Kaun Banega Crorepati
Seasons 14 & 15 | Sony Entertainment Television
Kaun Banega Crorepati
Seasons 14 & 15 | Sony Entertainment Television
ROLE
ROLE
1st Assistant Stylist
DURATION
DURATION
2022 - 2024
TEAM
TEAM
Team of 2
CLIENT
CLIENT
Mr. Amitabh Bachchan
Project
Project
KBC Season 14 & 15 + Campaign Shoots
200+ episodes (106 in Season 14, 100 in Season 15)
End-to-end styling execution
Working on Kaun Banega Crorepati - India’s adaptation of Who Wants to Be a Millionaire, meant styling one of the country’s most iconic public figures within a high-pressure, high-visibility production environment.
Across two seasons - Season 14 (106 episodes) and Season 15 (100 episodes), the role required maintaining a consistent and recognizable on-screen identity at scale.
Each look was not sourced but designed and created from scratch, ensuring complete control over fit, fabric, and visual impact.
Beyond aesthetics, the focus was on balancing elegance, comfort, and continuity, delivering camera-ready looks across long shoot days, multiple episodes, and varied formats including television and campaign shoots.
Working on Kaun Banega Crorepati - India’s adaptation of Who Wants to Be a Millionaire, meant styling one of the country’s most iconic public figures within a high-pressure, high-visibility production environment.
Across two seasons - Season 14 (106 episodes) and Season 15 (100 episodes), the role required maintaining a consistent and recognizable on-screen identity at scale.
Each look was not sourced but designed and created from scratch, ensuring complete control over fit, fabric, and visual impact.
Beyond aesthetics, the focus was on balancing elegance, comfort, and continuity, delivering camera-ready looks across long shoot days, multiple episodes, and varied formats including television and campaign shoots.
Dressing an Icon, One Episode at a Time
Dressing an Icon, One Episode at a Time
A behind-the-scenes look at what it takes to style one of India's most celebrated figures for the country's most-watched television show from sourcing fabric to the final shot.
A behind-the-scenes look at what it takes to style one of India's most celebrated figures for the country's most-watched television show from sourcing fabric to the final shot.
200+
200+
200+
Episodes across two seasons
Episodes across two seasons
2
2
2
Person team full wardrobe ownership
Person team full wardrobe ownership
0
0
0
Sourced outfits, everything made from scratch
Sourced outfits, everything made from scratch
When you dress Amitabh Bachchan for a show watched by millions, there is no margin for error. Every stitch, every colour, every fabric choice is scrutinised, not by a team of ten, but by two people who owned the entire process end to end.
When you dress Amitabh Bachchan for a show watched by millions, there is no margin for error. Every stitch, every colour, every fabric choice is scrutinised, not by a team of ten, but by two people who owned the entire process end to end.
Every detail mattered, because once the camera rolled, it was seen by millions.
Every detail mattered, because once the camera rolled, it was seen by millions.
The Craft
The Craft
Nothing was sourced off the rack. Every outfit began with premium imported fabrics, chosen specifically for softness and drape, to suit his needs and comfort at 82. Each garment was constructed from scratch, tailored precisely, and ready two weeks before shoot day.
Nothing was sourced off the rack. Every outfit began with premium imported fabrics, chosen specifically for softness and drape, to suit his needs and comfort at 82. Each garment was constructed from scratch, tailored precisely, and ready two weeks before shoot day.
Backstage, before the lights come on
Backstage, before the lights come on
Each shoot day meant two episodes, two distinct outfits, and a vanity van that had to be perfectly stocked and organised before a single camera rolled. I was responsible for checking every garment before it went on set and correcting anything, immediately, that wasn't right for the screen.
Each shoot day meant two episodes, two distinct outfits, and a vanity van that had to be perfectly stocked and organised before a single camera rolled. I was responsible for checking every garment before it went on set and correcting anything, immediately, that wasn't right for the screen.
Leading the floor
Beyond my own hands-on work, I coordinated a small team of dressers and tailors, managing workflow, delegating construction tasks, and ensuring the team operated in sync with an unpredictable shoot schedule. Some weeks brought four shoot days; others just two. The team had to be ready regardless.
Team coordination
Team coordination
Workflow Management
Workflow Management
On-set leadership
On-set leadership
What I brought to this
What I brought to this
This project shaped me into a stylist who can handle the full pipeline from concept and fabrication to on-set execution under real pressure. I learned to think ahead, adapt fast, and hold a standard that millions would judge every week.
This project shaped me into a stylist who can handle the full pipeline from concept and fabrication to on-set execution under real pressure. I learned to think ahead, adapt fast, and hold a standard that millions would judge every week.
On-set wardrobe management
On-set wardrobe management
Continuity & episode planning
Continuity & episode planning
Adapting to talent requirements
Adapting to talent requirements
Colour brief execution
Colour brief execution
Adapting to talent requirements
Adapting to talent requirements
Challenges
Challenges
Where adaptability was the only option
Where adaptability was the only option
Shifting measurements
Shifting measurements
At 82, with a hernia, Mr Bachchan's measurements could change significantly between shoots. Every garment had to be made with this in mind, generous in the right places, adjustable where needed.
At 82, with a hernia, Mr Bachchan's measurements could change significantly between shoots. Every garment had to be made with this in mind, generous in the right places, adjustable where needed.
Between-episode turnarounds
Between-episode turnarounds
Two episodes per shoot day meant limited time between looks. Garments shared across outfits, like a black trouser had to be reset, pressed, and ready in minutes.
Two episodes per shoot day meant limited time between looks. Garments shared across outfits, like a black trouser had to be reset, pressed, and ready in minutes.
Director color briefs
Director color briefs
Color palettes came from the director, sometimes just a week before the shoot. Adjustments were absorbed into a two-week prep cycle without disrupting the pipeline.
Color palettes came from the director, sometimes just a week before the shoot. Adjustments were absorbed into a two-week prep cycle without disrupting the pipeline.
Variable shoot rhythms
Variable shoot rhythms
There was no fixed weekly schedule, shoot days were dictated by Mr Bachchan's availability across multiple concurrent projects. Readiness had to be constant, not just scheduled.
There was no fixed weekly schedule, shoot days were dictated by Mr Bachchan's availability across multiple concurrent projects. Readiness had to be constant, not just scheduled.
key learnings
key learnings
What two seasons taught me
What two seasons taught me
01
01
Precision under pressure is a skill you build and not one you arrive with. Two seasons of tight turnarounds taught me to stay exact when the stakes are highest.
Precision under pressure is a skill you build and not one you arrive with. Two seasons of tight turnarounds taught me to stay exact when the stakes are highest.
02
02
Great styling is invisible. If the garment draws attention to itself for the wrong reasons, the job isn't done. I learned to always see through the camera's eye.
Great styling is invisible. If the garment draws attention to itself for the wrong reasons, the job isn't done. I learned to always see through the camera's eye.
03
03
Managing a team in a live environment means reading the room constantly and knowing when to delegate, when to step in, and when to adjust the plan entirely.
Managing a team in a live environment means reading the room constantly and knowing when to delegate, when to step in, and when to adjust the plan entirely.
KBC taught me that fashion at the highest level isn't about clothes but it's about trust, precision, and showing up completely prepared, every single time. I left two seasons knowing I can operate in any high-pressure environment and deliver.
KBC taught me that fashion at the highest level isn't about clothes but it's about trust, precision, and showing up completely prepared, every single time. I left two seasons knowing I can operate in any high-pressure environment and deliver.
