Friday, 21 August 2009

Behind The Scenes: 38

In2 the Wild




On David O (left), shirt Ermenegildo Zegna. suit Gucci, shoes Prada.
On Alfredo (right), shirt Burberry, suit & shoes by Gucci.







Tank top by Dolce & Gabbana, jacket by Gucci, pants by Burberry and tie by Ermenegildo Zegna.












On David O (left), shirt & belt Dolce & Gabbana, pants by Gucci, trench coat by Burberry. On Alfredo, entire look by Prada, belt from Dolce & Gabbana and shoes from Gucci.








Shirt by Louis Vuitton and pants by Dolce & Gabbana










Shirt Givenchy by Riccardo Tisci, coat by Salvatore Ferragamo and pants by Gucci.










Top by Dolce & Gabbana











Tank top by Dolce & Gabbana, pants by Gucci, jacket by........













Shirt by Ermenegildo Zegna, tie by Prada, shorts & belt by Louis Vuitton








Top by Salvatore Ferragamo, jeans & boots by D&G





















Tank top & jacket by Dolce Gabbana, pants by Burberry.















Behind The Scenes: 38









Above images, ‘making of’ shots by Karen.

Final images coming soon…


Producer: P.Ramakrishnan
Photography by: Jeff Hahn
Stylist: Harry Lam
Hair & Make-up: Karen Yiu
Models: David O & Alfredo from MI

Heir and graces: Abhishek Bachchan in Hong Kong: 2003


India's new screen prince hopes to step out of the shadow of his famous parents. P. Ramakrishnan meets the subcontinent's rising star, Abhishek Bachchan.

Following in their legendary footsteps is Abhishek who, by his own admission, is yet to attain the box-office clout his father possesses, but finally appears to be on his way with the success of his new film, Kuch Na Kaho (Don't Say Anything). The pressure to succeed is apparent when he talks about some of his less glorious forays.

"I cannot sleep the whole week just before my film's about to release," he admits. "Each film is like a baby that you work on, a labour of love that you spend a year of your life on, and if the audience rejects it, it definitely hurts. The audience is never wrong, I don't question that. A good film runs, a bad one doesn't. To me it's that simple. When a film flops, I sit and analyse what happened. I've got seven films due for release this year and next - there's no sleep in the near future for me."

Fresh from the recent success of Kuch Na Kaho, Abhishek appears at ease at Hong Kong's Holiday Inn this week, an hour after landing at Chek Lap Kok. Like his father, he's tall, has a rich baritone and an ease in front and behind the camera that underscores his movie-star genes, inherited and honed. He is very much the star: dark and handsome but without the postcard prettiness of a model. His vintage charm and decorum fits him as perfectly as his designer suit.

Abhishek was in town to collect an award on behalf of his father and to appear as chief guest at the Miss India Hong Kong pageant on Tuesday evening. When his father unexpectedly turned up at the pageant at the Intercontinental Hotel, there was near pandemonium. "Dad's here," he said, nodding almost imperceptibly while breaking into a toothy grin. He then strolled across to greet his father and the guests parted like an ocean, only to engulf and swallow them up. Stepping from the shadow of the man he calls his "biggest critic" clearly isn't going to be easy.

"Being in the same profession, they cannot be fooled by a lazy actor and point out my flaws as honestly as they can," Abhishek says of his parents. "Rohan [Sippy, director of the film] and I have been childhood friends and we worked very hard on this film. Our fathers have created legendary cinema together but we tried not to think about that when we were making the film. We would have collapsed under the pressure otherwise."

It's about all he's willing to say about rising to the reputation of a living legend. For now, he's content to bask in his first real success. The romantic musical comedy, that was screened over the weekend at the Arts Centre, stars Abhishek as a bachelor who's not interested in arranged marriage but ultimately falls for his picture-perfect co-star, the former Miss World Aishwarya Rai.

Although it's easy to swallow how he falls in love with his ravishing leading lady, the sudden break into song-and-dance is something that makes non-followers of the genre flinch. "Hindi cinema is escapist to the core. When the audience comes in, for the next two-and-a-half, three hours, you can forget all your troubles, check in all the problems at the door. Boy meets girl, their eyes meet, they break into a song in Switzerland. Where else can this fantasy play out?" he chuckles.

"There have been strident changes in Indian cinema recently and in the 1950s and 60s some very progressive films were made, but nothing beats this elevated reality. Cinema is a visual medium and looking good is all part of it. So you have the poor boy in the street but he wears Tommy Hilfiger on screen. It's all part of the game. At the same time, there are changes being made where cinema is looking more realistic."


