`It is a constant challenge'
Kausalya Santhanam
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interview Sathyam Cinema's `Lights On' series at Studio 5 will feature the work of costume designer Nalini Sriram on April 27. This will be followed by an interactive session with the audience.
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SETTING THE TONE: Nalini Shriram. — PHOTO: V. Ganesan
Designing costumes for films is no conjurer's trick. "Though it is about creating magic in a moment, no, it does not come in a flash," says Nalini Sriram who has designed costumes for nearly 50 films. Nalini has worked with leading directors and actors and the films in which her talent is seen include "Roja," "Bombay," "Kandu Kondein Kandu Kondein," "Khaka Khaka," "Vasool Raja" and "Mumbai Express."
She is now working in "Maayavi," "Ghazni" and "Godfather."
The dazzling blue-green of a peacock's feather, the deep yellow of the saffron, the pure white of the swan's plumage ... the colours and the detailing of the costumes in "Kandu Kondein Kandu Kondein" created moments of visual poetry caught in loving detail by the camera.
"I stepped into the film just before the Scotland song when Lakshmi Priya could not continue with it. By then the tone had already set and I took it to the platform I could work with. This was, of course, a stylised version of the South. I had done the ordinary paavadai costume for Manisha Koirala in `Mudalvan,'" says Nalini.
"But it is not a single person who makes for the effect created by the costumes," she is quick to point out. "It is a combination of the director's perspective and vision and the contribution of the cameraman and art director. Sometimes the actor or actress has his/her viewpoint as well and of course there is the budget. The light and the background are other vital factors. Director Rajeev Menon for instance wanted the colours of the peacock for that song scene in `Kandu Kondein..." The producer gave a respectable amount of money and the result? "Well. It even amazed me," she laughs. "But then I had two stunning actors in Aishwarya and Tabu and their glowing complexions and the backgrounds made a great difference to the overall effect." In very few Tamil films are the costumes designed by just one person. "For me ultimately, the joy rests in doing a whole film. I loved the script of `Mumbai Express' and it was so challenging to work for Kamal Hassan. In `Maayavi,' Surya plays a small time tourist guide in Mahabalipuram but he is not a comic character. He gave his inputs and we did a mix of colourful fabrics from the pavements to give the character the right feel. In `Khaka Khaka,' we decided that Jyothika would wear cotton sarees and they came out very well. After "Vasool Raja" was released, I had enquiries from women about where they could get the sarees Sneha wears in the film!"
IN KEEPING WITH THE THEME: Maayavi
The concept
Mood and lighting are vital to the conceptualisation of a costume and ensuring it works. "I'm on pins and needles till I know how the weather is during a shoot. The background is important. You never know what works till you see the final effect. It is a very dicey thing."
And does she sometimes feel horrified at the result? I ask. "Oh yes."
Sometimes the cinematographer will tell you that this is not right for the light or that a particular outfit will not suit an actor. And if he is very experienced, he could be dead right. It depends on who has the stronger vision. Then you eat humble pie," she shrugs with a smile. "The vagaries of the job will humble you which is perhaps why you can't be a celebrity. People may not notice your name in the credits or it may be up there along with the office boy," she grins. "But in Mumbai, a costume designer like Bhanu Atthaiyya is placed on a senior technician level." But there are moments of joy? "Undoubtedly. There are quite a few films I could look back on 25 years down the lane and feel good about. And it is a constant challenge to play the game of "catch up" as cinema keeps evolving. It was a "no-no" to checks, stripes and big flowers in `Mumbai Express' because it was digital."
APT FOR THE MOOD: Roja
The response
Do actors complain about the costumes they are given to wear? "Sometimes they do but many of them are really sweet and appreciative. I remember Ajith called me up after returning from the shoot at Egypt to tell me how comfortable his costume was in the Rajeev Menon film. Tabu said, `yellow does not suit me' but she is so professional she wore the colour." Unlike the West, in the Tamil film industry costume design is a profession that is still growing and has still not come of age though things are improving steadily, says Nalini. "The next generation of designers will reap the rewards," she predicts.
It's the unpredictability that is so exciting in the job. "Some directors give you the script, brief you about the scenes and give you time. Others may want a costume overnight. You never know what you are in for and that's the thrill." And to think it all happened by accident. "I was hanging around on friend Maniratnam's sets during the filming of `Mouna Ragam.' He wanted me to get two white saris for the character of the lawyer.." And that set her off on this career, says Nalini who has not trained in fashion design but has a Masters in English literature.
Nalini has designed the costumes for just one play, `Ponniyin Selvan.' "But I' m really proud of it because it was produced on a small budget and yet was so effective." Her dream is to do a historical film. "That is the real test of one's energy and identity," her eyes gleam at the prospect.
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