Vikkatakavi is a detective thriller set in 1940s Telangana, streaming on ZEE5, directed by Pradeep Maddali and produced by Ram Talluri under SRT Entertainments. Designer Josyula Gayatri Devi added aura to the historical settings through costumes.
Vikkatakavi – the title given to one of the nine gems in the great king Krishnadevaraya’s court is the title of the latest web series on ZEE 5 set in the 1970s and a back story set in the newly annexed Hyderabad Presidency. One of the most underrated actors of Telugu cinema Naresh Agastya acts in and as Vikkatakavi – Rama Krishna, a student of Osmania University and a detective by choice. He ends up in a village called Amaragiri in Nallamala region where people mysteriously start losing memory.
The 8-episode series is about how he solves the mystery and how what is considered a supernatural phenomenon is in fact a greater conspiracy.
The series directed is by Pradeep Maddali who translated the period concept despite a few misses keeping the thrill intact. The story by Teja Desraj, who had previously worked with director Prashanth Varma on films like Awe and Kalki is one of the main strengths for the web series. And, that it follows the classic format of a common man detective who is super smart at his craft and goes from one case to another in style with the period setting providing the charming background to the narrative.
Bringing in the period look to Vikkatakavi – be it the loose pants and shirts that Naresh Agastya wears with swag or the cotton/ khadi sarees that heroine Megha Akash wore with her collared shirts – costume designer Josyula Gayatri Devi crafted the period-era look.
In this exclusive interview, Gayatri Devi delves into her journey as a designer, the intricacies of working on period drama Vikkatakavi, and the unique challenges of bringing bygone era to life.
She shares how she brought 1940s Telangana to life and gives insights on challenges, research, and journey into the world of period dramas.
How did an engineering graduate gravitate towards becoming fashion designer?
I was born in Vizianagaram and raised in Chennai, where I completed my schooling and intermediate education. I pursued a degree in Computer Science Engineering and began my career with Samsung before moving to Microsoft in Hyderabad. After three years as a developer at the India Development Center, I left my job due to personal reasons.”
After resigning, I decided to explore fashion designing, inspired by my background in stitching and embroidery. Initially, I planned to start a boutique after turning 40, but my circumstances led me to pursue it immediately. I enrolled in a diploma course at Hamstech and soon after participated in a fashion show, which was a great learning experience. Within a year, I became a mentor, managing teams and understanding the practical aspects of fashion design, from sourcing fabrics to pricing. Although I had to close my boutique during the pandemic, I plan to relaunch it on a larger scale.
How did you enter the film industry?
My entry into the film industry was gradual. Initially, other designers approached me for stitching garments, which opened doors for collaborations. My first project was the movie Palasa, followed by the web series Kudi Yedamaithe on Aha. Over time, I worked on notable projects, including Sarvam Shaktimayam and Kalapuram. These experiences, especially managing outdoor projects with tight budgets, prepared me for more complex assignments like Vikkatakavi.
What was your experience working with the period concept in Vikkatakavi?
Working on Sarvam Shaktimayam directed by Pradeep Maddali helped prepare me for Vikkatakavi. This period drama set in 1940s Telangana required extensive research into the lifestyle, attire, and culture of the time. Watching classic Telangana movies like ‘Maa Bhoomi’ and studying archival materials provided valuable insights. I paid close attention to fabric selection and character-specific details, such as ensuring the hero appeared tall and adapting Megha Akash’s wardrobe to the storyline. It was challenging yet rewarding to recreate this era authentically.
What was the differences between working on movies and web series?
Web series often have tighter budgets compared to movies, which offer more flexibility. Additionally, series involve inputs from OTT platforms that influence creative decisions, whereas in movies, the director typically has the final say. Balancing these dynamics is part of the challenge.
How do you do you stay updated with latest trends in the movies as a costume designer?
I make it a point to watch projects from various industries, including Hindi, French, and Korean, to stay informed about trends and techniques. Learning never stops, and staying updated is essential for growth.
What are your upcoming projects?
I am currently working on a web series titled Marmayogi for Hotstar, directed by Satish Vegesna, and a movie titled Manasachora.
