Costume Design Sketches & Creative Process
Every costume starts as a rough pencil sketch. This gallery shows the anatomy studies and early concept work that form the backbone of my design process, bridging the gap between a blank page and the final on-screen look.
A sketch I made during a shoot, capturing the director and crew focused on the monitor. This is where the world of film and costume truly merge, and it reminds me that we are all storytellers working together.
A look at the costume rack for an upcoming project. The process of selecting a color palette and organizing garments is a crucial step in building a cohesive visual world for any film or campaign.
An early pencil sketch of the male form from my time at the College of Art in Delhi. Studying anatomy was fundamental to understanding how fabric drapes and moves on the human body.
This life drawing of a female figure in a curled pose helped me study shadow and form. These foundational skills are something I still draw upon today when designing costumes that flatter and define the body.
A nude study from my archives, focusing on the gentle curves and posture of the female form. Each sketch was a lesson in observation and capturing the essence of a pose.
This anatomical sketch of a male torso was about understanding musculature. Knowing the underlying structure is essential for creating costumes that fit properly and enhance the actor's physicality.
Another study of the male torso, this time with more focus on light and shadow. These exercises in chiaroscuro from 16 years ago still inform how I think about texture and dimension in my costume work.
A portrait sketch from my early days. Capturing expression and personality on paper was a stepping stone to learning how to express those same things through the clothes a character wears.
About The Foundation: Sketches & Process
My design process starts with anatomy and light, not just fabric. When I sketch a character, I am mapping how a garment will move, drape, and interact with the actor’s body. This technical foundation allows me to handle everything from fabric aging for period dramas to avant-garde structural styling, ensuring the costume feels like a natural extension of the character.
The sketches you see here are more than just drawings. They are my exercises in understanding human movement, shadow, and proportion, which I have practiced since my days at the College of Art, Delhi. These foundational skills are crucial when I translate a director's vision into a physical garment.
Whether I am sourcing textiles from Mangaldas Market or distressing a jacket for a gritty ad film, the goal remains the same: narrative realism. When a director gives me a brief, I do not just jump to shopping. I break down the script, look at the anatomy of the character, and produce sketches that define the garment's intent.
If we are aiming for a gender-fluid look or a raw, earthy period costume, the logic starts here on paper. It helps the production team visualize the silhouette before we ever touch a needle. This methodical approach is what I bring to feature films and commercial projects alike, ensuring that every layer, from the fabric choice to the final styling, serves the story.
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