As a graduate from Aiglon College, Switzerland, and then Boston University, his western education and Hollywood-ised entertainment sensibility must be presumed to step over Bollywood's suspended reality. "That's the Indian film industry," he says, "and please don't call it Bollywood."

His father shares the same sentiment. Last year, Bachchan senior told the Post: "Bollywood is an easy catch-phrase coined by the tabloids but we have our own identity and are not aping western cinema. The medium may be the same, but the style is completely different."

Abhishek continues in the same vein. "We don't make films for western audiences," he says. "Indian film has a fan following of its own. An Indian abroad isn't any less of an Indian than he is in India. Our culture is such that it's deep-rooted within us. Indian films are an integral part of us and it's our form of story-telling. Recently Bhoot [Ghost], a relatively short film [two hours] with no songs, did exceptionally well in India. The audience is growing and it's a very intelligent audience. A high percentage of our films have not done well at the box office over the past five years and the movie-makers have noticed. There are progressive changes made. Indian films have never looked better and the industry continues to grow."

Of the 10 films he's starred in over the past three years, Abhishek has hit as many genres as possible. His movies have been set in cities, in villages; his first film, Refugee, was set between the India-Pakistan border whereas his first release this year, Main Prem Ki Deewani Hoon (I'm Mad About Prem) was shot entirely in New Zealand.

Is he looking for a niche or signing whatever comes along? "Two things that make me sign to a film are its story and its director. Within five minutes of a narration, you can tell what the director is all about. The director can convince me or be convinced that I'm not meant to be in a project," he says.

The most oft-seen phrase in his past reviews has been how "sincere" Abhishek is in his films, even in those that flopped. "Actors sometimes forget the critics are also part of the paying audience. I read constructive criticism and take note of things," he says. "I respect the written word and try to better myself. I know there's no personal vendetta, no axe to grind against me or my family by the reviewer. He/she paid for the ticket like anyone else so why wouldn't I take note? They are walking billboards who point out what's good and what's bad." He knocks on the coffee table in his hotel room. "Touch wood, the success of recent films is hopefully the beginning of a trend."

Abhishek Bachchan Picture by Antony Dickson

Originally published in South China Morning Post,
Friday, September 12, 2003
Rama (ramakrishnanp at hotmail dot com!) 

Horray for Bollywood: Aishwarya Rai: Will this Indian actress and Bollywood superstar conquer Hollywood?

Screen
Studies
P.Ramakrishnan 

When Lagaan (Land Tax) picked up a nomination at the Academy Awards last year, in the Best Foreign Film category, a lot of ink was spilt in the Indian and American media about Bollywood finally making its presence felt in the international arena. Enter the age of "crossover'' styles and cinema, they said, as the musical genre found a mini-revival. Though the film failed to win any trophies at the Golden Globes or the Oscars, it generated enough buzz to be picked up by Sony Pictures Classics for international release.

Re-released in the US and Europe after making it to the "Best of the year'' movie lists among a number of critics, the film still did abysmally at the box office. As Americans can barely feign an interest in cricket, let alone an all-singing, all-dancing film about the sport itself, the film fizzled out within two weeks of release and was quickly packed off to video-store shelves.

Loaded with six of the biggest names in Bollywood, Kaante (Thorns) premiered in New York last December, with much pre-release hype and repeated affirmations on how only international technicians worked in the movie to give it the "Hollywood finish''. Well, finish it did - really quickly in the States, as a New York Times critic concluded that: "Bollywood is essentially a non-narrative art form, in which coherent storytelling plays a distinctly secondary role to the purple pleasures of the moment.''

Devdas, Bollywood's most expensive film ever made, was India's entry to the Oscars this year, brocaded with much hooplah and Asian box-office success - but it couldn't even garner a nomination from the powers that be at the Academy.

So if Indian movies can't capture the hearts of the world's cinema-goers, then why not one of its stars? Enter former Miss World and current Bollywood craze Aishwarya Rai (see pic above). She has just been cast in Gurinder (Bend It Like Beckham) Chadha's next flick, Bride And Prejudice. After the unprecedented success of Chadha's comedy (the modestly budgeted film collected over $31 million and counting in the US), the director zeroed in on the most photogenic actress in Asia for her ambitious musical and re-telling of Jane Austen's tale.

Fellow director Karan Johar saw Rai's appeal well before Chadha did. Johar was part of the Indian film fraternity two years ago at Cannes, and he noticed the audience's immediate fascination with the light-eyed beauty, "There were all these stars dressed in their Valentinos and Armanis, but when Ash stepped down from the horse-driven carriage at the premier in her mustard-colour sari, everyone else faded away. If there's any Indian star who can make the cross over, it's her.''

