Dilwale Dulhania Le Jayenge is still universally adored across generations for its romance and soundtrack. It turned Shah Rukh Khan into Bollywood’s eternal romantic hero and gave Aditya Chopra a debut that filmmakers still envy. But what has been left out of the conversation over the past three decades is the fashion revolution DDLJ sparked.
Behind Simran (Kajol)’s now-iconic wardrobe was fashion designer Manish Malhotra, who spoke to ThePrint as the film celebrates its 30th anniversary.
“The intention was to merge the Western and Indian fashion influences,” Malhotra said. “It was a beautiful opportunity to reflect a generation that was evolving, young Indians who were global in their outlook but deeply rooted in tradition.”
DDLJ’s fashion mirrored the cultural crossroads of the 1990s—India was liberalising, MTV arrived a year later, and there was a growing fascination with all things foreign. Yet, DDLJ balanced this beautifully. It brought the Western aesthetic to Indian cinema.
While Simran’s style reflected the NRIs of the time—rooted in Indian values but dressed in Western casuals—Raj (SRK)’s leather jackets, denim, baseball caps, and cool tees became instant style goals for the Indian youth. Raj signalled the rise of a new kind of Bollywood hero: Western in appearance, desi at heart.
Karan Johar consulted on SRK’s wardrobe for the film.
For Malhotra, it was important that Simran’s clothes echoed her “softness, grace and quiet strength.”
“I wasn’t referencing trends. I was responding to her character. Designing for Simran wasn’t about fashion. It was about storytelling through every fabric and fold, and letting her journey unfold visually with sincerity and soul,” he said.
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Case study in fashion
Fashion designer Gautam Gupta, Creative Director at Label Asha Gautam, was 14 years old when he watched DDLJ on the big screen.
As someone who grew up around bold colours and over-embellished clothing, Gupta found DDLJ to be a “breath of fresh air”.
“It trusted simplicity,” he said. “The fashion wasn’t loud, but it had conviction. Simran’s wardrobe wasn’t trying to make a statement; it just belonged to her. That’s what made it powerful.”
Re-watching DDLJ was “nostalgic” for Gupta, but as a designer, it became a “case study in emotion-driven styling.”
It reinforced his belief that when fashion becomes an extension of character, it lives far beyond the trend cycle. “You don’t remember Simran for the cut of her kurta, you remember how it made you feel,” he said.
Gupta revealed his vision for reimagining Kajol’s iconic white salwar suit from the mustard fields scene.
“I would recreate it using lightweight fabrics like organza, Jamdani, or Chanderi,” he said. “To bring in a contemporary feel, I would add tone-on-tone embroidery with resham or gota, placed in a more modern layout.”
His idea is to preserve that sense of innocence while updating the structure, perhaps with an Anarkali silhouette and a dupatta that drapes like a soft veil.
“It’s about letting the look breathe in today’s aesthetic.”
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Bridging India and the West
Simran’s wardrobe mirrored the internal conflict many young Indians faced at the time: balancing a global, modern identity with deeply rooted cultural values.
“When Simran was in London, I wanted her to genuinely look like a girl raised in the West,” Malhotra explained. “Her look was soft and feminine — floral skirts, subtle cardigans, gently draped dupattas.”
The red and white outfit worn by Kajol’s character in the song Zara Sa Jhoom Loon Main became instantly popular. The look was youthful, flirty, and perfectly captured Simran’s carefree spirit.
But when the story moved to India, her wardrobe changed too. The salwar kameez sets were more traditional and rooted in the location. The colours turned to delicate pastels, and the fabrics became more fluid.
“That contrast was very intentional. It reflected her evolution and the tension between the two worlds she belonged to,” he added.
This wasn’t about East-meets-West fusion for fashion’s sake; it was about context. Simran’s wardrobe change felt organic, not forced, just like her character’s journey.
And the same applied to SRK’s Raj. “Even though I didn’t style Raj, his character naturally balanced that East meets West charm,” he said.
According to Gupta, DDLJ made simplicity aspirational, noting that Raj wasn’t trying to look Indian or Western.
“He just layered well. The blend came naturally, from identity, not styling tricks. That, to me, is real modernity,” the Mumbai-based designer said.
“Raj wasn’t dressed to impress, yet every boy wanted to dress like him. Today, we chase ‘relatability’ in styling. DDLJ did it effortlessly, decades ago.”
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Iconic green lehenga
Kajol’s green lehenga from Mehndi Laga Ke Rakhna has become one of the most iconic looks in Bollywood history—not just for its visual appeal, but for the emotion it carried.
As Manish Malhotra recalled, the memo for Simran wasn’t just a girl in love.
“She was layered, raised in London but deeply Indian at heart, caught between tradition and personal longing.”
The vibrant green satin lehenga reflected that complexity. When Malhotra first suggested the striking shade to director Aditya Chopra, there was hesitation, but Malhotra was sure it would elevate the scene.
“That green lehenga still lives on in bridal mood boards, and we’re still creating versions of it today. I think that’s the magic of costume design when it’s rooted in storytelling. It stays with you,” the designer added.
In contrast, Simran’s white salwar suit in Tujhe Dekha Toh was designed to convey innocence and vulnerability.
“It was soft, fluid and full of feeling. It wasn’t meant to be iconic,” Malhotra said. “But it’s sincerity translated. It gave space for her emotions to breathe.”
According to Malhotra, if Dilwale Dulhania Le Jayenge were made today, its heart would remain unchanged, but its visual language, especially through fashion, would evolve with the times.
“I would retain that rooted elegance for Simran, but with modern nuances,” he said, citing a recent reinterpretation of her iconic green lehenga as a contemporary saree that still carried the nostalgia.
Designer Gupta echoed this sentiment, envisioning Simran in softer, handwoven textiles like Kora cottons or recycled zari, and Raj in “hand-stitched denim or a leather substitute made by artisans.”
“Their wardrobes would still be relatable, but they would also reflect consciousness, which is our new-age value system,” he added.
(Edited by Theres Sudeep)