At the same time, by illustrating the limits of masquerade or by reconfiguring the dilemmas of modernity as myth, costume assists in the projection of themes that are more conservative than those of each film’s forerunners.You can view an extensive description of Lakshya below: The case studies presented here illustrate how this is done: costumes are readily translatable into the commoditized clothing that is part of the new consumerism: they signal high production values they are complicit in the construction of contemporary stardom and they embody “professionalism” via the employment of well-connected fashion designers. Costume plays a critical role in these processes, operating in remakes to appropriate elements of each film’s forerunners in ways that illustrate the new film’s superiority. Consumerism is celebrated in film at the same time as filmmaking itself is undergoing structural change.

Since the early 1990s, India has been transformed by economic policies that have nurtured the growth of capitalism. Costuming in Devdas, Don and Om Shanti Om can be read as a strategic effort to situate each film along with its predecessors in a new vision of the industry’s past and present. This paper analyzes some Hindi film remakes using the overlooked component of film costume. Commodities as factors of production are as effective as indices of differentiation as they are in the more familiar domain of consumption. This leads to professional differentiation in the field that can be tied to proficiency in consumption practices. Dress designers’ fluency with brands and fashion solidifies their professional standing but costume production is a field of social practice that includes many actors that do not share the same dispositions toward consumption as designers. Selecting and inserting these clothes into film costume production draws on some of the same discriminations that producers employ in their guise as consumers. Since the shift toward neo-liberal economic policies in India in the early 1990s, commoditized, branded clothing has multiplied in the marketplace, and is increasingly featured in films. As scholarly interest in consumption has risen, little attention has been paid to productive consumption, or the acquisition and use of commodities within production processes.

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