaar Ke Side Effects with Mallika Sherawat and Rahul Dev was a blast. Mallika was so much fun, and as soon as the camera was on, she was pure magic. They made an odd couple, but the result was fantastic.
I remember Karisma Kapoor bleeding from the metal mesh top we used in Biwi No. 1, but she was one of the most professional actresses I've ever worked with. Sushmita Sen was a delight, and this film brings back so many memories.
About My Journey in Bollywood
People see the glamour on screen, but they don’t always see the research. Like driving through Kamathipura for weeks just to get the look for Chandni Bar right, or spending hours with Karisma Kapoor, ensuring her chainmail top in Biwi No. 1 didn't hurt even when it was bleeding. That’s the real work—making sure the character feels authentic, not just dressed up.
It’s been over three decades, and I’m still just as obsessed with fabric as I was on day one. When I started with Jo Jeeta Wohi Sikandar, that red dress—my nod to Marilyn—was a massive risk. I had no idea it would become a national sensation. That’s the magic of this job.
Bollywood isn't just about flashy clothes. It’s about building a vibe. For Josh, I was out in Goa with a cast of 100 people, just me, no assistants, building an entire Goan aesthetic that felt real, not set-up. I wasn't in a studio. I was in the bars, talking to the girls, understanding their reality. If you want the look to work on screen, you have to be able to sell the story behind it.
Over the years, I’ve had the joy of dressing everyone from Salman Khan and Aamir Khan to Kareena Kapoor and Sushmita Sen. But honestly? It’s not about the big names. It’s about the transformation. Whether we’re doing a classic period drama or a modern-day action flick like Tiger 3, my process is the same: source the right textile, pin, tweak, and make sure the actor can actually move. If they can’t breathe, they can’t act. Style ka koi rule nahi hai, but comfort is non-negotiable.
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