The second installment of Ponniyin Selvan was released on the silver screens sometime ago and oh boy, the wave of anticipation and excitement is real! Directed by Mani Ratnam, PS2 or Ponniyin Selvan 2 is a sequel to the hit Ponniyin Selvan: 1 based on the novel by Kalki Krishnamurthy. Apart from the breathtaking visuals, glorious background score and the stellar cast of Aishwarya Rai Bachchan, Jayam Ravi, Karthi, Trisha, Aishwarya Lekshmi, Sobhita Dhulipala and several other veteran actors, what garnered equal attention were the film’s costumes. From the vibrant Kanjeevaram drapes to immaculate temple jewelry and vintage hairdos to sturdy armours, every depiction breathed life into the era of the Cholas.
And if you were mesmerized by the surreal drapes, the kemp jewellery the old-school updo, thank Eka Lakhani. The mastermind behind both PS1 and PS2 on-screen as well as promotional looks, the stylist extraordinaire did a commendable job in reporting us all back to relive in the ancient times. Peepingmoon.com got in touch with Eka to understand what went behind curating the costumes, how did she style the army of fashionistas and more!
Excerpts from the interview:
Q. With little to no reference for curating historical/mythological royal looks, how did you manage to put together such masterpieces on the screen? How long did it take you to finalize these looks for the characters?
There was no visual reference for the era that we were trying to depict but we did have a lot of illustrations from the famous Maniam illustrator, and Mani (Ratnam) Sir’s vision. We had a lot of descriptions by Kalki in the novel, describing each character and Mani Sir had a lot of adjectives, if one character is more passionate, one is filled with more rage, and one is more calm and demure. So these were the things that became the visual reference point for me. Keeping all of this in mind we denoted colours for each character and what kind of drapes we should use- should it be more structured, more flowy? That’s what we did and we put together the looks and did take a long time. We had a lot of a number of look tests and trials and fittings with each factor to decide which silhouettes are working on them, what colours are working on them, what hairstyles we are going with. The fixing of the hairstyles, the wigs, then adorning the hair and body with jewellery, the armors and its intricate detailing. All of this took a lot of time. So it was like a process each day till we found our characters.
Q. You have been both an on-screen costume designer and an off-screen stylist for the cast’s looks for both PS1 and PS2. Did you make a conscious effort to inculcate every actor’s character persona in their promotional looks?
When it comes to on-screen film designing, we were just playing by the characters. You keep the actor’s body type in mind, what suits them and mold it into the characters they are playing. So when it was for the film, we only went with what the character required. Whereas, I absolutely enjoyed styling the off-screen looks for PS1 and PS2 promotions. For the promotional looks, we kept the mood if the film intact which was speaking of our culture and bringing our heritage to life. So for off-screen we still use the essence of the film but for styling we incorporated their persona, what works with them, and what they would like to wear on a daily basis. But we’ve molded them close to what they would be in the modern-day versions of the characters. And we did with most of the characters. The best part was when the styling of the promotions received so much attention, it was a bonus for us that we not only cracked the film looks but also managed to crack the promotion looks very well.
Q. Would we get to see an evolution in PS2 costumes from that of PS1 as the story progresses?
In terms of costume, PS2 is an extension of PS1. The characters are just moving on to the next phase of the story. Whereas costumes are concerned, it isn’t dramatically new or different, it’s what is required to take the narrative forward. If the scene requires the actor to be more adorned in jewellery or be more demure or fragile, we dressed them up or down according to the need of the scene.
Q. Was there any costume fiasco on the set? If yes, how did you manage to take care of it?
There was not particularly one fiasco on the set. We were faced with challenges every single day. We were working with real jewellery and leather in terms of the armor. There was a lot of stress on the weight of the jewelry, armor as well as the drapes and the hairstyles as to how they will stay in the place. A lot of the hairstyles are against gravity and we required a lot of pins to keep them in place. So then how do you hide these pins, what jewellery would you use there? So there were new challenges like these every single day. Plus we were shooting just after the first lockdown was over and we had a lot of tests going on, we worked in PPE kits, the extras and junior artists used to come in by 3-4 AM, and we used to use their nasal swabs and once they tested negative we used to start getting them ready. Just on a daily basis, the chaos was to dress the number of people on the set.
Q. How would you differentiate the styling between the promotional looks of both films?
I think the styling for PS1 was more traditional, rooted and Indian. In PS2 we got a little lighter and experimented. The men from wearing only Kurtas and bundis moved on to jackets and blazers. The women as well, we’ve not only kept them in suits or sarees. We experimented with Western silhouettes. So I feel even though we have tried western clothes we still kept the essence, the classiness very intact. So while the styling was very different – PS1 was an introduction to the world we were entering into, PS2 was the world we now knew and just wanted to have fun.
Q. We all know that curating one look takes a village. How did you manage styling not two but five lead members of the cast?
I feel I have a wonderful team. We denoted different assistants to each actor. We worked on the whole schedule of the promotions beforehand. We did the fittings, and tentatively locked the looks we like, then our jewellery designer Pratiskha from Kishandas comes into play. We send her the images we liked and we put together the jewellery. Once the jewellery and the outfits are together, we show them to the actors. In spite of trying to do our prep in advance, there is always chaos and last minute additions-subtractions on the day of promotions. Promotions are known to be hectic and this one was as hectic as it can get. But I think we have created some memorable looks and I am very happy with the outcome.
Q. How would you describe your experience of working with Aishwarya Rai Bachchan?
My work experience with Ash Ma’am started way back in 2008-2009 when I was a costume intern at Mani Sir’s Raavan. Since then, I have learned a lot about her. She is a perfectionist, she wants everything to be done to perfection and she expects that from her team and that’s what we had in mind every single day when we styled her for the promotions. My journey with her in PS was a complete circle of my work life I feel- starting with her and 10-12 years later coming back with her and Mani Sir on another film, it was just a beautiful journey.
Q. Which of the 5- Aishwarya, Sobhita, Trisha, Jayam Ravi or Vikram, has been more open to experimentation?
I think Vikram sir came in with the mood of experimentation. His mood board was experimenting with different silhouettes. He wanted to try boho looks. He has long hair and beard right now so we wanted to work something that went with it. We wanted to do some boho chic and fun looks for his airport gears and for the events we wanted to do a lot of suits, waistcoats, and double-breasted jackets. So I think we experimented a lot with Vikram Sir and it was a lot of fun.
Q. Costume designing or personal styling. Which is better and why?
For me, I have been enjoying personal styling right now. I have opened out to styling only in the past year and a half. But costume designing is always going to be my first love. I always am a costume designer because my love for films is way bigger than my love for fashion. I feel really happy that through my role as a costume designer, I can help the director take the narrative forward by means of costume and it makes me feel very good that I can contribute to the bigger picture. And for that reason, costume designing would always be more important and more special to me.
Q. You have won the best costume designer award for PS1, fingers crossed for PS2?
Yes, I have my fingers crossed for PS2 as well. Though it is an extension of PS1 it was an equal amount of hard work and love that I and my team have put into the costumes. And not just for me but for my whole team I hope the work is recognized and loved even more.
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