And this year, Rai who was even asked back to preside on the Cannes jury. Art-house critics in Mumbai guffawed out loud, "What does Aishwarya really know about acting? She was invited to Cannes because she was the Asian model for L'Oreal, and the cosmetic brand was a sponsor for the festival. The same reason why Sharon Stone gets invited to the festivals - because she's press and photo-friendly,'' said one.

Hong Kong audience can see what all the fuss is about this weekend when Rai's film Kuch Na Kaho (Say Nothing) enjoys a brief showing in town.

She joins a line of Indian actresses who have been lured to the bright lights of Hollywood, only to see their careers falter in foreign shores. In the 1980s Shabana Azmi, the most felicitated actress in India, landed a part in Madam Sousatzka (1988) with Shirley Maclaine. After that, she went on to character roles in Immaculate Conception and City Of Joy, followed by an appalling cameo in Son Of The Pink Panther, which she bluntly stated she did for the money.

Then there was Persis Khambatta (Miss India 1965) who skipped Bollywood altogether and made an appearance in Star Trek: The Motion Picture (1979), followed by B-grade brigade appearances in Nighthawks, Megaforce and Deadly Intent. In 1986 she was seen briefly in MacGyver and by 1996 - two years before she succumbed to a heart attack in Mumbai - she was doing two-bit-roles on TV as "the Indian ambassador'' in Lois & Clark and other shows on cable networks.

Maybe, though, Rai should take a leaf out of Rekha's book. At an international film festival in Italy last year, the siren of 1970s Indian celluloid, was asked with her perfect English and pulchritude, why she didn't give Hollywood a go. She simply said, "Why go to the West and be treated like a maid, when I can be the Queen in India?''







Picture Caption: Beauty & the East: Hollywood has its eyes on former Miss World Aishwarya Rai. Image Courtesy of L'Oreal.

Kuch Na Kaho, with Aishwarya Rai and Abishek Bachchan (In Hindi, with English subtitles). Saturday, September 6, 8.30pm. Hong Kong Convention & Exhibition Centre, Wan Chai
Sunday, September 7, 3.30pm and 7pm. HK Arts Centre, 2 Harbour Rd; Wanchai
Ticket hotline 31 288 288 (For 2 shows at HK Arts Centre), www.hkticketing.com. Tickets: $80, $120, $150



Originally published in South China Morning Post,
Thursday, Sept 4, 2003


P.Ramakrishnan is the unofficial Bollywood correspondent for Hong Kong's leading daily. Write to the writer at rama.p@scmp.com

Wednesday, 19 August 2009

Universal appeal: Sushmita Sen: Bollywood Icon: Beauty Queen


In the psychedelic, musical realm of Bollywood, there isn’t a person more grounded and irresistibly charming than Sushmita Sen, beauty queen of
yesteryear and current cine-screen siren. P.Ramakrishnan spent 36 hours with, who he calls with misty eyed sighs, heaven.


An hour after her performance at the Diwali Dreams concert at the Intercontinental hotel in Hong Kong, Sushmita Sen, 29, former Miss Universe and current Bollywood diva, wipes off cakes of makeup and mascara in her plush suite.

“Isn’t it a miracle what makeup can do?” she asks as the sheaths of
café-au-lait foundation is wiped clean, an impressive mask that hid from the 800-strong audience her body quivering exhaustion after hop scotching over three countries in as many days.

“It’s every actresses help-kit, hides whatever you want to hide before you get in front of the camera, a stage, a studio. I haven’t slept properly all week.”

In another 10 hours, she’s back on a plane, zooming off to Dubai for a film shoot, in what’s going to be one of her busiest years in her film career with four releases lined up in six months. Pressed for time, it’s a one-off chance to talk to one of the most beautiful women in the world, correction, Universe, as her silken sash clearly indicated that fateful night on May 21, 1994. Though she took off the crystal studded tiara long ago, its halo has never left.

Reflections on the crown and glory night are put on pause as she sighs, “I don’t think we can get much done tonight. Can we postpone the interview? There’s a gaping hole in my head!” Bending over slightly, she parts her honey-brown follicles and reveals strands of hair caked with blood.

“I always do my own make-up. I know my face and I know what it needs but with my hair I asked for an assistant. The hair extensions she put in my head were… I don’t know being stapled in? After one particular stab, I asked her to be a bit more careful,” she says with only the slightest hint of vexation. “When she started I could see she was nervous, her hands were trembling and I didn’t create a fuss because then nothing would have been accomplished. I bit my lip, let her finish, went down, did my thing and here I am… with a hole in my head!”

