Decoding Superstar Rajinikanth's style!

When it comes to Rajinikanth, style has never been decorative. It has been his defining feature. As the Superstar celebrates 50 years in the industry, his cinematic journey is often measured through punch dialogues and mass moments. Running parallel to that arc is another evolution — one built through shirts, silhouettes, glasses, fabrics and posture.

From his debut in Apoorva Raagangal in 1975 to his silver-haired presence in Coolie in 2025, Rajini’s look has shifted to meet the emotional grammar of his films. “With Rajini sir, nothing is random,” says costume designer Nandhitha.


“Even when it looks effortless, his style is always thought through in relation to the character and the time.”

The ’70s and ’80s: Building the body of the characterThe ’70s and ’80s: Building the body of the character In his early years, Rajinikanth’s fashion was stripped of flourish. Films like Mullum Malarum (1978) and Aarilirunthu Arubathu Varai (1979) placed him in open-collared shirts, sturdy trousers and jackets that sat heavy on the body. Thick moustaches, textured hair and grounded colours created a visual language of labour and inner tension.

“The ’70s and ’80s were the foundation,” says Nandhitha. “His silhouettes were simple, almost austere. His attitude and physicality did all the work. That phase taught him how to let the body speak before the costume does.”

2000s: Refinement over flourishAs Tamil cinema entered a more polished era, Rajinikanth’s wardrobe followed suit. Sivaji: The Boss (2007) introduced crisp tailoring and clean lines. “This phase reduced flamboyance and increased control,” says Nandhitha.

By Kabali (2016), realism took centre stage. Stylist Anu Vardhan, who has worked with Rajinikanth across Kabali , Kaala , Annaatthe and Vettaiyan , explains, “For Kabali , director Pa Ranjith wanted him to play how he is right now. For the flashback portions, we imagined him much younger. Shoulders don’t droop when you’re young, so we added subtle padding.”

She adds, “His old films were our reference for hair and look. But the clothes had to reflect what Malaysian Tamils wore at the time. Malaysia had printed shirts. We used reallife references more than film references.”

The ’90s: Definition and detailingThe ’90s marked a shift from realism to precision. In Baashha (1995), jackets became sharper, sunglasses more deliberate, scarves more controlled. Padaiyappa (1999) expanded this further with silk kurtas, pastel suits and carefully chosen accessories that reflected stature without excess. “This was the decade where his look became more defined,” Nandhitha notes. “Not louder — just clearer. Each element began to mean something. This was when Rajini discovered what every true fashion icon knows. Repetition builds legend. He knew the sunglasses and scarf would become his insignia long before anyone else did.” Costume designer V Saibabu, who worked extensively with Rajinikanth on films including Veera, Baashha, Padaiyappa, Muthu, Baba, Sivaji, Enthiran and 2.0, recalls the technical thinking behind those choices. He recalls creating the famous Baashha glasses: “Rajini sir always wears his sunglasses in his style. But director Suresh Krissna sir said we have to make sunglasses that look different for sir. So, we discussed and I created one without the side clings and the ear clings... one that clung to his nose instead. It would be like a clip. He liked it a lot and felt very happy.” He also designed the dhoti-overpants in Muthu and the cream kurta in Arunachalam.

From Petta to the present: Ease, trust and continuityStylist Niharika Bhasin, who worked with Rajinikanth on Petta and Darbar and is now part of the styling team for Jailer 2 , sees his present day look as one rooted in consistency rather than reinvention.

“When I think of Rajinikanth’s style today, the first thing that comes to my mind are his dark glasses,” she says. What stands out most, she adds, is his trust. “He absolutely and completely believes in his stylist’s vision. He really does not offer inputs or preferences. He moulds into what your vision is, which is a complete delight.”

In recent years, Rajinikanth’s on-screen wardrobe has leaned into utility. Kaala (2018) used black kurtas and dhotis to communicate grounded authority. Annaatthe softened the palette further. Vettaiyan continued this evolution with understated accessories.

Explaining the glasses used in Vettaiyan , Anu Vardhan says, “Usually, there is always a gimmick when you think of sir. But this time, we wanted something very regular. The idea was to use normal glasses where you can just attach the sunglasses part later.”

Nandhitha sees this restraint as the culmination of decades of evolution. “At this stage, his fashion is not trying to announce anything. It is about ease. His clothes now move with him, not ahead of him.”

Written By: Aashna Reddy

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