Today on Valentine's Day, Laxman Utekar's film Chhaava has been released, in which Vicky Kaushal and Rashmika Mandanna are seen in their respective roles. The acting of both of them is getting a lot of praise from the audience and the critics. Apart from the story and acting of the film, there is one more thing which has become a topic of discussion among the people - that is the costume design and colour scheme of the film. For this, the costume designer of the film Sheetal Sharma is getting a lot of praise. Let’s talk to her about some special things about the costumes and design choices of the film.

Q: Chhaava is a grand historical project. Where did you begin your costume research for the film?

Sheetal Sharma: The first and foremost thing was understanding the director’s vision. Being a Maratha himself, Laxman Utekar sir had a very clear idea- he wanted the costumes to reflect authenticity, along with Maratha grandeur. Sambhaji Maharaj is a historical figure, but unlike Shivaji Maharaj, there aren’t many visual references for him. We know him as a son, a warrior, an emperor, but there are no photographs or paintings that define his exact look. So, getting the details right was crucial. To ensure accuracy, I started by meeting historians- experts from Aurangabad, Pune, and Nashik. We had extensive discussions, spanning two to three days each, covering everything from clothing to art. One historian even visited our office at Maddock Films. Their insights were invaluable. They described Raigad Fort, Yesubai’s chambers, the design of Sambhaji Maharaj’s throne, which was said to be made of tons of gold. Unfortunately, little of it remains today, but their descriptions helped us recreate the grandeur of that era.

Q: Indian historical films often use subtle color palettes, but Chhaava seems to take a different approach. Can you elaborate on your color choices?

Sheetal Sharma: In most period films, there’s a tendency to use soft, English pastel tones to make everything look soothing to the eye. But Laxman sir, being a Maratha himself, pointed out that this wasn’t true to history. The Marathas weren’t known for pastels- they embraced vibrance in their textiles, art, and culture. Even widows wore deep maroons and greens instead of muted shades.

We researched paintings from the early 17th century and noticed an extensive use of white for the king. White symbolizes peace and prosperity. Gold was used heavily, especially in royal garments. For war sequences, we had to shift to khaddar and armor. We even experimented with gold kadi block printing. We got custom wooden blocks made to emboss patterns on fabrics, incorporating subtle textures even on the flares of the angrakhas. Each scene had a carefully planned color palette. For example, the durbar scenes followed a six-color scheme. The inner chambers of the Maharani had specific colors to reflect her space. We sat with the DOP, art director, and production designer to ensure everything looked cohesive- including junior artists- so there was minimal need for VFX.

Q: The detailing in costumes extends beyond clothing. How did you approach jewelry, footwear, and other accessories?

Sheetal Sharma: This level of preparation isn’t something you can rush. We brought in artisans from Kolkata and Gujarat, as well as patwas (traditional thread workers). Sketches were first made, then converted into jewelry pieces in copper, bronze, silver, and finally gold-plated. There were separate teams handling jewelry and footwear. For footwear, it was a challenge because in action sequences, the actors had to be rigged with weapons while running. There were no zippers back then, so leather pieces had to be tied securely. The jootis had to be sturdy yet comfortable. These details may seem small, but they add to the realism of the film. I hope people notice these nuances when they watch Chhaava.

Q: The Marathas had a unique approach to armor. How did you differentiate their battle attire from the Mughals’?

Sheetal Sharma: Mughal armor was highly ornate, reflecting their wealth and status. The Marathas, on the other hand, had a rugged, functional approach. They lived in the hills, and fought guerrilla battles, and their armor reflected that. It was more rustic, designed for movement rather than display. Armors were an entire project on their own. We worked with art designers Subrata Chakraborty and Amit Ray, who are among the best in the industry. The biggest challenge was ensuring the actors could actually perform in these heavy costumes. When Vicky Kaushal first wore his white angrakha with zardozi embroidery, the outfit alone weighed 18-20 kg, including the ghera, turban, and jewelry. Laxman sir was very particular about the turban—it had to be authentic, not something that looked like a costume piece. We worked with a turbantier to create an anti-gravity effect using starchy fabric, and that alone weighed 4-5 kg. On a daily basis, Vicky was carrying around 15-20 kg of weight just in clothing and accessories. This wasn’t easy, especially while shooting in the heat of Wai, Satara, and Nashik. I remember him saying, ‘Can you stop putting things on me?’ But Laxman sir would take one look at him and say, ‘We need more!’ So, we added another layer- a three-string pearl mala with a medallion. At one point, Vicky joked that he felt like he was inside a jewelry store. But no one could have pulled the role better than Vicky for sure.