Nitesh Tiwari's Ramayana trailer has sparked plenty of discussion, particularly over the costumes. While opinions on the trailer vary, one aspect that has drawn significant attention is the wardrobe, especially Sai Pallavi's portrayal of Sita and the debate surrounding her blouse.
To address the criticism, India Today spoke to designer duo Rimple & Harpreet, who created the film's costumes. The designers acknowledged the backlash and explained the thought process behind their creative choices.
"People have grown up with this story"
The designers said they were not surprised by the reactions. According to them, Ramayana is deeply rooted in people's memories, and everyone has their own mental image of characters such as Ram, Sita, Lakshman, Ravana and the women of Lanka.
They said they respected the criticism because it reflected the emotional connection audiences have with the epic.
However, Rimple & Harpreet argued that there has never been a single definitive visual reference for how people dressed during the Ramayana era. India has always had diverse cultures, textiles and styles of draping garments.
Their objective, they explained, was not to recreate textbook illustrations but to present an interpretation that felt rooted in Indian traditions while also serving the demands of filmmaking, including performance, movement and cinematic scale.
The controversy over Sita's blouse
One of the biggest talking points has been Sita's stitched blouse. The designers rejected suggestions that it was introduced to modernise the character.
They clarified that the decision stemmed from a character-focused approach rather than an attempt to update Sita's appearance.
According to them, costume design goes beyond historical garments and considers the character's personality, body language, movement and surroundings. For Sita, their goal was to create a graceful, understated and dignified visual identity.
They also pointed out that filmmaking involves practical considerations. Costumes must allow actors to move comfortably, withstand long shooting schedules, action sequences and different camera angles.
As a result, they said some design choices are made to support storytelling rather than to serve as exact historical recreations.
They stressed that Sita's blouse should be viewed simply as one aspect of their interpretation of the character, rather than as an attempt to portray her as a modern woman.
Why Surpanakha looks different
While Sita is shown in fitted blouses and embroidered sarees, Surpanakha appears in a bandeau-style costume, which has also attracted criticism from those who argue that stitched garments did not exist during the Treta Yuga.
Some viewers have also suggested that the contrast between the two costumes was intentionally used to represent morality.
Responding to this, the designers said Surpanakha was conceived as a completely different visual character.
According to them, her appearance was designed to reflect her bold, sensual, unpredictable and powerful personality. They explained that the bare-shoulder look and bandeau-style costume were chosen to create a distinctive silhouette suited to her character rather than to introduce modern fashion into a mythological setting.
They added that Surpanakha's overall styling—including jewellery, textiles and textures—was carefully developed to ensure she still fit naturally within the visual world of Ramayana.
Creating an entire world
For Rimple & Harpreet, the project extended far beyond designing individual costumes.
They described the process as one of world-building, where every character and kingdom needed its own visual identity. Their aim was for audiences to understand a character's personality before they even spoke.
According to the designers, Ram, Ravana, Sita and Surpanakha each required distinct visual languages, while Ayodhya and Lanka also needed to feel visually different.
To achieve this, they spent months studying Indian textiles, jewellery, sculpture, paintings, architecture and craft traditions. Rather than copying any one historical reference, they drew inspiration from multiple sources to create a cinematic interpretation.
They emphasised that costumes should always support the character instead of becoming the focus themselves.
Their hope, they said, is that viewers first experience Sita's grace or Ram's dignity, rather than noticing individual costume elements.
The designers acknowledged that a film based on such an iconic story was bound to face scrutiny. They said their goal was never to create a museum-like reconstruction but to build a living, believable world that would connect with contemporary audiences.
While accepting that debates were inevitable, they hoped audiences would also appreciate the research, craftsmanship and thought invested in every costume.
Presenting Sita to a global audience
Beyond serving the film, the designers said they also wanted the costumes to shape how Indian stories and Indian women are presented internationally.
They noted that Ramayana would introduce one of India's most important epics to audiences around the world, making it essential to portray Indian women with dignity rather than relying on stereotypes.
Instead of simplifying Indian aesthetics for international viewers, they wanted to showcase the country's rich heritage through textiles, jewellery, drapes and craftsmanship.
For them, Sita represents more than a mythological figure. She embodies grace, resilience, dignity, emotional strength and the essence of Indian womanhood. The same philosophy, they said, guided the portrayal of the other female characters, each with a distinct identity reflected through costume.
The designers also expressed a desire for global audiences to discover India's unique visual traditions rather than viewing them through a Western lens.
They hoped viewers in cities such as New York, London, Paris and Los Angeles would see something unfamiliar and be inspired to learn more about Indian culture.
The importance of fabric
The designers also addressed the idea of authenticity, saying it was never about making costumes appear rough or primitive.
Instead, they focused on creating garments that looked naturally lived in, allowing the fabric itself to convey emotion and character.
According to them, authenticity comes not only from silhouettes or jewellery but from the texture, movement, colours and craftsmanship of the fabric.
Whether audiences agree with their choices or not, the designers maintain that every costume in Ramayana was created with careful thought and intention, reflecting their own interpretation of the epic while aiming to bring India's visual heritage to life for a new generation.
