People often think that all stylists do is shop. There is a lot that goes on in the background as a stylist that many people can’t even fathom…like accounting, budgeting, mood boards, scheduling, inventory, emails, research and meetings. There is movie styling, personal styling, movie promotions and a lot more. For Lanka Santoshi, working in the film industry as a stylist doesn’t seem like a career choice, but a fate that she could not resist. The one thing we noticed about her is that she is not in the extremely competitive rat race, does her projects at her pace and time and most importantly on her own terms. She isn’t chasing goals or creating her own fairy tale but believes that if you do something that’s really true to yourself, then success will come your way. She is a team player, always learning, evolving and it is only making her better. She might soon be a power stylist but as of now she is happy working in six projects while a handful are waiting to hit the theatres or stream on the OTT. In a chat with Klapboardpost.com, Lanka Santoshi talks about how she grew around fabric, became an architect and stepped into cinema.
How did Santoshi get her start in styling?
I have so much love and passion for what I do—it has always come naturally to me. My mom had a flair for materials, color, and combination. I would go shopping with her when I was a child. She is a doctor but she loves making clothes and I remember her doing all of them. She learnt stitching randomly, picking up the fabric and getting them embroidered. Once I grew up, I made my choices. I was 5 or 6 years old when I began showing my mom what I wanted. I had an eye for color, styles and what I would like to wear. The idea of going to a store and seeing multiple things and having to pick up one was challenging and exciting. I grew up completely in Chennai and I studied architecture and then I did multiple things. I was with the theatre, learnt Kuchipudi and dabbled with events, random things. Costumes just happened to me.
How did you meet your husband Mallik Ram?
We were friends. I moved to Hyderabad and worked in an architecture firm, it was a 9 to 5 job. Mallik was to direct a film and offered styling; he asked me if I would give it a try and I said yes. We were both working in the same job, he too is an architect. We quit our jobs in six months and I did costumes for his film Naruda Donaruda. Dad was a producer and quit movies. Mom let me do what I wanted but dad was initially apprehensive of me getting into the field but he let me explore when he knew he couldn’t stop me. I was 26 when I started doing movies. I get bored easily so I need to do new things to get engaged and most importantly be involved.
Was it easy handling your first job, considering that you weren’t trained?
It was stressful and I couldn’t handle it. Over the week or two, I got a hang of the job. The entire idea of picking up a fabric is different because you are doing it for films. We have to do what the character requires, it should be aligned to our aesthetic sense. I realised what looks on screen is more important than the comfort level. If the artist is able to pull it off for a few minutes, if they are chilled..and they know they look good on screen, it is good for both the parties. What and how the camera captures is different from what you actually wear and your comfort level. I am now more prepared, I know what all things I can buy. I now know where I need to purchase all the stuff and keep them..we know which store opens in the morning. I know all things can go wrong and if the shoot is distant we buy back up shoes, accessories, pants and shirts and other requirements of different sizes. I don’t like running around and last minute errands frustrate me. I buy it off before only and I am quite prepared. It is smart work.. it is majorly how you understand and catch the vibe of the director, DoP and actor. If the person you are working with has gained your confidence and vice versa, then small blunders can be managed by both parties. Sometimes if the actor is not comfortable with the person, they don’t get off from the caravan. Sometimes when I tell them that in an hour, I’ll procure the stuff for them, they’ll alight.
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How do you convince an artiste that they look good with the costume?
Actors are supposed to be in front of the camera, they are vulnerable people and they are playing a character. Their mood is very important when they come in front of the camera and it majorly depends on what they are wearing and how they look. They have to be comfortable and happy with what they are doing. After the photo shoots, their mood is not my responsibility. I am responsible for their costume and comfort. If the mood reflects on the screen then it is not good and we do find a middle ground. Most of the time, most of the actors are not rigid and they follow the director’s instructions. Sometimes an artist wants to wear a clothing in a certain way and it does not align or fit with the character that they are portraying on screen and then we go then to the director or producer and ask how to handle this. Convincing them is easy if I have a rapport but beyond that if they are adamant, we let the direction team handle it. I am doing my tenth film now and I have done around eight web series.
