Neeta Lulla records the transformation of Aishwarya Rai from model and actress to 1920’s heroine.
"If I had had an inkling of what was in store for me during the making of Devdas , I would have been in two minds about designing the costumes.
Take the instance of a few days ago. We were shooting the climax of the film - Paro has just finished her puja when the maids shout that someone is dying.
The Climax Scene For this scene, I had designed a 10-m long red and white Dhakai muslin sari for Ash who plays Paro in the movie. The borders of the sari were lightly embroidered and matched the work on the blouse.
We had gone through an entire day of shooting. Sanjay Leela Bhansali, the director, wanted to see what Ash would be wearing in the next scene scheduled for 10 am the next day.
I got Ash ready by 11 pm. She looked beautiful. An entire day of shooting hadn’t withered her poise and elegance.
Sanjay walked in and exclaimed with delight, “Gorgeous.” Stop. I saw a flicker of doubt cross his mind and he gave her a second, scrutinising look. I held my breath. I knew something big was gonna come down. Sure enough. He said, “Something is missing - that little gloss. I want my Paro to look resplendent. When she runs, her sari must shimmer and flow in the wind. I want silk.”
The word had been given, the challenge was mine. Greater so, because I wanted to deliver the sari by 10 am the next day and be punctual. In big-budget films, like these on the scale of Devdas , I wasn’t going to stake my reputation nor the crores of rupees involved.
The maniacal run began. It was 1 pm. Aishwarya tried calling Kiron Kher, Jaya Bachchan and Rani Mukherjee’s mother - asking them for their saris. Meanwhile, I had left the sets to pursue a friend who usually supplies me with fabrics and saris.
I called him up saying, “I need fabric.”
Supplier one: “Are you mad? It’s 2 in the morning. Anyway, I’ll try and work something out.” With no time to waste, I called up another supplier. “I need fabric.”
Supplier two: “Are you crazy? I’m partying all the way in town. And, anyway with the way I’m dressed, I can’t go home. My parents would throw a fit.”
Just then, my first supplier calls up to tell me he’s arranged for some fabric at Kandivali. Luckily for me, I got 20 m of fabric. My masters and karigars were waiting to get the show on the road. We removed the border from the first sari and transferred it onto the silk one. By 9.30 am the next day, I had two saris and three blouses ready. Sanjay loved them.
Cut To The Beginning - Early 2000: We have just finished shooting Hum Dil Ke Chuke Sanam . Without actually having it said out loud, I know I’ll be designing the clothes for Devdas . My work has already begun, even though Sanjay hasn’t chosen his cast.
I am not surprised when Sanjay invited me and Art Director Nitin Desai (who is responsible for the sets) along with some technicians to the Film and Television Institute of India in Pune, to watch the two previous Devdas films as well as several Bengali movies. Through the intensive screening, Sanjay gave us a running commentary. “Nitin, look at the sets and the colours here. Check out the light. Neeta, see the fall of this sari, pay attention to the drape here...”
The Beginning Of Devdas