From ‘Daag’ And ‘Chandni’ To ‘Pathaan,’ The Evolution Of A Yash Raj Heroine’s Style
Who is your favourite Yash Raj heroine?
Bollywood has been moulded with love for cinema and big blockbusters that made it to the history books. But only a few who sat behind the lens found lasting fame and were courageous enough to build empires and weave stories that conveyed more than just action and songs. One such storyteller was late filmmaker/producer Yash Chopra, who gave birth to one of Bollywood’s biggest film production houses–Yash Raj Films a face, and legacy that it is remembered for years. From being a director, and walking on the lines of his elder brother BR Chopra, this Chopra sibling dived into film production in 1973.
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As dear as cinema was to the late Mr Chopra, the leading ladies of his narratives were often his key storytellers. The late producer not only tapped into the realities of society, and used it as a subject to break the signature recipe of how a Bollywood film looks like, but allowed women from all walks of life to find the spotlight in his stories. In most cases, the protagonists of his films were women, beautifully wrapped in a saree or shawl, but still defining their ways of living through the idea of feminism.
Through his first film Daag as a producer, Yashji portrayed the idea of polygyny through the plot starring Rakhee, Sharmila Tagore, and Rajesh Khanna. As the lives of the two leading ladies cross, the contrast in their lives is visible through the ways they dress. Donning sarees, which remained a staple in a YRF heroine’s closet, changed the idea of prints. As the narratives changed, and new plot lines entered this kitty, the Yash Raj heroine continued to put her love for the saree silhouette on display.
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In his ways, Yash ji tried to bring a new wave of scripts in Hindi cinema which was also visible through his selection of scripts like Noorie, Kabhie Kabhie and more.
With Kabhie Kabhie, the filmmaker turned producer brought romance to the big screen through scenic views, actors Amitabh Bachchan and Rakhee’s lovely onscreen pairing, and outfits that were reminiscent of the autumn and spring season. Through golden maple leaves, and poetic hues, costume designers Jennifer Kapoor (wife of Shashi Kapoor), and Rajee Singh, mastered the idea of dressing the Bollywood heroine. Through the roles of Waheeda Rahman, and Rakhee, we saw a bunch of printed floral sarees in the shade of white, and pink, topped off with pearl neckpieces, and knitted shawls.
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Following a similar aesthetic of both romance, and love triangles was the 1981 film–Silsila. Starring– Amitabh Bachchan, Jaya Bachchan and Rekha, the film was not only a blockbuster for its plot, and music but also its sartorial finesse. Sarees designed by the legendary Leena Daru worked like magic on actresses–Jaya, and Rekha. From fuchsia pink gotta dupattas, and sparkling bangles to the usage of more romantic colours, lighter fabrics like chiffon and tissue with pearl strings on Rekha were not the only elements in contrast with Jaya’s character, but also curated some of the biggest beauty and style trends of the year. Jaya on the other hand sported a more simpler, common print design and simply bordered sarees, that were easily overshadowed by her co-star Rekha’s wardrobe from the film.
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After Silsila, another blockbuster that entered its name in the filmography of Yash Chopra was Chandni. The 1989 film brought late actress Sridevi under the spotlight and moulded her into the most iconic looks. Popularising the idea of a chiffon saree in films, and a heroine wearing them as she dances on a hilltop, Chandni, just like her name was all parts dreamy. With costumes designed by the iconic Bhanu Athiya, alongside Leena Daru and Neeta Lulla, Sridevi popularised maangtikas, colourful bangles, hair bows, pearls and drapes. She even manufactured the concept of how a Hindi film heroine was perceived in the later half of the 80s, as it took a turn and left residues on films like Dilwale Dulhania Le Jayenge, Dil Toh Pagal Hai, and Mohabbatein.
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While DDLJ and Darr tackled two different ideas of romance, both toxic in some parts, the former’s sartorial sense brought NRI fashion under a different light. As Kajol picked that same chiffon fabric and chopped it off into skirts for a dance sequence on a rainy day, Darr described the desirable characteristics of its protagonist–Kiran (Juhi Chawla) through frill skirts, romantic hair ties, and shades like white and yellow, complimenting her curly tresses.
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As the YRF universe moved steadily towards the early 2000s, it aimed at shifting the sartorial sense of its feminist leads through an array of fashion trends. Here, through films like Dil Toh Pagal Hai, Mohabbatein, Saathiya and Mujhse Dosti Karogi, we saw a drastic shift from chiffon sarees to sporty athleisure. In an act to bid 90s adieu, films from that era by Yash ji curated trends and paid homage to Y2K fashion. Through the wardrobes of Karisma Kapoor, Madhuri Dixit, Kareena Kapoor and Aishwarya Rai in the above-mentioned films, we saw a glimpse of the classic YRF heroine returning through lively colours, and sarees for hilltop romance during songs.
A trendsetting example of ethnic fashion was Madhuri’s character Pooja’s wardrobe in Dil Toh Pagal Hai, who introduced us to the idea of three-piece suits, with sheer jackets, and blouses dipped in sorbet hues. The first few halves of the YRF universe saw a new wave of stories that were made for the consumption of modern India.
