‘Dil Chahta Hai’ at 25: How Farhan Akhtar’s breezy style created a new Bollywood coolth

Two and a half decades after its release, the fashion style and visual aesthetic of 'Dil Chahta Hai’ continue to evoke the same warmth. The film’s hairstylist, Avan Contractor, and set designer, Suzanne Caplan Merwanji, weigh in on how their creative choices gave the film a distinctive look

Updated - September 05, 2026 02:56 pm IST

Preity Zinta, Akshaye Khanna and Aamir Khan in ‘Dil Chahta Hai’ | Photo Credit: Special Arrangement

In 2001, three friends forged a new on-screen connection. Juggling across glittery nightlife, bantering through leisurely afternoons, and casually road-tripping to Goa on a whim, Akash, Siddharth, and Sameer liberated Bollywood friendships from the sacrificial, brotherly depictions of the preceding generation, making way for a breezy coolth that splintered harmoniously into its design. The filmmaking relied less on aesthetic excess and more on nurturing likeability towards the three by placing them in mindfully created spaces and giving them clothes that reflected their inner lives without making a fashion statement. The effect was disarmingly gleeful. It represented the urban aspirations of being young at the turn of the century by creating a style that was as easygoing as it was vibrant.

Part of that youthful appeal came from the instincts of debutant writer-director Farhan Akhtar, who assembled a team of young technicians to realise his refreshing vision of love and friendship. His minimalistic approach was evident in how the characters appeared real, without the cinematic facade prevalent at the time. The hair styling was done by Avan Contractor, who was working on a movie for the first time. Avan read the script to understand the characters and the world they operate in. Farhan’s brief to her was clear.

“He wanted the characters to look contemporary, modern, and to give them an urban feel, different from the conventional Hindi film hero. Maybe that’s what people found relatable,” Avan says. She points out that the process was similar to the work they did on their clients in the salon. “We would consult the clients, know their likes, dislikes and preferences, and the possibilities that their hair offered. The same principle was used to work with the actors, to make them look more like their characters.”

Aamir Khan in ‘Dil Chahta Hai’ | Photo Credit: Special Arrangement

Perhaps the look that stirred the most conversation was that of Aamir Khan, who played Akash with a playful reckoning, and his earlier sweet-boy on-screen memory of starring in romantic dramas was quickly overshadowed with sharper eyebrows, a longer hairline extending to the cheeks and a goatee on the chin that sealed the deal with its added quirk.

Aamir proposed the idea of a goatee when he came for the haircut, reveals Avan. “He had a beard from his earlier film, and after his haircut, he went to shave the beard and kept coming out to show us different kinds of facial hair. He finally came out with just the goatee, and we felt that it looked super cool.”

The same intricate thought prevailed in the production design by Suzanne Caplan Merwanji, who created the indoor spaces related to the characters with an aim to extend their personalities. Like Avan, it was Suzanne’s first big Hindi commercial film after working as a set decorator on international movies and as a set designer for commercials. That’s what prompted her to bring a new perspective to design the environment for Dil Chahta Hai. “I had come to understand that set design is meant to enhance the script and the characters and not distract from them,” Suzanne says.

A still from ‘Dil Chahta Hai’ | Photo Credit: Special Arrangement

That methodology is seen quite easily in Dil Chahta Hai as the rooms of Akash, Siddharth and Sameer hold a distinctive character, placed with minimal objects that make the spaces look more lived-in than overstuffed with ideas to beautify the frame with a generic effect. Akash’s casual demeanor, transactional outlook, and disbelief in love are reflected in the sleek, mechanical styling of his room. “Being the wealthiest character, he had the most modern, spacious, clean-lined and rather cold set design, to help describe his relationship with his family, friends and girlfriends,” Suzanne says. On the other hand, Siddharth’s thoughtful, empathetic worldview and his artistic inclinations came through with how his house was shown.

“I modelled Sid’s house upon a bohemian Colaba house that belonged to a friend, who was an avid collector of Indian arts and crafts. I think that reflected the unconventional complexities of his character. Designing his attic studio allowed us to unleash our creativity and we really had fun with it,” Suzanne explains.