A century after Bollywood began as a fledgling film industry in Mumbai, it still has the power to influence – not least in matters of fashion.
Every decade it has helped to fuel new trends, thanks to actresses who are worshipped as much for their sense of style as their acting prowess.
From the elegant Nargis of the 1950s to today's young fashionistas, including Sonam Kapoor, who stole the show at the Cannes film festival this year, we look at the evolution of Bollywood fashion down the ages.
1950s
The British left in 1947 but their influence remained, which gradually showed up on screen in the outfits worn by actresses such as Nargis: elegant saris were simply draped, the blouse sleeves were inspired by those on Victorian-style gowns, and the only accessory worn was a single strand of pearls. At the other end of the spectrum was Madhubala, who carried off mid-length dresses with aplomb.
Traditional Indian wear has always been a mainstay of Bollywood, and Madhubala is perhaps best remembered for the ornate anarkali she wore for the song Pyaar Kiya Toh Darna Kya in Mughal-E-Azam (1957).
The drama, which boasted an elaborate set and beautiful costumes, only had three stylists – but things were about to change.
1960s
The elegance of the 1950s gave way to a more confident decade, with clothes becoming shorter, tighter and more colourful.
Bold actresses made a strong impression on the women of their generation. There was Mumtaz, in her iconic gold-bordered orange sari; Sadhna, with her famous bangs and too-tight churidar and kurtas; and Sharmila Tagore, who, in the film An Evening in Paris, was the first Indian actress to wear a bikini on screen.
"Costume designers such as Bhanu Athaiya started experimenting with film fashion in the 1960s," says Varsha Chandanani, a Mumbai-based costume designer who has worked on recent films including Ishaqzaade, Shuddh Desi Romance and Daawat-E-Ishq.
"[Athaiya] started working on period costumes in Sahib Bibi aur Ghulam (1962) and Amrapali (1966), though she went on to introduce varied trends through Teesri Manzil (1966), Chalte Chalte (1976), Karz (1980) and Chandni (1989)."
Niharika Bhasin Khan, also a costume designer, has worked on films such as Rock On! and The Dirty Picture.
"Before the concept of costume designers or stylists came into existence in the film industry, everything from sourcing to handling costumes was taken care of by the dressman or dress dada [brother]," she says. "They were responsible for the continuity of costumes, the laundry, and so on."
1970s
This was a decade of experimentation.
Zeenat Aman was the poster child of the decade – she dared to bare, while channelling hippie chic, especially in the film Hare Rama Hare Krishna.
"Movies like Hare Rama Hare Krishna had the stars in bell-bottoms, oversized sunglasses and platform sandals," says Khan. "A lot of young girls were inspired by these outfits."
Then there was Neetu Singh with her jumpsuits, flowing, block-print maxi dresses and chunky platform shoes.
But perhaps no film gripped the audience's collective consciousness like Bobby did. Starring a teenaged Dimple Kapadia, the film is best known for the song sequence in which the actress wears a short skirt and white polka-dot top. It inspired a generation of women – and men, who thought it quite fashionable to wear shirts in a similar print.
1980s
Sridevi and Rekha, two of the finest actresses Bollywood has produced, ruled the 1980s not only with their incredible on-screen histrionics, but also their breathtaking wardrobes.
"For me, Sridevi was just amazing," says fashion designer Gaurav Gupta, who has dressed A-listers such as Deepika Padukone and Priyanka Chopra. "I loved Sridevi as an artist and for the way she carried both fashion and humour together really well.
"Rekha – known for her silk saris – was extremely stylish and personified the 'Indian' woman."
Importantly, the 1980s marked the debut of Bollywood fashion designer Neeta Lulla – now an industry veteran of 30 years – in the film Chandni, which brought Sridevi fame for her fine portrayal of a woman in love, while exquisitely clad in unforgettable shalwar kameez and chiffon saris.
1990s
This was a landmark decade that endorsed consumerism through fashion.
"In the 1990s, Indian films began to show an obsession with the lifestyle of the upper-middle class, and so depicting that they owned branded clothes, bags or shoes almost became necessary," says Khan. "Also, luxury brands were making their way into India, and being featured in Hindi films helped them gain more exposure across the country."
Celebrity designer Manish Malhotra, who has been a strong catalyst for change, made his debut with Gumrah in 1993. He gained fame with cult classics such as Dilwale Dulhaniya Le Jayenge, Raja Hindustani, Dil Toh Pagal Hai and Kuch Kuch Hota Hai, in which the stars – Shah Rukh Khan, Rani Mukerji and Kajol – wore Ralph Lauren and DKNY.
"Thanks to western influence, there was an urgent need for a more formal understanding of costume design," says Khan. "With costumes sourced from a variety of stores and independent tailors, directors preferred to recruit designers instead of having a team of dressmen. However, these dressmen still remain an indispensable unit on film sets."
Standout looks include Madhuri Dixit's purple sari in Hum Aapke Hain Koun and Mukerji's mini dresses from Kuch Kuch Hota Hai.
2000s
Established fashion designers began to play a crucial role in the making of a film.
The top actresses of the decade – Rani Mukerji, Aishwarya Rai Bachchan and Preity Zinta – were open to experimenting, and tried different looks. Worthy of special mention are Rai Bachchan's and Dixit's opulent saris in Devdas, designed by Lulla, and Kareena Kapoor's chic Manish Malhotra designs in Kabhi Khushi Kabhi Gham.
With the rise of social media and fashion bloggers, actresses became increasingly conscious about what they were seen wearing. By the end of the decade, many were hiring personal stylists on-screen and off.
2010 – now
Never has fashion been taken so seriously as in the past five years. Actresses wear designer tags everywhere, from international film festivals to a trip to the park with their children.
Billion-rupee global endorsement contracts have been drawn up between top brands and A-list celebs. Personal stylists are now a part of any self-respecting actress's entourage.
Maneka Harisinghani, a freelance editorial stylist and personal stylist to Malaika Arora Khan, Richa Chaddha and Amy Jackson, explains her job, which also involves keeping her clients supplied with clothes and accessories from the best labels.
"It depends on whether I am required to style for a promotion, for an event or for television," she says. "If the star needs to be styled for an event, then of course I will talk to my client and choose multiple options, but in the end she will take a call. If it is for a promotion, then I discuss the look with the director and then take it from there.
"When it comes to brands, I always try to source those that have not been introduced in India yet. In fact, I source from a lot of Middle East designers such as Rami Al Ali, Michael Cinco and Georges Chakra."
Style has also slowly begun to play a central role in the look of a film. Take Sonam Kapoor in Aisha – India's first "fashion film" – in which the actress was styled by former celebrity stylist and designer Pernia Qureshi.
Anaita Shroff Adajania is another talent to watch out for – she worked on her husband Homi Adajania's film Cocktail, starring Deepika Padukone. The film didn't do particularly well, but was praised for the style of its stars.
A movie to watch out for this year is Tamasha, starring Ranbir Kapoor and Padukone – the red, long-fringed Gucci bag that the actress has slung across her shoulder in one of the scenes has already attracted interested comments and positive feedback.
ajhurani@thenational.ae
Updated: August 09, 2015, 12:00 AM