When you entered the world of fashion, you introduced film stars as showstoppers. That received a lot of flak from the fashion circles. Is that why, now that you’re turning a producer, you’re making films with actors, and not stars?

For me, it’s always been the instinct, what the gut says, what the heart say. And I think in my life, it’s worked for me. Because it’s come with honesty and purity. That’s exactly how I’ve approached every job of mine. I remember years ago, the budget given to me for a costume was Rs 2,500. And I had spent Rs 5,000. To me, in the beginning of my career, it was never about I have taken Rs 500 from my main account. and then work on my costume. No, it was always about that the actor should call me back. They should like my work that much. I approach my work like this till date. Just now, in a fitting, I added more work to the garment. Now, a lot of times, my assistants look at me and say, “Time is short. How to do this?”?” But I’m very true to what I’m seeing. And that’s exactly the same approach I have as a producer. I work closely with the actors and aid the director. I come from a larger perspective. I work with very young people, across the globe, across multiple verticals.

Since your name is synonymous with glamour, how did you ensure that the right writers and filmmakers reach out to you with their scripts?

I think by choosing the films I did in the phase 1 of Stage 5 Productions. People stereotype you. We all do it with everyone, even with actors. But if you see, in the olden period, producers took a chance. That’s how Shatru ji (Shatrughan Sinha) became a hero from a villain. It also happened with Vinod Khanna. Shah Rukh Khan did Darr (1993) and Anjaam (1994), and then Dilwale Dulhania Le Jayenge (1995). In today’s times, it’s become very stereotypical. I want to do everything. If someone like me, who comes from a very busy career of 35 years, won’t do it, then who will? If you work with sincerity, then one day, money follows. But money has never been my driving force.

You’re best known for glamorous looks of stars, like Kareena Kapoor’s in “Bole Chudiyan” from Kabhi Khushi Kabhie Gham (2001). But you’ve also incorporated a lot of craft into costumes, like in the case of Urmila Matondkar in Satya (1998) and Rani Mukerji in Yuva (2004). Do you feel you don’t get enough credit for your craft?

Glamour will always overshadow it. Luckily, I’ve always had many, many big films where the costumes also became very famous. So, that will always take over. Even if I stop doing costumes, and say I’m only going to focus on films and my brand, I’ll still be remembered for the costumes. So, some things get branded and stamped for a lifetime. It’s absolutely fine. I don’t mind it. I think I’ve got a lot of credit for a lot of things I’ve done. Maybe filmmaking would be the way to get that credit. Already, people are surprised by my three different choices of films. Because they’re not really what you’d expect of me.

As you turn a filmmaker now, what have been your learnings from some of the directors you’ve worked with extensively, from Yash Chopra to Karan Johar?

Those directors have been very pure to their work, and still had a very commercial lens, which I respect a lot. That’s the reason it reached a wider audience. It’s very easy to make a beautiful painting, keep it at your home, and call yourself a great artist. I don’t mean you’re lesser of an artist if you don’t blend art with commerce. But my personal take is I like that blend. That’s why I took the strong step towards releasing Gustaakh Ishq in theatres. Otherwise it goes unnoticed a lot of times. To reach a wider audience, you need a wider mind. Directors like Yash Chopra, Sanjay Leela Bhansali, Aditya Chopra, Imtiaz Ali, and Karan Johar, whom I’ve worked with, have that blend.

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You’ve also worked a lot with Ram Gopal Varma, including in his grittier films. What have you picked up from him?

What I love about Ramu is his clarity. He was reckless, but he just knew how to shoot a simple dress aesthetically and erotically. If you notice, Urmila is wearing a red dress, but the way it contrasts against the earthy sandstone backdrop is striking. He’s also very fast with his visuals. That works for me because I’m also a very fast decision maker and mover. I don’t dwell too much. Even Yash ji and Karan are like that. They get their thing and move ahead. Ramu would make even an ordinary shot look great, in his own genre. Urmila was just walking down the stairs, but when I saw it on the big screen, I was pleasantly surprised what he had in mind when he shot that.