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Urban on the outer but still packed with that desi heart at its core, the Yash Raj style of romance took a turn in every next release. After Saathiya, Rani Mukerji signed up as the YRF lead in her next film opposite Saif Ali Khan in Hum Tum. Curating an interesting platter mixed with animation and new ideas of romance, the film indicated a new era in YRF’s filmography. Designed by Manish Malhotra, Rani Mukerji as Rhea Prakash was not only a feminist but gifted us with a version of the classic white shirt, with a new collared design, sans sleeves. She also popularised short bob hair and indo-western ethnic wear trends in the later half of the film.
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Dabbling with stories closer to homeland India, YRF surprised viewers with a new essence of old-school romance in the year 2004 with Veer-Zaara. With love blooming beyond geographical boundaries, Shah Rukh Khan and Preity Zinta as Veera and Zaara played their parts excellently. Preity as Zaara had a closet filled with traditional Pakistani shararas, embroidered dupattas, and two-coloured salwaar suits, designed by Manish Malhotra. Popularising heirloom fashion and silhouettes, the YRF heroine’s style took a new turn in the year 2004.
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The next year, YRF experimented in the space of crime, and love blooming between con men and women through films like Bunty Aur Babli, Dhoom 2, Ladies V/s Ricky Bahl and more. With Bunty Aur Bali, actress Rani Mukerji famously brought back salwar suits, with well-rounded kurtas, and acidic colours. Through her fierce character as Babli, she sported some colourful scrunchies, and voluminous jholas, covered with mirrors and thread work.
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Pushing salwars and sarees in dusty trunks, the YRF woman’s closet saw immense influence by the west in the later segment of the 2000s. Through films like–Neal ‘n’ Nikki, Dhoom 2, Tashan and Badmaash Company, the leading lady sported fabulous bikinis and bodysuits.
A cultural reset in the history of YRF films, and Hindi cinema was the urbanisation of every heroine’s personal style. In the year 2005, the film Neal ‘n’ Nikki starring Uday Chopra and Tanisha Mukerji saw a massive failure at the box office, but Tanisha’s character Nikki gained praise much later for her ‘ahead of its time’ fashion. Designed by costume designer Sanjeev Mulchandani, Nikki was dressed to suit the male gaze, but also presented a leading Bollywood heroine as someone who was finally owning her sexuality. Colours played a major role in her wardrobe, and Nikki loved her denim shorts, sequin barrettes, and lacy bustiers. Salaam Namaste was also cut from the same fabric, but with a better plot.
I later found myself loving and simping over Aishwarya Rai in Dhoom 2 as Sunheri. The actress was not only a master in mincing sporty chic looks, but made bodysuits, micro skirts, and face tan a hit in the year. All thanks to stylist Anaita Shroff Adajania, we saw the star sport iconic trends, and danced to some of the year’s biggest songs like–“Crazy Kiya Re,” which oh my god, I couldn’t stop obsessing over.
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Also Read: ‘Taal,’ ‘Guzaarish,’ And More Movies That Nurtured Aishwarya Rai Bachchan’s Bond With Film Fashion
A similar approach was later taken in the year 2010, as YRF films invited Kareena Kapoor as the protagonist in Tashan. The actress was not the only saving grace of the film, but curated trends as usual, through highlighter green swimsuits, starry accessories, blue kajal, brunette hair, and of course her famous fad of size zero (which was quite toxic).
These leading women in YRF films tweaked the idea of how a Hindi film heroine was always portrayed on celluloid. Post 2010, the production house witnessed a new era in its history with stories stemming from the deepest pockets of the country. With that, changed fashion as well, with films like– Band Baaja Baaraat, Ishaqzaade to Aaaja Nachle and Shuddh Desi Romance, and more taking us back to salwars, lehengas and India-adored bandhanis. It also paid homage to YRF’s signature essence of romance with Yash ji’s last directorial film–Jab Tak Hai Jaan in 2012.
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Also Read: Twitter Has A Theory That Deepika Padukone Is Honey-Trapping SRK In Pathaan
As we trickled down to the next segment of the 2000s, YRF changed its ways of storytelling by diving deep into the world of spy drama and thrillers. With films like–Ek Tha Tiger, War, Dhoom 3, Thugs Of Hindostan, and now Pathaan, the refreshing change in the leading lady shifted the lens from a damsel in distress to fighting the goons herself. Sporty chic, catsuits, and leather-loaded looks accompanied hairdos for the heroines from these films.
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And as we await to witness Deepika Padukone playing a soldier in Pathaan, her sartorial sense has already gained more love than expected. Through the newly released trailer, we watched a glimpse of the star experimenting with blonde hair, neon swimwear, and catsuits, and we can’t wait for the film to release.
Tell us your favourite heroine from the Yash Raj universe.
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First Published: January 10, 2023 10:02 PMDeepika, Shah Rukh And John In ‘Pathaan’ Make YRF Spy Universe Look Sexy And Fab!