Well of course the hairdresser goofed in her nervousness. How many people get to play with a
silver-screen goddesses' tresses? No diva tantrums and hysteria from Sen ensued, “I don’t like to shout and scream. Creating a fuss is not my style.”

If it’s any consolation, her blood, sweat and tears were not in vain. Sen’s electrifying dance medley to her biggest musical numbers from her film career was staged flawlessly on stage in Hong Kong. From the moment she walked in, flanked by four bouncers as she sifted her way through the crowd, the audience called out “Sushi! Sushi!” (much to her acknowledged
delight). From her glamourous entrance to the choreographed perfection of her dances, she played her part of a superstar well.

There’s the on-screen persona, and then there’s the person underneath, equally affable. Local resident and dancer Rani Asra Gidwani, was one of the lucky few who got to meet Sen off stage, “She was amazing! Perfect dance. And when we spoke, it was like we’ve known each other forever!”

Even the organisers gush about Sush. Kishore Samtani says, “She’s great to talk to but hard to pin down. That’s the only difficulty we had because she’s either shooting, dancing, flying here or there. She gave us no trouble, no hassles. None of the rubbish you hear about actresses.”

Did she win Miss Congeniality when she in the pageant? She throws her head back in laughter. “No I never did! Not for Miss India, nor for Miss Universe! But its OK, I got the crown didn’t I?”

The genetically blessed one beat out 55 other contestants in 1994 to bring home the coveted title
and crown, edging out Miss Venezuela, the country that once monopolised the pageant arena until that year. Since Sen’s unprecedented win, India’s gone on to take home six crowns over a span of a decade, with a finalist in every pageant every year since.
India Today thus proclaimed her historic triumph, one of the 56 most significant events that shaped India; “India seemed to have taken out a patent on international beauty crowns. That Rita Faria was the first Indian to win the Miss World crown 28 years ago was forgotten in the near-hysteria that gripped the country in 1994. An entire industry was born, geared to turning gawky ducklings into tiara-wearing swans.”

When I bring up that evening that catapulted her to the stratosphere of fame, Sen presses her lacquered nails into her forehead, trying to rub away fatigue, “God, it was so long ago. I don’t know why people still call me Miss Universe?”

Sitting in a lotus position at the edge of her bed in her Intercontinental suite, she’s quick to notice my raised eyebrow, as I didn’t swallow her self-deprecating comment.

“I sincerely don’t think I was the prettiest girl at the pageant, but I was honest, true to myself. No other Indian had come anywhere close to a win, so I had fun just being there. No expectations. No disappointment. I got to keep the crown too – no other pageant lets you do that. It’s somewhere in a cupboard at home.”

Nearly 4am, room service trolleys in food and as Sen saunters to the bathroom which is bombarded with a smorgasbord of makeup kits, brushes, and flecks of cigarette ashes on the sink. Before she returns, the waiter leans and whispers, “Can you please tell her that I’m sorry that food came late? And I’m a very big fan. I saw her in Malaysia years ago!”

When she comes out, he almost genuflects and hits the exit before even hinting for an autograph. People are quite taken aback by her sheer presence, the man’s bravado to ask for a picture from her wanes and he scuttles away.

“It’s the celebrity perception, nothing to do with me. I’m working on a film right now where the director has me parading up and down in different outfits at the beginning of each shoot. Then he looks at my nails, then my lipstick, see if I’m coordinated. After ten minutes, last week he said, the eyeliner is not right. I was packed off to the makeup room to get “the look” perfected. The genius-complex directors used to get on my nerves, but now I’m chilled out.”

Looking the part of a dream girl on screen still takes precedence over nearly every role Sen has done. Not much of a stretch - she starred as Miss Universe in her first film (who gets kidnapped by a man obsessed by her and heroically, she kills him off at the end!), and she’s been cast as the temptress who makes the leading man cheat on his wife in two different films already. About the seductress on screen routine she states, “I’ve done enough of the bimbette roles and had enough of that. I don’t have the box-office success that makes me straitjacketed or typecast in a role of the heroine and I get a chance to experiment. Whatever the results may be at the cash registers.”

Clearly destined to stay afloat in the celebrity pool, it’s been an eventful decade under the limelight. What’s still etched sharply in memory?

“I still remember after I won, I’ll never forget that first day - I had my own driver and limousine there, this fantastic apartment with a pool. I had my own pool! I had just flown on a transatlantic flight, was dead tired but after pretending to be unfazed by the celebrity treatment, I finally had a moment to myself to let it all sink in. I sat by the pool for a while. Well, my housekeeper reminded me that it wasn’t for a while, it was the whole night. My life has never been the same.”

