Costumes in Bollywood have long been eye candy—designed to dazzle, trend, and sell. But over the last decade, a quiet revolution has been reshaping this notion. Today, wardrobes are no longer just decorative; they are deliberate, deeply researched extensions of the script. From socio-economic markers to emotional cues, costumes in Hindi films are becoming powerful tools of storytelling—often saying more than dialogue itself.From Fashion to Function: The Rise of Character-First StyleCostume design in Bollywood has evolved from glamour-driven spectacle to immersive storytelling. Designers like Poornamrita Singh and Arjun Bhasin redefined this approach in Gully Boy (2019). Murad’s look—a mix of streetwear knock-offs, ragged hoodies, fake Adidas sneakers, surma, and talismans—visually anchored him in Dharavi’s reality and mirrored his emotional journey from underdog to underground icon.Similarly, in Gangubai Kathiawadi (2022), designer Sheetal Sharma wove character arc into every look. From monochrome sarees with gold-buttoned blouses to elaborate Kathiawadi jewellery, even the way Alia Bhatt draped her pallu signaled Gangu’s transformation—from brothel girl to mafia matriarch.The New Collaborators: Designing in Sync with Directors and ActorsBollywood’s costuming process is now an ensemble effort. Designers are no longer brought in just to dress stars—they’re embedded early into the creative process, becoming part of the visual storytelling team.Costume Designer Amritha Ram, who worked on Thug Life with Kamal Haasan and director Mani Ratnam, shared with ETimes her detailed process of crafting looks that trace the protagonist’s journey from youth to emotional and physical transformation. In her own words:“So with this film, I had three different stages of his character, and each stage was very clear. The first one was a very young look—it was a 90s look. So we focused on tones and everything, and it turned out to work well.The second and third looks were very important. You move from the younger look to the middle-aged look where he resides in Delhi. We looked at what a thug would generally wear in Delhi. Mani sir was very clear about keeping it minimal—not over-exaggerating or adding too much. He said Kamal sir’s character speaks for itself. He’s an actor who needs to be kept absolutely minimalistic.
So we added one signature watch. Back then, digital watches were really fashionable and easily available in the black markets and bazaars, so we gave him a capsule digital watch—which you’ll observe in the second look. Initially, he wears a gold watch that he gifts to Mr Simbu. Then, after he gets back from jail, we go with the digital watch and a very simple, understated khada. Not the regular one, but something slightly similar—we kept it very simple and clean.Everything else is just what you see—it all fell into place. The colour palettes were designed to be very neutral—white, beige, brown—and of course, midnight blue and black. We used warm and cool tones for that particular look, and hair that went with it. Mani sir had even given me an illustration of how he wanted everything else to look apart from the clothes.How Mani sir works is—first I come up with a costume board, then we sit and work on it together. He picks what he wants, and then we go ahead and make everything. Then we have a trial day—which is more than just a trial day. It’s a day we finalize the looks. We try everything on Kamal sir, Mani sir takes pictures, and then we shortlist. There might be one more round, or we may end it there. By the time we reach the shoot, we know exactly what we want. Auditions and improvs are always there, but most of it is set—and if we need to do something extra, we know what that might be.
Look three follows the character’s journey completely. He’s in Nepal, untamed—his beard grows bigger and wider. He grows his hair long and textured. We tried a lot with the hair. For the aesthetic, we looked at what comes from Nepal. It had to be understated but very relaxed.I prepared a board again, and sir went through it. We had two days of shoot for this look. On the first day, we made a set of outfits, tried them out, and then the director chose a bunch. We worked more on those. For this look, we decided on “no color”—you’ll see green and black, and that’s about it. It had to reflect the mindset of the character.There was one more detail we focused on: for a man who lives in Delhi, who has always worn simple suits—shirts and trousers since his young age—to move into this look, we didn’t want anything too stylish. We wanted something appropriate. There’s even a dialogue in the film where his wife says, “Oh my god, is this new? Did you pick all this for me? This looks like a costume for a movie.” That’s how deeply it’s woven in. Everything fell into place. It was a great process for me.”Eka Lakhani, known for her work in Sanju and Rocket Boys, took collaboration a step further. She reportedly met real people connected to the biopics to replicate wardrobes that felt lived-in, not curated. Costume designers today are no longer stylists—they’re storytellers who work hand-in-hand with DOPs, directors, and actors to visually script a character’s arc.