How does a stylist stand out and make her brand visible?
If the films that you have worked with become successful, it makes you more famous and prominent. Somehow I found balance in not running behind, making my name popular. I work with only those who are on the same page. I handle the biggest film and smallest web series and the story should excite me, also the team is very important. It is challenging when you are a woman and an outsider. You are never given a HOD chair. Lot of people take you for granted and I don’t want to be there where I don’t get respect. You work better when you are in a happy and healthy atmosphere.
How do stylists bag projects, is there space for all?
I think there are two types of stylists. One, those who style main leads and prominent artistes (styling for one person or two for a film). The perks in terms of numbers and availability of time and budgets is a lot. The second type are stylists who haven’t worked with stars. They basically work with projects. There are so many web series happening now and there are about 60 to 100 stylists. Everyone has work. People will associate with you when they know you have already worked on known projects. Success of such projects gives you more work, especially if you have done within budget. They get the confidence that you are associated with good projects and you get more work. I would want to do celebrity styling also but I chose to be behind the screen because I am not looking for publicity and wanting to be famous.
Are stylists underrated and never paid well?
Initially for every opportunity that came my way..I did it irrespective of the money they gave. Then I did an internal check and told myself that this is not what I am aiming for. All the stylists put in a lot of effort, it is just an availability of a bigger brand. There are more options for the stars now. We are on par with what Bollywood is wearing and the South films are now on the Indian map, it has opened doors. Celebs also have to make an effort, to get their look in control,they have to spend. The production will not always pay for that. A celebrity look is important for the celeb and their appearance. A dress or a look won’t bag them a film, but once you are cast in one kind of a role, they get typecast in similar roles. How do they even tell people or producers that they can get into western wear and look ultra glam, so they do photo shoots. This is just to tell them they still have it in them and they can pull off this kind clothing. The social media presence has helped by rotating pictures in the media. There are a lot of creative people who can put a look together, the actors can seek collaboration for a photo shoot with them if they can afford it. No one should work for free.
Do you find it okay if our actors ape Hollywood at the red carpet?
Back then actors would buy their clothes and wear them. There was no availability in clothing. If they had, they would have worn it. Fashion is meant for being explored and worn. If an actor looks good, can carry off a plunging neckline or high slit dress..why not try it? There is no hard and fast rule that a style statement can be made by simple clothes alone. Anything that looks aesthetically appealing is important, similarly how to carry yourself in a saree and how to drape it is important. Looking sexier is not bad, nothing wrong in looking glam. Having said that, I definitely don’t think sarees fade. What we see on a red carpet is what we used to see but the beauty of saree has always sustained. I also give people plunging necklines 10 on 10 as long as they are not obscene and they don’t make others uncomfy. There will be a section which will always have an issue with what heroines are wearing.
How can one optimize resources?
A career in the film industry is not a sustainable financial source of business that people can choose every day; It will take time to get there and when you are secure enough to say no to a project, it actually means you’ve arrived. To be precise, eventually people start noticing you for your work and work ethics. You should work within your budgets and I don’t like to spend too much money on clothes. I believe every wasted penny can be put into the production. The less the money you spend on a movie, one pays more attention to a project. These clothes will go to waste and it is a crime to spend so much on them. I will walk an extra mile and get affordable clothing for one thousand rupees if I am able to save the remaining nine thousand.
How much can hair styling and make up influence the overall look of an artist? Do you and Mallik Ram work on every project together?
Hanuman has been a major learning curve for me. I had experienced making looks for characters in the film and I know for sure how much hair and make up influence the look, it is at least by 60 to 70 percent. What they both bring to the table is marvelous and the equation between the three parties to get a look together is important. We google, take references, show it to the make-up artistes; we do four or five looks together and achieve the final one for the screen.
For every project that Malik directed, I have done the costumes. Being partners doesn’t make the job easy. Every director has a vision and if he doesn’t like it, he will not compromise. We do discuss scripts and characters but until we put it in on the character, we don’t know the end result as we so far had it on our mind only. This work has challenges and we deal with it. ….Y.Sunita Chowdhary