Once bitten by the celebrity bug, Sen, almost predictably landed in Hindi movies. All the pageant
divas proclaim wills to do good on earth and end up wanting to keep their fame alight for as long as possible by any mean or measure. If its not modelling, its movies or millionaire men. Indian actress Manisha Koirala, bluntly said in an interview, “These beauty queens all proclaim the same thing. Say they want to be Mother Teresa and end up shaking their ass in films.”

That statement appeared years ago in print, Koirala now, happens to be one of Sen’s film producers, “Manisha’s a great friend and honest to the core. Working in her film has been loads of fun.” That’s all Miss Diplomacy has to say on that.

The embodiment of the modern Mumbai gal, Sen went on to adopt a baby girl Renee, now five, and she told the press that she was ready to be a mother, even if man wasn’t in the picture. There have been several high-profile romances with directors, models, hoteliers that made headlines with Sen, but no one made history.

“I’m not crazy about talking about the man in my life right now. I don’t want to jinx it,” she grins. Rumours are that actor Randeep Hooda, one of the stars in the acclaimed film Monsoon Wedding, and she are more than good friends but not wanting to be chucked out of a speeding Mercedes and our newfound friendship (ahem!), I keep quite as we speed off to the airport.

There’s a whopper of a ring on her index finger, a diamond the size of a quail egg that sparked off
rumours that marriage was at last impending for India’s most eligible singleton. She quashes that tabloid fabrication with ease, “I bought the ring for myself, with my own money. It is a symbol, a symbol of what I’ve achieved as a woman of independent means. Didn’t need no man to give this to me!”



Picture courtesy of TAG Heuer. Sushmita Sen sports LINK Lady Quartz Chronograph.
Published in Kee magazine, summer of 2005.

Coming soon...




My Madonna and Sushmita Sen features.
If I can dig them out of my laptop archives!

Picture courtesy of TAG Heuer. Sushmita Sen wears
Carrera Automatic Chronograph


Thursday, 13 August 2009

Making Faces: An interview with legendary Indian Photographer Gautam Rajadhyaksha: Prestige magazine exclusive.

Filled with glamorous portraits of Bollywood stars, Faces by Gautam Rajadhyaksha is a big book that unmasks the legends of Indian cinema while deifying them, too. P.Ramakrishnan talks to India’s most sought-after iconographer.

All photos courtesy of Gautam Rajadhyaksha

The Indian film industry is the largest in the world, churning out over 800 films a year, which are screened around the planet. Subtitled and dubbed DVDs go far beyond Hindi-speaking Mumbai, the Mecca of movie musicals that out-dance and out-sing anything reeled off by MGM, Paramount or 20th Century Fox over the past century.

The stars of Bollywood movies are arguably the most famous folks on the planet today. Yet, strangely, there are few books that chronicle them. “Go to any bookstore in America or Europe and there are entire sections dedicated to its film industry,” notes photographer Gautam Rajadhyaksha.

“At your average Barnes & Noble, there are voluminous books dedicated to specific genres like horror films, the glamour dolls, Greta Garbo, the Hepburns … and when I look at the Indian fraternity, there’s hardly one decent coffee-table book dedicated to the ‘biggest film industry in the world.’ That prompted me to pen down my thoughts and create Faces.”

Faces, a large-format tome, heralds the cinematic greats of India as no other photo book does. Interspersed with pellucid comments by Rajadhyaksha, 57, a former adman and journalist who’s become Mumbai’s most iconic photographer, the book is a sumptuous treat filled with gorgeous visuals and behind-the-scenes anecdotes. The book, first published in 1997, was updated this year to coincide with an exhibition, also called “Faces,” of his photos in London.

As he has worked with every major Indian actor over the past three decades, forging invaluable relationships with the famed and fortuned, he has been granted exclusive access to a press-wary film federation that’s deeply suspicious of the multitude of tabloids littering the arteries of India.

“Of course there’s a bond between the celebrity and the photographer forged over years and years of working together,” he says. “And I guess they’ve been nicer to me than to your average sound-byte-chasing paparazzi. When I was in London for the exhibition of my photographs just a few weeks ago, the number one question the press there had for me was somehow related to, ‘Who has been the most difficult?’ or ‘Who did you have a run-in with?’ I’m glad to say, none! I’ve been very lucky that there’s never been a confrontation or fight of any sort in my entire career – not with the stars, at least.” 
Indian actress Hema Malini 

With celebrity egos being bigger than the average three hour length of a Hindi film, that seems hard to swallow. But with a gentle laugh he says, “See, in those days, when I first started off, there weren’t so many channels and so many rags in print. And I genuinely wanted to create beautiful images. I always collected classic photographs of people like Elizabeth Taylor and Marilyn Monroe, and I wanted to re-create that aesthetic. I work with great lighting, and of course I’ve been accused of creating soft-focus looks, but I wanted to create memorable portraits for publication. No one took film journalism seriously in the 1980s; the real money was made in advertising. But I’ve been a grand film buff and, while interviewing actors, I also took their pictures. Soon editors wanted my photography more than my writing, and somehow my career went that way.”

