I like all of them. My costumes allowed me as a human being, as an actor, to do and wear things I would never have dreamt of. The kind of clothes Aki has come up with in this film I don't think I would ever be content with, but they suited the character, Rikki Thukral brilliantly. It was just a pleasure to get into somebody else’s skin, be so loud, and get away with it.

When we shot in the streets of London, people used to actually stare at the lead actors and really wonder why we were wearing such clothes, and we used to become conscious at times. I think Preity was the most sober of the lot, followed by Bobby, then Lara and I was the maddest. But although we were very conscious while shooting, I think once you see the film the costumes don't jump at you, because of the world created by Shaad and (Ayananka) Bose, our cinematographer. It takes you to a different world of Jhoom Barabar Jhoom, and I think every technician working on the film manages helps the audience reach that world.

How did Jhoom happen to you? What made you decide to do the film?

This was a story told to me when we were shooting for Bunty Aur Babli, it was then called Sangam Mein. It kept evolving -- it moved from Delhi station to Waterloo Station. It grew in stature and style and scale, so its something I can very luckily say I was blessed to see right from its inception. I think it helped a lot that I knew of the script and the idea from the ideation stage, because it helps to acquaint oneself with the script and the character. So it's a lot of fun for me to see it grow, and finally become a great film that's about to come.

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