GIVING THE PERFECT FIT
Focus on Costume designer and fashion stylist Nilhan Seneviratne
Finding a Lankan celebrity who has not sported a costume collection of gifted costume designer and fashion stylist Nilhan Seneviratne would be no easy task. In a colourful career spanning more than two decades, Nilhan has proven his innovative skills in every inch, every centimetre of his creations. He has indeed added an extra touch and colour to Sri Lankan films with utmost dedication and commitment, but he is choosy in picking films.
“I have my own standards and policies. Probably this is one reason why I have done a handful of films in a career spanning 25 years. But all such films are regarded as turning points in their respective genres today. I entered the film scene, designing the costumes of Yashoda Wimaladharma in ‘Theertha Yathra’. Prior to that I designed costumes for Sabeetha Perera in Hemasiri Sellapperuma’s ‘Love in London’. Then came Udayakantha Warnasuriya’s ‘Rosa Wasanthe’ songs on the invitation of Ranjan Ramanayake. In 2002, my role in Channa Perera’s ‘Anjalika’ as the costume designer is one of the highpoints in my career. Then came Jackson Anthony’s ‘Aba’ in 2009,” said Nilhan who has contributed to Jackson Anthony’s newest movie ‘Eka Gei Sokari’ which is awaiting release. “Costumes may not make a film, but working in harmony with the director can add more value to a film. I believe in the confidence a filmmaker has in my work. Jackson Anthony has that confidence in me as much as I do have in his creative abilities. ‘Eka Gei Sokari’ is a different story beautifully woven by Jackson. This comes ten years after I did ‘Aba’, for obvious reasons. Jackson Anthony has given me all the creative liberties to perform my tasks. Do a job perfectly or just keep quiet – that’s my motto,” says Nilhan.
GOING BACK TO ANJALIKA DAYS, YOU WERE THE FIRST SRI LANKAN ARTISTE TO MEET POPULAR ACTRESS POOJA UMASHANKER?
“Well, I wonder if Pooja remembers that. Channa Perera or the director had not met Pooja until I met her in person in Chennai. I carried the message from Channa who had only watched a Tamil movie of Pooja in Colombo. I was given an appointment at 5 am in a Chennai hotel to meet her. She was accompanied by her mother. Later I was virtually regarded as a family member of Pooja’s family. I worked in another movie ‘Asai Mang Piyambanna’ with Pooja but later for some reason never got a chance to work with her. But our friendship and memories still remain intact.”
YOU HAVE PROVEN YOUR EXPERTISE BY EXCELLING IN BOTH COMMERCIAL AND PERIOD FILMS?
For me, what matters is the crux of the story and not whether it falls under a commercial or art label. ‘Aba’ was indeed a huge challenge. I must gratefully recall the huge support I got from my friend ‘Hadhil’ to fulfil my mission. Though he passed away suddenly a few years ago, I still visit his family and parents in Kandy. Despite being a Muslim, I know how much he committed to the film and he would never miss the Dalada Perahera every year. I got ‘hardto-find’ jewellery for the movie from Muslim and Tamil friends too.
MOST POPULAR ARTISTES OF THIS ERA HAD MODELLED FOR YOU IN THEIR EARLY DAYS?
I designed costumes for several artistes and models of that era and also got the rare opportunity to contribute to newspaper tabloids in the very early stages. I designed hundreds of costumes for Rupavahini’s ‘Yathra’ programme handled by Senesh Bandara Dissanayake. I still continue model shoots for the media and other events. Today’s prominent actors like Uddika, Hemal, Suraj, Roshan Pilapitiya, Roshan Ranawana, Buddhika Jayaratne and others including Danuka Dilshan and Anuj Ranasinghe modelled for me in their early days. They were so committed which is why they are on top today. But sadly I don’t see these qualities in today’s generation. Despite more and more pageants happening now, we rarely see real characters emerging. Ayaz Ashraff was my first model. Since then I have designed costumes for almost all big names in our glamour industry. I am also grateful to Poornima Abeyratne who paved the way for me to enter this glamorous field.
“Channa Perera or the director had not met Pooja until I met her in person in Chennai. I was given an appointment at 5 am in a Chennai hotel to meet her. She was accompanied by her mother. Later I was virtually regarded as a family member of Pooja’s family”