Rajadhyaksha has also directed films, written screenplays and launched some of the biggest names in showbiz while creating portfolios with his unmistakable high-gloss finesse.

While many a stardust-glistening star will gladly pose for an Annie Leibovitz or a Richard Avedon half-way across the planet in Hollywood, few Indian celebrities want to strike a pose for posterity in India.

“There are exceptions, like Amitabh Bachchan, Rekha, Madhuri Dixit, Shah Rukh Khan and a few others, who chronicle their career graphs with memorable photo shoots. Indian celebrities don’t have time for shoots. They’re running off from one location to another, and they used to see sitting with a still photographer as a hassle, as a necessary evil for fan-zines. Only some had a passion for it. ‘Oh its just for a magazine,’ they’d say, not realising how important it is to create something for posterity, for the record books. 

Thankfully, the newer generation is aware of the impact of a still picture. The current stars like Shah Rukh Khan [aka the King of Bollywood] chronicles his career with stills and, in a way, his long interviews are a form of therapy for him, trying to understand his mass following and fan base around the globe. A great star for sure, but also a highly intelligent one.”


Looking at a Hollywood counterpart – for example, Leibovitz’ iconic shots of Bette Midler nude on a bed of roses, Whoopi Goldberg in a tub of milk or Sting covered in a thick coat of mud and nothing else – there’s a complete absence of nudity and sexuality in Rajadhyaksha’s family friendly book.

“I have, in my career, photographed models in very sensual poses in the US, the UK, for international publications, but not for India. What works there doesn’t work here. There are sensual images, for sure, but even the title of my book, Faces, suggests where my primary interest and theme lies. The calling card of an actor of any calibre is what they can do with their faces.

“More than any model anywhere, actors are far more interesting to shoot,” declares Rajadhyaksha. “It’s like a document of their personality. They are, by and large, wonderful human beings, very sensitive, more sensitive than any model I’ve ever shot. They are artists who have lived a life of ups and downs. So all those emotions somehow emanate through. Give me an accomplished actor to shoot over any 20-year-old model any day... for there’s something there to be captured.”







Sibling Revelry: Mary-Kate and Ashley Olsen in Hong Kong for Lane Crawford

Famous before they turned one, twenty-one years later, it is no exaggeration that they’ve achieved global domination like no other celebrity – especially in the pre-teen demographic (while remaining a guilty pleasure for the young at heart!). P. Ramakrishnan was in rapt conversation with the world’s most celebrated twins and fashion-forwards; Mary-Kate and Ashley Olsen. Over diet-cokes and still water (their respective choices over the chat), they talked about fame, fashion, frenzied fans and fanatical photographers. 

“We are sooooo coming back to Hong Kong and looking around next time, our schedule’s been so tight, I really want to see the city and maybe check out Thailand too. And India’s a dream destination where we were planning to go last year but it didn’t work out in the last-minute and…” says Ashley Olsen, 22, as she rattles off the Asian hot-spots in a frenzy of youthful exuberance and excitement as no visible signs of a 16-hour-flight from New York lags on her rosy cheeks.

And why would it? Painfully young and exquisitely well put-together in her signature line of Elizabeth and James, with costume jewellery in exaggerated portions sparkling off her finger… Scratch that. Costume? They could very well be the real deal – with a net worth of over US$1 billion, being in full financial control since 2005 when they turned 18 of their company Dualstar Entertainment Group, the Olsen siblings are not short for change. So if a girl wants a diamond ring the size of a quail egg, by George, she’ll have it! Ashley Olsen’s every bit the fashion icon her press release states her to be, confident in her stride, sure in her every step.

Each step over a pair of Balenciaga shoes which look dangerous in their black leather high-heeled extremity. when she scuttles to her chair for the chat, it seems she could trip and tip right over. With three security guards (two agents, three representatives from the company and a host of nameless faces part of their entourage) within an arm’s reach, should she teeter and fall, when an avuncular chide to be careful is said out loud, Ashley giggles and says. “Oh they’re my favourite pair! They are so comfortable.” As the precarious six-inch heel seems to engulf most of her petite frame, we’ll take her word for it.

