Director's & Actress-heres the connections

Any filmmaker of consequence is obssessed with his heroines. Whether it was the venerable Raj kapoor or the controversial RGV. And the obsession is reflected in the way they style their women, often setting off a trend and giving the actresses in all their films a distinctive, yet collective identity. Here's taking a look at the filmmakers and how they like their heroines: mild, wild and often difficult to digest.

While two of Sanjay Leela Bhansali's films (Khamoshi, Black) have depicted either a Christian or an Anglo-Indian background there's nobody to beat Bhansali when it comes to the opulent ethnic and romantic touch. SLB likes layers: in the long black tresses, big bindis, trailing saris and anarkali kurtas, and dupattas and pallus that go on and on and on, shrouding the women in mystery. His women are die-hard romantics and wear more jewellery and accessories on a visit to the neighbourhood temple than most women would at their weddings.

Best examples:Aishwarya in Hum Dil De Chuke Sanam and Devdas. And after a brief but interesting flirtation with all things 'black' Bhansali trod a familiar path with Sonam Kapoor in Saawariya.

Will be remembered for: For popularising the Bengali sari drape, albeit in a hybrid form.

Ramu's bikini babes

If you think of the sexiest women to have appeared on screen over the last decade almost all of them will be RGV heroines. Truly there's one man in Bollywood who has been inspired by the famous novel Lolita it's Ram Gopal Verma. Ramu's women get younger with each film, though you will almost have them get wet in white itsy bitsy number on the beach or in the garden. The short shorts or skirt, the sheer white tops and the innocent demure expressions are in complete contrast to the sex appeal oozed by his women.

Best Examples: Urmila Matodkar in Rangeela, Jian khan in Nishabd and Nisha Kothari.
Will be remembered for: For draping maximum heroines in a sheer white shirt and shorts.

Subhash's desi beauties

The original showman has never opted for the modern look or character at least in his films. His heroines are demure, coy and traditionalists to the core. They will marry the worst man on earth if their father asks them to. The outfits in Mukta Arts' movies (Subhash's banner) are never loud or over the top. The figure-hugging georgette choli suddenly plunges to reveal an ample bosom and the heavily sequined saris would be draped over a well-padded butt. Over the last decade Ghai has been dabbling in different genres of filmmaking so his heroines have also been given a makeover.

Best Examples: The quintessential Ghai heroine beis Mahima Chaudhari in Pardes, Madhuri in Khalnayak. kareena Kapoor in Yaadein was a mix of ethnic and Western.

Will be remembered for: Making the humble 'choli' an object of national fantasy.

The Yash Raj women

If there is one director who tried as far back as the '70s to show women in a different light it was Yash Chopra. Whether it was Rakhi in Kabhi Kabhi or Sharmila Tagore in Daag the women were always subtly sensous. With changing times, the sexuality was more overt like Rekha in Silsila. The YRF women are classy, well-dressed, (white was Yash Chopra's favourite colour) chiffon saris, pearls, and delicate lipstick. Nothing gross or over the top for them! Over the last 10 years things have changed drastically. The chiffon and pearls have been replaced with high street fashionwear and OTT accessories. Aditya Chopra doesn't hesitate in passing orders about excess weight either (Kareena and Aishwarya will tell you about it).

Best Examples: Rekha in Silsila, sridevi in Chandni, Kajol in Dilwale, Rani mukherjee in Saathiya..Preity in Veer Zara. And in a different way AshwaryaBachchan in Dhoom 2 and Kareena in Tashan.

Will be remembered for: Making women in Hindi cinema look classy and sexy at the same time.

Karan Johar's gal pals

Sex and the City goes desi, via New York. Karan Johar's women are as clued in about the latest Parisian fashion trends as they are about karwa chauth rituals and that is reflected in what they wear. His women either wear sequinned Manish Malhotra saris or hot pants and high boots sourced from the hottest International designers.

Rani Mukherjee in Kuch Kuch Hota Hai sang Om Jai Jagdish while flaunting a short skirt.
This was a landmark film for B'town because probably for the first time so much attention had been paid to the colours, textures, look and feel of the costumes.

Best Examples: Kajol's makeover, which began with KKHH, continued with Kabhi Khushi Kabhie Gham. She probably looked her best in these two films. kareen Kapoor in K3G and Preity Zinta in KANK.