Costume designer Josyula Gayathri Devi Interview

Working on a periodic series like Vikkatakavi is a unique experience as a technician - Costume designer Josyula Gayathri Devi

Working for OTT platforms and web series provides a great opportunity for young talent and technicians. However, as a professional, I constantly keep myself updated by watching projects in Hindi, French, and Korean, despite being busy, says costume designer Josyula Gayathri Devi. She recently worked on the detective web series Vikkatakavi, currently streaming on the popular OTT platform ZEE5. directed by Pradeep maddali, the series features Naresh agastya and Megha akash in lead roles. It is produced by the renowned production house SRT Entertainments, under the passionate guidance of producer Ram Talluri. The Vikkatakavi web series, a periodic detective drama, began streaming on ZEE5 from November 28. In recent interview, Gayathri devi shared her working experience on this periodic web series, emphasizing how different and exciting it was to work on a project like Vikatakavi.

About background

I was born in Vizianagaram and grew up in Chennai. I completed my schooling in Chennai up to my intermediate education and then pursued a degree in Computer Science Engineering. I started my career at Samsung and later joined Microsoft, which brought me to Hyderabad. At the India development center in hyderabad, I worked as a developer for three years. After that, due to some personal reasons, I decided to resign from my job. 

How did you become a fashion designer?

After resigning from my job, I decided to take a break. During that time, I developed an interest in fashion designing. Having grown up learning stitching and embroidery at home, I thought fashion designing could also be a good foundation for starting a business. Initially, I had planned to set up a boutique business after turning 40. But since I had already left my job, I decided to pursue the idea immediately. I joined a one-year diploma course in fashion designing at Hamstech. Right after completing the course, I participated in a fashion show, which was a great learning experience. Within a year, I was invited to be a mentor for the course, and I took up the role. Fashion designing isn’t just about creativity; executing ideas practically is crucial. From sourcing fabrics to calculating the final pricing of a garment, I learned it all through hands-on experience. Working as a fashion show mentor helped me understand the entire process, managing seven teams under me. Later, I started my own boutique business. The boutique thrived until 2019, but I had to close it during the COVID pandemic. Now, I am planning to relaunch my business on a much larger scale. 

How did you enter the film industry?

Initially, other designers would regularly come to me for stitching their garments. This gradually paved the way for me to step into the film industry. My journey began when I worked on the movie Palasa—I only handled the designing part and didn’t go to the shoot. However, my career as a costume designer officially began with the web series Kudi yedamaithe on the Aha platform. After that, I worked on a movie titled Parahushar, but it didn’t release due to certain reasons. Later, I collaborated with Karuna kumar on the movie Kalapuram and worked on the web series Sarvam shaktimayam, directed by Pradeep maddali. This series was a significant learning experience for me because it taught me how to manage a full outdoor project efficiently with a limited budget and manpower. 

Tell us about your working experience on the periodic series Vikkatakavi

Working on the sarvam shaktimayam series was incredibly helpful in preparing me for vikkatakavi. After sarvam shaktimayam, I worked on another periodic series titled harikatha, produced by people media factory. This series, set in the 1990s, is scheduled for release in december and was directed by maggie, known for three roses. Interestingly, the opportunity to work on both harikatha and vikkatakavi came at the same time. Since harikatha began production first, the shooting schedules didn’t overlap, which was a blessing. My experience with harikatha directly helped me while working on Vikkatakavi. Working on periodic series with unique concepts isn’t a regular occurrence, so when such opportunities arise, one must seize them. Balancing these projects and understanding the nuances of each era has been a rewarding challenge. 

What is the difference between working on movies and series?

While working on series, there are usually budget constraints. The expectation is to deliver high-quality output within a limited budget. On the other hand, movies often allow for more flexibility in terms of budget. In the case of series, there is significant input not just from the director but also from the ott platform involved, which influences creative decisions. However, when it comes to movies, the director is typically the final decision-maker, giving a clearer creative direction. 

How do you stay updated as a technician?

Technicians must constantly update themselves to stay relevant. After working on films, I haven’t yet returned to series, although my career began with web series. Working on ott platforms and web series offers a great opportunity for young talent and technicians. To stay updated professionally, I consistently watch projects from different industries, including Hindi, French, and Korean. Being busy is never an excuse to stop learning. Staying informed about trends and techniques is crucial for growth. 

Tell us about your working experience on the vikkatakavi Series

The vikkatakavi series is set against a telangana backdrop, with a periodic storyline that required extensive research. Since the narrative takes place in the 1940s, I first wanted to understand what Hyderabad was like during that time. Our associates recommended the classic telangana movie maa Bhoomi. Watching it gave me insights into the lifestyle, attire, culture, and traditions of that era. To deepen my understanding, I visited libraries and read articles about Hyderabad in the 1940s. I carefully considered how to depict that period authentically while deciding where creative liberties could be taken. I then prepared my team accordingly. For costumes, I researched how pants, shirts, and other attire looked during that time by downloading reference videos and conducting look tests. Working on this project was a unique experience as a technician. It provided an opportunity to delve into a different era and bring it to life on screen in a visually appealing and authentic way. 

What did you find most challenging about vikkatakavi?

One of the major challenges was choosing the right fabrics. Initially, we had a different plan, but as we aligned with the mood of the story, we had to change the fabrics to match the narrative. For the hero's look, we took extra care to ensure he appeared tall while still fitting the 1940s aesthetic. These considerations were challenging but manageable through thorough research and attention to detail. For Megha akash's character, we initially planned chudidars, but as per the storyline, sarees felt more appropriate. However, we avoided silk sarees and opted for cotton, linen, and khadi sarees to maintain authenticity. Balancing historical accuracy with visual appeal was both challenging and rewarding. 

What are your next projects?

Currently, I’m working on a web series titled marmayogi, directed by satish vegesna, which is being produced for hotstar. The shooting has recently started. Additionally, I’m also working on a movie titled manasachora.