You often recognise Smriti Chauhan’s work not by colour or silhouette, but by intent — costumes that don’t decorate frames, but anchor them, shaping character and conflict with precision. That instinctive sensitivity, rooted in storytelling rather than spectacle, defines the way she approaches every project. As Dhurandhar continues to be a hit on Netflix and anticipation builds for Dhurandhar 2, CE speaks to Smriti about her journey, process, and the design philosophy that quietly drives her work.
It carries seamlessly into Dhurandhar, a film Smriti describes as instantly visual. “Reading is a very visual experience for me. Images start playing in my head immediately,” she says. Set in Karachi, the project demanded deep research. “Research is my favourite part of the job. Every layer reveals something new. We wanted the world to feel real yet visually appealing,” she adds. With action, rhythm, and dialogue driving the film, costumes had to balance realism and style. “Even background characters were carefully designed so the world feels immersive, not random,” Smriti shares.
Her collaboration with Ranveer Singh was deeply involved. “Ranveer does his homework more thoroughly than you think. He’s deeply involved in character design — hair, makeup, skin tone, lenses, everything,” she shares. He questioned every choice, pushing the team further. She adds, “There were long discussions, and his involvement pushed us to do our homework better. It was a true collaboration.” With heavy action sequences and physical transformation, continuity became critical. She continues, “Stretch fabrics weren’t an option — they look flat. We needed more texture and ruggedness.”
One of the toughest designs was the Baluchi salwar. She recounts, “We worked backwards, starting with boots because of the heavy action. The salwar itself used 8 to 12 metres of fabric. We made 17–18 prototypes.” Hidden zips, internal pockets, and multiple fabric blends were added. She continues, “It was made using six to eight fabrics. Extremely challenging, but very rewarding.”
Akshaye Khanna’s look relied on restraint. She says, “Casting does half the job. Akshaye is quiet, composed, minimal — his costumes reflected that.” His journey from gunda to politician was shown subtly. “Details like buttons and pocket squares mattered.” The olive-green Pathani salwar stood out because, she says, “Less is more with him.”
Sara Arjun’s character required building from scratch. “This was her first Bollywood film, so there were no references,” Smriti explains. Young, rebellious, and from a political family, the character demanded nuance. “We added subtle personal elements like pins, boots under salwars,” she adds. One choice was deliberate: “I had given her knee-high boots even under her Afghani salwar, and it changed her walk and body language.”
Smriti credits Sara’s patience and collaboration, noting how “Her character growth mirrored her costume journey.”
The pub scene sparked debate. She is clear about her approach. “We researched underground party culture in Pakistan — it exists among affluent youth. The scene reflected her emotional and sexual awakening. This is cinema, not a documentary. We’ve matched the narrative and the language of the film,” she reflects.
When creative blocks hit, Smriti doesn’t force it. She states, “I open it up to my team and admit I’m saturated. Sometimes I disconnect completely. That usually helps ideas flow again.”
Her early years moved between corporate spaces, television, and films. Even without knowing exactly what she wanted — only a persistent ‘mujhe aisa kuch karna hai’ — cinema remained constant, quietly pulling her back.“I grew up in a family where films were a big part of life — conversations, trivia, magazines. Even when I didn’t know how I would be associated with cinema, but, I knew it would always be part of me,” she conveys. Without a fashion degree, she entered television wanting to become an assistant director. It was while working on Once Upon a Time in Mumbaai that her instinct revealed itself. She shares, “I gave a lot of inputs on makeup, costume and fashion. The director noticed this and told me, ‘You should pursue costumes. You have a thing for it’. I followed the signs. I truly believe this is what the universe had planned for me, and I’m extremely content doing something I emotionally enjoy.”
Her first major project, Delhi Crime, became a turning point. “I was nervous because I’d learnt everything on the job,” she admits.
Working closely with Shefali Shah shaped her understanding of set dynamics. She notes, “I’ve learnt the importance of respect — for actors, directors, and everyone on set.” She realised actors bring far more to the table than they’re credited for. That belief strengthened through collaborations with Sonakshi Sinha, Priyanka Chopra, and Irrfan Khan. “With Sonakshi, the collaboration was effortless; she’s professional, warm, and no-nonsense,” she says. Of Irrfan, her voice softens: “Working with Irrfan ji was a blessing. It was his last film, and I’m grateful I got that opportunity.” Actor comfort, she emphasises, is crucial. She adds, “They perform in all kinds of physical conditions. Once you start understanding their point of view, you work with them, not for them.”
Professional discipline left a lasting impact too. “I’ve learnt professionalism from actors like Priyanka Chopra and Sonakshi — if the director says ‘wear this’, they don’t question it,” Smriti says, adding, “The director is the captain of the ship. Submitting yourself to the craft is essential.”
What’s next? “Nothing concrete yet; just conversations,” she concludes, adding, “One project is confirmed — a collaboration with Richie Mehta, director of Delhi Crime, slated for release this September.”