Advertisment

Off The Rack: Monica Shah Of JADE On Dressing Rasha Thadani And Diana Penty In ‘Azaad’

From Rasha’s 100-kali red lehenga in the song 'Uyi Amma' to researching through the flea markets of Paris, Shah took it upon herself to ensure that the designs for the period film were historically accurate.

Monica Shah

Tasked with sustaining the able legacy of JADE, Monica Shah has dressed a legion of celebrities and high-profile clientele for years. Marking a creative pivot now, is her costume design stint with Gattu Kapoor’s Azaad, which also marks the debut of Rasha Thadani, daughter of Raveena Tandon and Aaman Devgan, Ajay Devgn's nephew. From being elated on seeing the general reaction to Rasha’s red lehenga in Uyi Amma to a thorough research in the flea markets of Paris, Shah took it upon herself to ensure that the designs were historically accurate for the film. We sat down with the well-known designer where she divulged her work process and shared her experience of working with Rasha and Diana Penty.

Read on...

Azaad

ELLE: How is designing for a clientele different from working for a movie? 

Monica Shah (MS): Designing for a film is like stepping into a different world. Every piece you create, whether it’s a costume or a set, has to tell a story. For instance, designing a dress for a character rooted in tradition might mean warm tones, rich, handcrafted textures, and details that quietly convey their culture. It’s deeply tied to the emotions and arcs of the characters, guided by the director’s vision. Now compare that to general designing, where you’re working for a broader audience. It’s more flexible and trend-driven—like creating an upscale eveningwear collection for gala dinners or day to day events. Here, there’s more freedom to experiment with styles and aesthetics, but the focus shifts from storytelling to aligning with lifestyles and current trends.

Azaad

ELLE: Among the looks you've created for your both characters, what are your favourites? And how do they play a role in defining their character arc? 

MS: Personally, my favourite looks for both characters are deeply tied to their journeys and personalities. For Janaki (Rasha Thadani), the 100-kali lehenga with intricate block prints was a standout. It was designed to look authentic, showcasing her aristocratic wealth and grounding her in a regal, timeless aura. The richness of the lehenga mirrored her character's deep roots in tradition and status. For Kesar (Diana Penty), her chiffon sarees were equally meaningful to me. Chiffon is such a delicate, elegant fabric, and it perfectly captured her transformation into someone refined yet relatable - from a farmer's daughter into a poised woman of grace. Early in her arc, her patchwork tie-and-dye lehengas reflected her humble beginnings and connection to the land, while the transition to chiffon captured her evolution, reflecting her newfound identity while still retaining her innate simplicity through subtle block prints. 

Azaad

ELLE: Period dramas can be challenging. Where did you look for inspiration? 

MS: Period dramas are definitely a challenge, but that’s what makes them so rewarding. My inspiration drew from a mix of sources that felt both authentic and evocative. The jackets I found at a flea market in Paris, for instance, helped me capture the essence of Janaki’s British-inspired looks. Their tailored elegance and vintage charm became the foundation for her aristocratic wardrobe, blending colonial influences with Indian traditions. I looked at the mirror work from Kutch, which brought a rich, handmade quality that tied beautifully to her cultural roots. The intricate craftsmanship of the mirror work inspired the patchwork tie-and-dye lehengas, reflecting her connection to the land and her simple upbringing. 

Azaad

ELLE: Did you face any challenges while sourcing or getting things made? 

MS: Yes, it was quite a task to maintain the authenticity of the craft that was prevalent pre-independence. There were challenges, like ensuring that the designs were historically accurate and coordinating timelines, as handwork naturally takes longer. However, it was a smooth process in another sense because of the incredible collaboration with the artisans and the film makers. Since Gattu (Abhishek Kapoor) had a clear vision about the screenplay of Azaad, it was quite easy to encapsulate his vision in our design and that felt like a true partnership. 

Azaad

ELLE: Tell us about working with both Rasha and Diana. How was that experience? 

MS: Working with both Rasha and Diana was an absolute pleasure. They’re not just incredibly talented, but to create costumes that completely embody the characters was a humbling experience for me as a designer. The costumes weren’t just about aesthetics—they became a part of their performances, helping them step deeper into their roles. It was so rewarding to see how the little details we worked on resonated with them and added to their portrayal. 

Azaad

ELLE: Share three memories you cherished, from the sets of the movie. 

MS: One of my favorite memories from the sets of Azaad was the first time I saw Rasha in the red lehenga we had designed for her in Uyi Amma. Watching her try it on for the first time was surreal. Rasha had specifically requested red, her favourite colour, and we had poured so much heart into perfecting every detail to make it just right for her. Now, watching Uyi Amma’s success spread all over the internet and seeing so many DIY recreations of that outfit, truly fills me with pride. It reminds me of the magic we brought to life together and how I had the privilege of contributing to this beautiful journey.

Also Read: Celebrity Stylist Shaleena Nathani Would Love To Work With Rihanna

David Lynch: Filmaker, Check. Perfume Marketer, Also Check

Ten Fashion Collections We Want In Zendaya’s Wedding Trousseau

Related stories