Hair Design Is Cinema’s New Language: Celebrity Stylist Darshan Yewalekar
The man behind Ranveer Singh and Saif Ali Khan’s signature looks explains how hair design is now a key storytelling tool in modern cinema.
“Hair design is cinema’s new language,” says Darshan Yewalekar, one of Bollywood’s most sought-after celebrity hair designers, known for his work with Ranveer Singh and Saif Ali Khan. Reflecting on the evolving role of hair in filmmaking, Yewalekar explains that hair design today goes far beyond aesthetics—it’s integral to character development and narrative expression.
“In the past, actors were just expected to look good. Except for period films, their hairstyles rarely changed,” he says, citing the example of a custom wig reportedly made in London for Dilip Kumar in Mughal-E-Azam (1960). “But now, we design characters—starting with their hair.”
Yewalekar traces the turning point to 2001, when Dil Chahta Hai showcased how individualised hair design could define and differentiate characters. “That film made people notice how appearances could evolve with the character arc,” he says.
From period dramas like Kesari 2 and Laal Kaptaan to contemporary titles like Rocky Aur Rani Kii Prem Kahaani and Jewel Thief – The Heist Begins, Yewalekar says every project now involves deep research and a tailored design framework. “Saif’s unkempt look in Laal Kaptaan reflected his ascetic lifestyle. In Padmaavat, Khilji’s wild, unruly hair hinted at his primal nature. These choices convey psychological depth without words,” he explains.
He adds that hair design today is a storytelling device, subtly mirroring the emotional and mental states of characters. “Ranveer Singh’s transformation in Rocky Aur Rani... is not just internal; it’s mirrored in his evolving hairstyle.”
Yewalekar notes that major stars now have personal hair designers, a sign of how vital hair has become to the cinematic vision. “Hair is no longer an afterthought. Directors, DOPs, costume designers, and makeup artists all collaborate with us. The character takes shape through these layers—hair being one of the first.”
As he puts it, “Modern filmmaking is all about nuance, and my work begins right at the script level. Hair design, today, is part of the narrative grammar of cinema.”
