Ramayana's costume debate, explained by Rimple-Harpreet, designers who designed it

The release of the trailer for Ramayana, directed by Nitesh Tiwari, sparked widespread discussion, particularly regarding the costumes worn by its lead actresses. Among the most scrutinized elements was Sai Pallavi’s portrayal of Sita, whose attire, including her blouse, became a focal point of online debate. In response to the controversy, Rimple & Harpreet, the costume designers responsible for the film’s wardrobe, addressed the criticisms directly, offering insight into their creative decisions. The backlash against certain costume choices was anticipated by the designers. “Ramayana is not just a story; it is something people have grown up with,” they stated. “Everyone has an image of Ram, Sita, Lakshman, Ravana, and the women of Lanka in their minds, so naturally people are going to have strong opinions.” They emphasized that such reactions were expected given the cultural significance of the epic. However, they clarified that their goal was not to replicate a singular version of ancient Indian attire but to create designs that resonated with both the narrative and the practical demands of cinema. The designers highlighted that India has always been a diverse tapestry of cultures, regions, textiles, and styles of clothing. “There isn’t one single visual reference to how everyone in the Ramayana period dressed,” they noted. Their task was not to recreate a textbook illustration but to interpret the epic through their lens. “We wanted the costumes to feel rooted in India and in our understanding of the epic, but also work for the actors, the movement, the camera, and the scale of a film like this.” One of the most discussed aspects was the design of Sita’s blouse. Critics argued that the inclusion of a stitched blouse was an attempt to modernize her character. However, the designers refuted this claim. “The blouse was never introduced because we wanted to make Sita or the other women look modern. That was never the intention,” they clarified. Instead, their focus was on the character’s overall presentation. “When we design, we look at the entire character, not just whether a garment existed in a particular form. We look at her personality, her body language, her movement, her environment, and what we want you to feel when you see her.” For Sita specifically, the designers aimed to convey grace over grandeur. “Our intention was always to keep her very graceful, pure, and understated. The silhouette had to have dignity and softness.” This approach reflected their broader philosophy of creating costumes that served both aesthetic and functional purposes. Beyond aesthetics, the designers acknowledged the practical realities of filmmaking. “Cinema is also a very physical medium. These costumes have to move, they have to work with the actors, they have to survive action, long schedules, and different camera angles,” they explained. “Sometimes you make a design decision that is about the character and the storytelling rather than making a literal historical reconstruction.” This pragmatic perspective underscored the balance between artistic vision and the logistical challenges of bringing a large-scale production to life. The designers also addressed concerns about accuracy, noting that the online discourse often overlooked the dynamic nature of film costumes. “There is a very practical, on-set reality that often gets lost in the online discourse around ‘accuracy,’” they remarked. Their aim was to ensure that the costumes enhanced the storytelling experience rather than serving as static representations of history. As the film continues to generate conversation, the designers remain focused on their role in shaping the visual narrative of Ramayana. Their commitment to blending tradition with cinematic practicality reflects the complex interplay between cultural heritage and contemporary storytelling.