Safas and angarakhas for Mastani

Textile revivalist Anju Modi speaks to author about recreating the understated grandeur of Bajirao Mastani through her clothes

“Feminism has been an underlying theme in all my creations since I started designing as a single mom almost 20 years ago, trying to raise my son on my own,” says designer Anju Modi. That is why when film-maker Sanjay Leela Bhansali approached her this February to create the outfits for his next film, Bajirao Mastani, Modi didn’t hesitate to take up the offer.

The story goes that Bajirao, the Peshwa, fell hopelessly in love with Mastani and married her. Mastani, some say, was a courtesan. Others believe she was the daughter of the nizam of Hyderabad. There is also the view that she was the daughter of Maharaja Chhatrasal of Bundelkhand. Mastani, who was reportedly half-Muslim, had swashbuckling sword skills and was an avid rider and dancer. “She fit into my ‘woman of courage’ bracket, which is what my clothes symbolise,” says Modi.

In the film, Ranveer Singh plays Bajirao, Priyanka Chopra is his screen wife Kashibai, while Deepika Padukone is Mastani. Having worked with Bhansali in Goliyon ki Rasleela: Ram-Leela, Modi knew that the gifted story-teller, who is known not to compromise on budget, would give her the creative freedom she needed. Bajirao-Mastani, a Rs 160-crore magnum opus, gave her a chance to travel to Uttar Pradesh and Deccan India where she went back in time to understand the nuances of royal attire during the 16th and 17th century.

With Singh learning Marathi and planning to go bald for the film, Modi too had to meet the challenge of authentically recreating an era that was known for understated affluence and unobtrusive splendour. She travelled to Ajanta and Ellora in Aurangabad, the Daulatabad Fort, which stands on a conical hill 16 km from Aurangabad, as well as Maheshwar to see the weaving centres that are working to keep alive the tradition of Ahilyabai Holkar. “I discovered that the finest cotton comes from Maharashtra and so does the silk that was used to make mul-mul safas with kinaris. Headgear was big then, with zari and checks, so that will be my focus,” says Modi.

 

For Mastani, she is working on luscious anagrakhas, anarkalis, shararas and ornate kurtis. “For her, I have substituted zardosi with moti ka kaam (pearl work) to show royal lineage. Some historians say she was given to Bajirao loaded with jewellery that reflected the architecture of the time — jaali work, filigree and meenakari. That’s what I have concentrated on while designing her look,” says Modi.

For Chopra, it will be a sobered down look as the role demands her to play a wife who lost her husband to the enviable charms of Mastani. “Priyanka (Chopra), I think, will look stunning in the period drama clothes I will design for her, albeit in a softer palette,” she says.

Modi also visited the nizam of Hyderabad’s museum and observed the diligent use of mother-of-pearl, diamond-encrusted daggers and carved silver that she intends to reflect in the folksy ensembles for the trio. Bandi kurtas for princes, crisp cotton dhotis and angarakhas with impressive gheras along with pagris will be included. “I need to see how I can incorporate all these elements in my design repertoire,” says Modi. “I visited the Shivaji museum where I noticed that the colours were not rich or vivacious. They were muted, in earthy tones like ochre, cappuccinos, anari (pomegranate colour) and mehendi as they only used vegetable dyes during those days. Most colours were made from herbs and flowers. Paithani and Jamdani were the two textiles widely used to dress the royals of that time,” she adds.

The designer hopes she is able to better her own benchmark, transforming magnificent ideas into garments.