Bhanu Rajopadhye Athaiya’s work as a costume designer was not merely an artistic pursuit; it was deeply rooted in India’s cultural revival, a process significantly influenced by the efforts of Kamaladevi Chattopadhyay. Kamaladevi, a pioneering force behind India’s handloom revival, brought traditional fabrics to the forefront of both fashion and cinema, shaping the way Indian textiles were appreciated in urban spaces.
Through her establishment of Handloom House in Bombay, which hosted its first major show during Queen Elizabeth's visit in 1961, Kamaladevi created a platform for local textiles to thrive. This initiative had a profound impact on Bhanu, who, by the early 1960s, was incorporating handloom fabrics into her film costumes, starting with Ganga Jamuna (1961). Bhanu’s access to the handwoven textiles at Handloom House allowed her to craft costumes that reflected India’s evolving identity, a vision that was closely aligned with Kamaladevi’s mission.
The Intersection of Craft and Cinema
Vyjayanthimala and Dilip Kumar in Ganga Jamuna (1961)
Athaiya’s work is a testament to her conscious effort to create authenticity for her characters by using handloom and natural colors. As she writes in her book
“Film Ganga Jamuna is important in the history of Indian cinema because, for the first time, actual Indian handlooms and handicrafts were used to make the costumes.”
This marked the beginning of Bhanu’s longstanding commitment to using indigenous textiles in her designs. Over the years, she continued to incorporate handloom extensively in films like Geet, Reshma Aur Shera, Lekin, Lagaan, Swades, and Gandhi.
In films like Lagaan (2001), Bhanu’s attention to cultural detail is evident in her costume designs. The iconic song sequence Madhuban Mein Kanhaiya beautifully captures the essence of Janmashtami, using shades of yellow to symbolize Lord Krishna's divine presence and evoke the festive spirit of the occasion. Through such designs, Bhanu wove the rich cultural tapestry of India’s rural heritage into the cinematic experience, ensuring an authentic portrayal of the country’s past and present.
Aamir Khan and Gracy Singh in Lagaan (2001)
Bhanu’s deep connection to India’s traditions was not only shaped by research but also by her lived experiences. Growing up amidst the surge of Indian nationalism, influenced by figures like Gandhi, she developed a personal connection to khadi and the simplicity of Indian attire. This influence was especially evident in her work on Gandhi (1982), where she meticulously recreated historical accuracy. For instance, she chose to dress Gandhi in Kathiawadi garb to reflect his roots, while designing Kasturba’s handloom sari to honor India’s indigenous textile traditions.
Ben Kingsley and Rohini Hattangadi in Gandhi (1982)
The fusion of personal and professional influences in Bhanu’s work echoed Kamaladevi’s role in the revival of India’s crafts. Kamaladevi’s efforts to preserve traditional arts, particularly handlooms and khadi, laid the foundation for their inclusion in Bhanu’s costume designs. Both women’s dedication to celebrating and preserving India’s cultural heritage seamlessly aligned, enabling Bhanu to bring India’s rich traditions to life on screen with authenticity and artistic depth.