If you fell and tore a sleeve, would you be able to sew your shirt up? “I’d give it a try,” she says with a sly grin. “It won’t be that good, but I’d try it!”

As we laugh like children who’ve shared a secret, there lies that faint recollection that this half of the multi-millionaires heiress has lived in a bubble of fame as far as memory serves.

Born to Jarnette and David Olsen in Sherman Oaks, California, the girls started their acting careers on the television series Full House in 1987. Courtesy of syndication and perpetual re-runs and an inexplicable mass appeal that crosses borders, language and cultures, the poorly acclaimed yet vastly popular sitcom took a life of its own and spawned nearly eight seasons. A few weeks shy of turning one, the girls were both cast to play one character; Michelle Tanner. Cherubs with large blue-green eyes, they were an instant hit – as was the show.

What was supposed to be a platform for three adult comics, it become the mother of all family shows, capturing a young audience (and the young at heart). Espousing good family values and a squeaky clean image, the girls played the same character with engaging expressions and precocious punch-lines which did wonders for ratings. The show lead to videos, to TV movies that went on to full length features… and more. A small empire with a big turnover was born landing them both on the Forbes power list, ranking the two as the eleventh-richest women in entertainment.

In town to promote their line of clothes, we meet a day after the launch bash at Lane Crawford’s store in IFC mall. With more gatecrashers and guests playing fast and easy with their invitations, nearly everyone brought their young ones along to meet their idol Americans. “We were a bit taken aback by the response,” says Ashley in wide-eyed surprise. “Usually when we’re meeting clients in a new market, its usually a quiet cocktail and we meet a few people, take a few pictures – but I’ve never seen so many people head straight towards us.

“People were very sweet. Some guy shook my hand and then kissed it,” says Mary-Kate with a smile. “Didn’t know who he was but everyone was being so nice. I wish we had more time to stay and take pictures with everyone and meet them all but, we were booked up.”

While their clothes were on exhibit around the shop, for most of their frenzied fans, the Elizabeth and James line spear-headed by the twins, is all too familiar. For the rest of the fashion un-savvy, Ashley tries to explain the ethos behind one of their brands (The Row line – inspired by the casual chic of Savile Row - is also under the aegis of the awesome twosome), of mixing masculine and feminine virtues. She reads her inept audience. With most in the room double her age and twice her size, it’s time for a little show and sell.

“Look at this shirt,” she says, getting up and striking a pose prior to the shoot. “It’s a guy’s shirt. Well, it could be. The stripes, the ease of it, the way the sleeves roll, the lack of frills. But it goes with this girly black skirt – it’s combining the silhouettes of masculinity and femininity in the same look. And everything in the collection is a mix and match - which really reflects our own style. With a high-end top, a chic scarf that doesn’t cost as much, everything can be put-together. Having fun with the look is so important – and making it affordable from a price-point.”

Skimming through their line of clothes, there’s the peacock Penelope dress, a stripe woven T with a simple black skirt, a lush sequin vacation dress drapes next to white tuxedo shirt - her words resonate. Suddenly you see it – get it. Colour me converted! And yet lies the hint of suspicion.

Celebrity sprinkled designer duds (Madonna, Jennifer Lopez, Jessica Simpson and the similar ilk) are often fronted by the famed, but affronted by the ‘real’ designers. As Roberto Cavalli famously stitch-slapped Madonna, “Maybe tomorrow, I get up and sing eh? And I become a rock-star. Singers should stick to singing, designers should design!”

Gently I broach the subject. Known for her turn in film and television, not having studied the craft of dress-making, when asked how involved she is in the process of the designs, says the straight-haired Olsen, Ashley, “In almost all of it. OK, I’m not a great sketch artist and I can’t sit and needlepoint but when it comes to the entire collection, from themes and ideas, to what patterns to use, to which fabric and why, how we mix and match, the colour scheme we want to incorporate, what materials to repeat and discard, what shapes we want, the silhouette we’re looking for - we are involved in the entire process. It’s our project, our name – well, our brother and sister’s name– on the items. It’s so important to be physically a part of it.”


Says Mary-Kate, “And everything we see inspires us. When we were landing in Hong Kong, the skyline of the city is so incredible. We had this mental picture of what the city would be like – but it’s so much more than its promises. The architecture, the street-style, everything’s inspiring. So in the next collection, if you see something that reminds you of Hong Kong, it’ll be because of our trip here.”

