Bollywood Style Awards 2016: Reza Shariffi for Kangana Ranaut
Reza Shariffi for Kangana Ranaut
Separation is an experience that people tend to undergo in silence, but Kangana Ranaut’s Tanu didn’t believe in doing things quietly. The sequel of Tanu Weds Manu, Tanu Weds Manu Returns was nothing short of drama and drollness. Amidst the divorce induced heartaches and fake heart attacks, the protagonist’s brilliance shone bright through the seams of her lace saris.
“Since it was a sequel, I already knew the character well. I was in sync with what was happening. For me, it was about continuing with what we left four years ago,” says Reza Shariffi, the seasoned costume designer who has worked on over 50 Hindi films. Keeping in mind her Indianness, Ranaut’s Tanu evolved from kurtas and patialas, tailored to perfection, to trench coats atop sensuous saris, blue leather jackets et al. As the story progressed, she was seen wearing simple cotton salwars, a couple of cable-knits and houndstooth pyjamas.
From London to Lucknow, Tanu’s sartorial story swiftly slid back into her old style but with added eccentricities, making her look more flamboyant than ever. Wrapped-dhoti salwars paired with lace-up oxfords gave a tomboyish accent to her unabashed feminine guise. Coin necklaces, broken and redesigned with mirror patches, added quirk to coquetry. Shariffi states, “I gave her leather jackets and trench coats but we didn’t stick to the basic staid black; we brought in loud and popping colours.”
The heroine was audaciously defined by her clothes, for Ranaut’s Tanu seemed to love the idea of being a rebel. Shariffi points out, “She just wants to prove a point that she is different, ahead of the league. Hence, she carries her trench coat but does not necessarily wear it. In peak winters, where her husband is dressed in layers, she is seen wearing her lace sari, and back home when on the bike with Chintu, her tenant, she dons a sleeveless outfit, while others are drowning in layers of sweaters.” Throughout the movie, the eccentricities of Tanu were of paramount importance — she was an essentially feminine force, driven by the need to conquer and experience life at its extremes. In the very first scene of the film, few would have noticed how a Hindu bride gets married in a green trousseau and makes it work. Tanu was a character who embodied this intense solipsism and Shariffi’s sartorial vision did complete justice to that.
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