In 2001 when Farhan Akhtar바카라s directorial debut Dil Chahta Hai was released, the beachy curls actress Preity Zinta wore were an instant hit. But more than giving her a fresh look, Zinta바카라s messy, unkempt curls were a statement against the tame, submissive characters바카라and hairstyles바카라heroines of yore assayed. Discarding the conspicuous updos of the era gone by, the new-age heroine let her hair down, literally, announcing to the world that she was not a trophy to adorn the mansions of men but a flesh-and-blood person living on her own terms.
Not just Zinta, Dil Chahta Hai also saw a transformation in the character바카라s hairstyles. The gelled spikes and goatee that Amir Khan바카라s character 바카라Sid바카라 sported became one of the biggest style trends that year. It was Avan Contractor, now a noted Bollywood hairstylist, who gave the youth the iconic look to flaunt. Interestingly, like Akhtar, the director of the movie, Dil Chahta Hai was Conractor바카라s debut as a hairstylist.
Contractor has since created some of the most celebrated looks for Bollywood actors. Khan himself went under her scissors again in 2008 for Ghajini, a revenge saga, which required him to don a completely new look. The cropped buzz cut with the scars became yet another rage with youth. She also gave Ranveer Singh that dusty mop in Gully Boy.
The hairstylist started her career in Hindi cinema at a time when hairstyling was yet to gain recognition as a separate department. Looking back at her 22-year-long journey, Contractor feels grateful for the opportunities she got. 바카라When I started out, it was never really a career plan. Bollywood happened to flow very organically into my life and I just went with the flow. I would say my journey has been rather gratifying,바카라 she says. Now, one of Hindi cinema바카라s leading hairstylists, she feels that hairstyling is an important aspect of the filmmaking process as for hair 바카라adds a huge dimension to the detail of getting the actor to look the part and become the character they portray바카라.
As a metaphor, a hairstyle reflects undercurrents of gender expressions, traversing through the realm of fashion to become a sociological cultural marker. Until the 1970s, for instance, Bollywood heroes tended to sport more conservative hairstyles. Author Kushal Varia describes vintage heroes as having 바카라full-headed hair but cut straight at the back, possibly as part of a short back and sides and some form of parting with a wave above the forehead. This type of haircut could be seen on many of the stars of the immediate postcolonial period, including Guru Dutt, Rajendra Kumar and Dev Anand바카라.
With the turn of the century, a new type of masculinity began to make its presence felt on Indian celluloid. The metrosexual man, with a clean-shaven face and an emo haircut, depicted by John Abraham and Salman Khan in films like Jism and Tere Naam, reflected a deeper change in the accepted norms of masculinity. While in some cases, the hairstyles imitated trends in the West, in others, they became markers of cultural change.
For women characters, hair was more a matter of purity, religious piety and a means of establishing character traits like virginity and modesty as opposed to vamps and seductresses who were allowed more experimental hairstyles. In the case of leading ladies, even when they dabbled with trending hairstyles, the proverbial 바카라wedding바카라 middle part was donned at appropriate juncture to symbolise the 바카라taming of the shrew바카라.
Contractor does not deny that until now representation of women has suffered from sexism and objectification, a phenomenon that seeps down to hairstyling. The artist, however, remains hopeful. 바카라I think people are a bit more aware today and there are many filmmakers who don바카라t subscribe to that kind of portrayal. Everyone involved needs to be mindful of the message a style puts out there and question if it is really required for the narrative,바카라 she says.
(This appeared in the print edition as "Making a Statement")