Though often reported that they named the brand in ode of their brother and sister, the girls are quick to clear up the false reports. “It was purely coincidence!” they both chime. Though the interviews were conducted in separate rooms with each individual, apart from their striking looks, they share an exquisite likeness in thought; reiterating each other’s beliefs and sentences, mirroring their philosophies. Either they’ve got the PR spiel down pat, or it’s the echolocation brought on by their unique bond. As the girls intertwine their fingers during a shoot or flow into joint poses, the phenomenon the two are becomes all too apparent.

Did your other siblings (the girls have two half-brothers) get vexed that they weren’t chosen in the final call? Did they hanker over favoritism as their monikers weren’t considered? “No, they really didn’t care. Even when the brand came out first, Trent (that’s what we call James at home) and Liz were completely surprised. We didn’t tell them in advance and they weren’t that fussed over it honestly! We were with our company’s partner and wanted to create this line of clothes with a strong name and it just so happened that these names were selected.”

Though their company Dualstar engulfs most of their empire (with video, CD, DVD, games and other Olsen paraphernalia having sold over US$150 million), why choose other names to establish a label, when their own is one of the most widely-recognised trademarks on the planet?



“We were working on names with our company partner and Elizabeth is such a beautiful name and so was James, which is so masculine and it sounds so strong,” explains Mary-Kate. “It’s as simple as that.”

How did germ of an idea come about that you guys could do this design line? Says Mary-Kate, “When we were younger, around the ages of 10, 11, 12, the show and videos were doing really well, and we were getting really well-known and we would have these events to go to – but with no appropriate clothes. What would happen is that we’d get adult designer clothes and alter them to our sizes. I’d see a great Marc Jacobs jacket but have to cut it to my size. There was this huge lack in the market for great clothes for young people. We thought we could do something about this – make great clothes at affordable prices for young people.”

A philosophy that major brands, run by men who’ve been in the business for half-a-century, try to espouse with variable degrees of success. Its alarming that these gifted girls have captured the market as swiftly as they have. “The clothes for kids were all candy-coloured and with cartoon characters, which is fine if you’re into that, but we weren’t. We had our own style...”

The bohemian hippy chic?

“Oh that was then,” laughs Ashley, near impeccable now in her polished incarnation. Lampooned by the New York Times for ‘pioneering their signature homeless look’ the girls sartorial succession was dramatic. “Every look has a season and its constantly changing – you know that. We are evolving and growing and its unfair that once the media gives you a label, you’re stuck with it. Yes, we liked over-sized clothes and scarves - but that was then!”

The press, especially the online e-media stalkers, had a field day with the girls and their every move, outfit, bag or shades. “Things I used to read or hear from others was frustrating. About how often we were at Starbucks – well, that was ridiculous,” says Ashley. “We had our morning cup and that’s the only time the press could see us out and that become our box. We were just stuck in it and what was said about us was rarely true.”

With more online sites and a flurry of tabloids dedicated to their every move and breath, how these young girls take on the sniper paparazzi cannot be fully comprehended as Mary-Kate tries to explain, “Well, in LA its just dangerous. They will do anything for a picture. In New York, people are slightly more respectful – just slightly. It’s been such a pleasure to be in Asia where the media treats us with such dignity. They are far more ruthless in the US because they have no privacy laws and no way to stop them. Even France has stricter rules.”

What’s been the most hurtful or false misconception about you?

Responds Mary-Kate, “You know what, we stopped reading anything about us. We just block it out. It’s hard to believe but its true. The tabloids, the sites, we just don’t want to know. We wake up, go to yoga, have breakfast, go to the office, have our meetings or our film or TV shoots, our work – that’s our life. The rest is not important. We try to lead our lives with as much integrity as possible and we zone out the negative.”

Having been under the spotlight for decades now, you’d think the two are immune to the harsh glare.

“We don’t go to clubs and have wild parties. We have dinners at home, our friends who we trust come over, who won’t sell us out, who won’t say false things to make an easy buck…” she continues, with a quiet pause and a reflective look out to the sea-view of Hong Kong harbour from their expansive Four Seasons suite. Mary-Kate comes back and her blue eyes pierce through. “If we meet someone, they don’t suddenly become our BFF. Trust takes time.”




The softer, more chilled out of the two, there’s an endearing insouciance to Mary-Kate that’s complimented by the tougher, straight-to-the point Ashley. Sporting a Chanel bracelet on one arm and twiddling with her ring on the other, when asked if she still wears other brands (the girls famously did the ad-campaign for Badgley Mischka, spoke to Vanity Fair about their vast collection of Juicy Couture) says Mary-Kate. “Of course. But recently we’ve been buying accessories more than outfits. If there’s a style we’d want to wear, we’d get it made!”


Images, Courtesy of photographer Olaf Mueller.