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Inside Dhurandhar: How Smriti Chauhan Crafted Ranveer Singh’s Most Talked-about Look – Exclusive_我的网站

一 |     Costume designer Smriti Chauhan is one of the creative forces behind Ranveer Singh’s look in Dhurandhar. She says the film’s now-viral bearded avatar was born from months of iterative work, collaboration and a deep integration of costume with hair, makeup, lighting and performance. In an exclusive conversation with Filmfare, Chauhan breaks down the meticulous process, from conceptual sketches to 40-metre salwars and silicon jewellery designed to survive high-octane action.          Region, story and technical precisionChauhan reveals that the idea of a full beard was rooted in the character’s geography and cultural background. “We knew there was going to be a beard because of the region he comes from, what he’s performing and who he is,” she says. The hair and makeup team played a decisive role as well. They dictated the skin tone, lens colour and texture choices that needed to sync with her costume palette. “Costume and hair and makeup cannot be separated,” Chauhan emphasises. “The look comes alive only when all three, costume, HMU and lighting - work in harmony.”Ranveer’s inputs and a sharp eye for detailChauhan was nervous as she met Ranveer Singh for the first time while working on the movie. However, she says that the actor immediately put her at ease. But Singh was far from a passive participant. He dissected materials, cuts and accessories with precision. He’d ask, ‘Why linen? Why not silk? Why this jewellery? Why this structure?’ According to the designer, his questions pushed her to have solid answers.Smriti also shares, “And when you have the answers, it gives you more clarity. So with Ranveer, he ensured that he helps the two of us get clarity on the character. He also added some technical bits. He asked me to add a wire on the collar so that it stays like that when he is moving around.”          Ranveer’s physical transformationOne of the biggest challenges for Chauhan’s team was designing for a body that kept changing. Ranveer bulked up for a portion of the film and then shed weight rapidly for another. “We had to ensure that with every change in his body, the clothes didn’t show that change... The look had to stay consistent,” she shares.The character evolves from a street nobody to someone big. The costumes had to mirror his transformation. Initially, his look is rooted in ruggedness. “So all of this came together working very closely with him. We understood which materials are working the best and which is looking rugged. His entire journey in this film is like that of a nobody becoming somebody, like really big. So that journey itself was grand.”          The nightmare of action-friendly jewelleryLater, as the character rises in stature, accessories become key. Ironically, Chauhan had laughed off Ranveer’s early questions about accessories because of the heavy action sequences. But he persisted. “Cut to the first sequence in the teaser - he is loaded in accessories. I can tell you this, I’ll throw a rug on him and he’ll carry it with perfection. The next thing you know is that we have added so many accessories on him,” she adds.As the film is packed with lengthy action sequences, some shot over 10 to 12 days, Chauhan’s team had to create silicon jewellery that looked real but wouldn’t injure the actor or break under impact. “It was a nightmare but became necessary.”     The Balochi salwar challengeOne of the film’s most technically challenging pieces was the traditional Balochi salwar. The authentic garment uses 30 to 40 metres of fabric, which is impossible for action scenes. Instead, Chauhan’s team created prototypes using 17 to 20 metres. They experimented with fabric weight, fall, pleats and movement. “We kept making so many prototypes. When he wore it, it looked less; when we spread it out, it was huge. Overall, it was a massive learning experience,” she recalls.Months of prep, presentations and look testsThe team spent two to three months preparing Ranveer’s looks. They went through six different presentation decks and multiple iterations for each phase of his journey. Three comprehensive look tests were done even before shooting. Moreover, sudden scheduling changes accelerated everything. “We thought we’d shoot in October, but suddenly the shoot got pulled to July. We were like, ‘What?’ But luckily we had done early homework,” she recalls.The moment Ranveer called her a ‘Rockstar’Chauhan recalls one of her most overwhelming moments when Ranveer looked at the first major look test and told her he’d “never seen this level of detailing.” “Coming from someone who’s worked with the greatest designers worldwide, it meant the world. It pushed me to raise my own bar,” she says.Despite the scale, the pressure and the physicality of the film, Chauhan says Ranveer’s collaborative nature made the process smooth. “He is the best team player I could have asked for. His encouragement, his curiosity, his involvement - everything helped build the character’s world,” she quips.Also Read: Sara Arjun gives Dhurandhar co-star Ranveer Singh a moving tribute as she shares BTS photos。          　　“这里有成熟的年轻客群基础和强劲的消费活力，与名创优品的门店升级战略高度契合。”8月12日，济南弘阳广场A馆L1，济南面积最大的名创优品IP集合主题店正式亮相，名创优品战略发展合伙人张飞这样表示。

二 |      　　今年5月，省工业和信息化厅发布公告，就《关于推进消费品供需适配促进消费扩容升级的工作方案(征求意见稿)》面向社会公开征求意见，其中首次在省级政策中明确写入了“谷子经济”“IP消费”“悦己经济”等新潮词汇。

