In 2001, three friends forged a new on-screen connection. Juggling across glittery nightlife, bantering through leisurely afternoons, and casually road-tripping to Goa on a whim, Akash, Siddharth, and Sameer liberated Bollywood friendships from the sacrificial, brotherly depictions of the preceding generation, making way for a breezy coolth that splintered harmoniously into its design. The filmmaking relied less on aesthetic excess and more on nurturing likeability towards the three by placing them in mindfully created spaces and giving them clothes that reflected their inner lives without making a fashion statement. The effect was disarmingly gleeful. It represented the urban aspirations of being young at the turn of the century by creating a style that was as easygoing as it was vibrant.Part of that youthful appeal came from the instincts of debutant writer-director Farhan Akhtar, who assembled a team of young technicians to realise his refreshing vision of love and friendship. His minimalistic approach was evident in how the characters appeared real, without the cinematic facade prevalent at the time. The hair styling was done by Avan Contractor, who was working on a movie for the first time. Avan read the script to understand the characters and the world they operate in. Farhan’s brief to her was clear.“He wanted the characters to look contemporary, modern, and to give them an urban feel, different from the conventional Hindi film hero. Maybe that’s what people found relatable,” Avan says. She points out that the process was similar to the work they did on their clients in the salon. “We would consult the clients, know their likes, dislikes and preferences, and the possibilities that their hair offered. The same principle was used to work with the actors, to make them look more like their characters.”