Case Studies: When Costumes Become Characters:Gully Boy
Murad’s journey is visible in every outfit. From second-hand hoodies to upgraded stage-wear, his clothing evolves with his confidence and ambition. Poornamrita Singh and Arjun Bhasin’s detailing—be it a threadbare backpack or MC Sher’s layered accessories—spoke volumes without words.Gangubai Kathiawadi
Sheetal Sharma referenced Mughal silhouettes and regional Kathiawad traditions. Her shift from cotton sarees to jadau-embellished ensembles mirrored Gangubai’s rise in power—and isolation.Animal
Ranbir Kapoor’s wardrobe—distressed leather, wolfpack-inspired jackets, and sharp western silhouettes—mirrored the protagonist’s internal chaos. Costumes here didn’t scream; they simmered.Chhaava
This upcoming historical drama starring Vicky Kaushal and Rashmika Mandanna is a standout example of character-first styling in 2025. Costume designer Sheetal Sharma invested an entire year researching 17th-century Maratha attire—traveling to Paithani textile hubs like Paithan and Narayanpeth, restoring 500-year-old saree borders, and sourcing authentic accessories from Kolhapur and Ratnagiri. . The result? A visually rich, culturally rooted wardrobe where every Paithani drape and heavy ornament underscores the protagonist’s royal lineage and emotional depth.Sardar Udham
Period authenticity was crucial. Designers employed vintage watches from Delhi’s black markets and rural khadi textures to recreate the socio-political reality of the freedom fighter’s world.Accessories That TalkTiny details often carry the heaviest emotional weight. In Thug Life, a watch sourced from Delhi’s grey markets hinted at the character’s link to illicit survival economies. In Gully Boy, MC Sher’s layered chains contrasted Murad’s bare essentials—highlighting class difference even in friendship. In Gangubai, ornate jadau shoes and Kathiawadi shenan jewellery offered glimpses into Gangu’s loneliness masked as grandeur.Trial Day: The Creative RehearsalTrial days—early wardrobe testing on set—are now treated like emotional rehearsals. Actors and designers use this time to explore silhouettes, fabric textures, and styling that feel “right” for the character. These sessions also help DOPs test how fabrics move under light or camera setups. It’s no longer about what “looks good” but what feels truthful.Minimalism vs. Commercial Hero StylingDespite progress, a creative tug-of-war continues between character-first styling and glamorous hero-centric wardrobes. Directors like Mani Ratnam or Shoojit Sircar lean toward authenticity, often opting for subtle, layered looks that communicate without spectacle. Others—particularly in masala cinema—still chase high-impact visuals.
Designers navigating both worlds often read the script in depth to create style that emerges from the character rather than imposing glam for glam’s sake. This duality is visible in films like Rocky Aur Rani Ki Prem Kahani, where traditional opulence is balanced with personality-driven quirks.Sustainability and Regional AuthenticityAnother shift is towards conscious costuming. Designers like Manoshi Nath and Rushi Sharma (of Fool’s Paradise) introduced sustainable practices in PK, using recycled fabrics and pre-loved clothing from rural communities. They also forged direct relationships with local artisans, ensuring authenticity and livelihood.
In Bajirao Mastani, designer Anju Modi crafted intricate wardrobes with real Persian influences—embroidered angrakhas, zardozi detailing, and authentic turbans—to reflect the mixed Maratha-Mughal heritage of the characters.Final Stitch: Costumes Are the New DialogueCostumes in Bollywood today are no longer just eye-candy or trend statements. They’re quiet yet commanding voices in the story—amplifying emotion, exposing subtext, and adding regional or historical weight. With each drape, accessory, or fabric choice, designers are not just dressing actors—they’re writing screenplays in silk and denim.Because sometimes, what a character wears says what they can’t.