三 |      　　风起潮涌，近三个月来，潮玩本土企业加速崛起、外地巨头密集布局，山东正在成为各路玩家的必争之地。　　近百家文创类公司注册成立，山东潮玩原创力加速攀升      　　所谓“谷子”，是英文Goods(商品)的谐音，特指二次元周边的衍生经济。盲盒、手办、吧唧(徽章)……这些被Z世代统称为“谷子”的周边产品，正以惊人的速度撑起一个千亿级市场。2025年，中国潮玩市场规模达879.7亿元，同比增长21%，首次超越传统玩具市场的801.3亿元。     　　长期以来，手办潮玩的研发生产高度集中于珠三角与长三角，北方市场消费力旺盛，却始终缺乏根植于本土的头部供应链。这一格局，正被一家济南企业打破。     　　8月20日，济南佩觿文化创意有限公司3D打印体验馆、原画设计馆正式投入试运营，这家本土文创企业也迎来转型升级的重要时刻。     　　作为山东首家打通“原画设计—量产销售”全产业链闭环的企业，济南佩觿文化创意有限公司填补了北方潮玩供应链的空白。公司构建起IP获取、原画设计、3D建模、打样试制、量产加工、市场销售的完整产业闭环。     　　去年，公司营收突破6亿元，集聚上下游企业48家。

四 | 其与产线协同运转的自建“趟瀛”智能生态平台，已汇聚300多个原创IP、连接5万余用户。     　　“我们计划开展‘研学游’，与周边高校合作定向培育，让周围的年轻人有机会从买手办的人变成做手办的人。”梦工厂负责人孟祥坤说。      　　除了济南佩觿，更多文创类公司积极在山东落子扎根。

五 | 记者检索企查查看到，近三个月时间，山东共成立文艺创作类公司超500家，其中文创类公司近百家，最高注册规模1000万元，部分注册规模在100万元—500万元间。　　首店、旗舰店接连落子，巨头深挖增量市场      　　本土企业发力之际，外地巨头也在加快在鲁布局。     　　今年6月，名创优品青岛首家“一拖二”双层旗舰店亮相青岛上街里MALL容匯城，门店总面积达600平方米，开业首日进店人次近9000，当日销售额位列山东省内所有名创优品门店第一。     　　8月初，名创优品弘阳广场YOYO主题店开业，为济南面积最大的IP集合主题店，店内SKU超5000款，IP联名、二次元周边占比大幅提升。     　　同样在8月，次元结界(北方首店)携变形金刚授权店金刚荟(北方首店)、七点谷·九州燃漫全国首店集中亮相青岛上街里MALL容匯城。据七点谷·九州燃漫主理人任文栋介绍，店内备货的500份单价99元的二次元盲盒，在上架不足半小时已全部被抢空。      　　潮玩巨头泡泡玛特则以门店提质+跨界快闪双线布局。近期，泡泡玛特高级副总裁褚音表示，公司下半年将移位改造几十家门店，业内人士称，作为重要消费市场，山东门店或将涵盖在内。     　　济南一位长期收集IP谷子的消费者告诉记者：“往年热门新品、限定谷子，往往优先上线南方一线城市门店，现在济南、青岛上新速度明显变快，以后也不用长期蹲线上代购了。”　　山东缘何成为“谷子经济”新热土?      　　潮玩巨头抢滩、本土企业崛起的背后，是山东独有的政策红利与产业优势。     　　2026年5月，山东省工业和信息化厅发布公告，就《关于推进消费品供需适配促进消费扩容升级的工作方案》公开征求意见。方案首次在省级政策中明确写入“谷子经济”“IP消费”“悦己经济”等新潮词汇。     　　方案提出，大力发展IP消费，扩大谷子经济、悦己经济等新供给;支持济南、青岛对标建设国际消费中心城市。到2028年底，全省将培育省级以上消费名品超330个。     　　政策落地迅速跟进。

六 | 济南作为全国首批消费新业态新模式新场景试点城市，市商务局、市财政局联合印发《济南市消费新业态新模式新场景试点项目和资金管理办法》。     　　其中，对联动国潮动漫、影视IP打造综合性消费场景的项目，有效投资不低于300万元的，最高可获2000万元奖励;对开设IP主题店、概念店、联名店，开业后6个月内主营业务收入达200万元以上的，最高奖励‌100万元。     　　政策之外，山东还有着得天独厚的产业“底牌”。佩觿文化梦工厂负责人孟祥坤算过一笔账：山东工业门类齐全，树脂、塑胶等原材料可就地取材，大幅降低了物流采购成本;济南扎实的工业基础，也为文创产业提供了难得的制造支撑;同时济南在AI与激光领域的产业积累，正与手办制作深度融合。

七 |      　　数据显示，2025年，山东社会消费品零售总额达4.2万亿元。当万亿消费体量遇上“谷子经济”的千亿风口，山东，正在成为这场新消费革命中极具想象力的战场。

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