The costume designers of the upcoming film Ramayana: Part 1 have addressed the wave of online criticism surrounding the styling of Sita and Kaikeyi. Rimple and Harpreet Narula, known for their work on earlier period productions, explained that their choices draw from cultural memory and artistic interpretation rather than strict historical reconstruction. They have urged audiences to experience the film before forming final opinions.
The Source of the Debate
Following the release of the trailer, social media discussions focused heavily on the appearance of two key female characters. Sai Pallavi’s Sita was questioned for wearing blouses, a choice some viewers felt diverged from conventional mythological portrayals. Lara Dutta’s Kaikeyi drew comparisons to contemporary television serial aesthetics, with comments on her saree style, hair, and overall presentation. Critics argued that the looks appeared too modern for the Treta Yuga setting of the epic.
Such reactions are not unexpected for a project of this scale. The Ramayana occupies a central place in the cultural and spiritual consciousness of large sections of the audience. Any visual interpretation is therefore scrutinised against long-held mental images shaped by temple art, calendar prints, classical paintings, and earlier screen adaptations.
Designers Explain Their Approach
Rimple and Harpreet Narula have stated that they approached the costumes with awareness of the inevitable comparisons. They noted that an epic of this stature has lived in collective memory for generations, and opinions on casting, costumes, and visual treatment will always vary. What guided them, they said, was honesty toward their craft.
Addressing the specific point about Sita’s blouses, Rimple explained that her reference was not archaeological authenticity. She described closing her eyes and recalling the image of the goddess as it exists in personal devotion and home shrines. That familiar, living image became the deliberate foundation for the character’s look. The designers also pointed out that no original garments from the period survive. Visual traditions have long been shaped by later artistic interpretations, including the work of Raja Ravi Varma, miniature paintings, and temple iconography. Their work, they emphasised, is one more interpretation within that continuum.
Symbolism Behind Kaikeyi’s Palette
Harpreet Narula provided insight into the colour choices for Kaikeyi. Green in her costumes was selected to represent motherhood. Deep maroon was intended to convey emotional strength and the darker weight of the decision she faces—torn between loyalty to her own son and the larger dharma involving Rama. Every colour, the designers stated, was chosen with intention rather than pure aesthetic preference.
They suggested that some reactions may have come too quickly, before the underlying thought process could be understood. The costumes, in their view, form part of a larger visual language designed to communicate character and emotion to contemporary viewers.
Making an Ancient Epic Speak to a New Generation
The designers framed their work as an attempt to allow the ancient narrative to speak visually to today’s audience. They described thought and care behind every thread and fabric decision. Their closing appeal was direct: audiences should not decide based solely on trailer stills or short clips. They asked viewers to watch the complete film, experience the storytelling in context, and only then form an opinion.
This position reflects a broader tension in adaptations of sacred or classical material. Filmmakers and designers must balance reverence for tradition with the practical and artistic demands of cinema intended for modern screens and diverse viewers. Strict recreation of an imagined past is often impossible; interpretation becomes inevitable.
The Larger Conversation Around Authenticity
Discussions about historical or mythological accuracy in costume design frequently arise with large-scale Indian films. Different generations carry different reference points. Older television adaptations created one set of visual expectations. Calendar art and temple sculpture created others. Contemporary cinema operates under different technical, budgetary, and narrative conditions. Designers working on such projects routinely navigate these overlapping expectations.
Rimple and Harpreet Narula’s response acknowledges the legitimacy of strong feelings while defending the integrity of their creative process. They position the costumes not as a rejection of tradition but as a conscious engagement with the images that already live in popular and personal devotion.
Looking Toward the Film’s Release
Ramayana: Part 1 is positioned as a major cinematic retelling. Costume design forms only one element of a much larger production that includes performances, production design, visual effects, and narrative choices. The designers’ request is essentially for patience and context: to allow the full work to be seen before rendering judgment on individual stylistic decisions.
In the meantime, the exchange itself highlights the enduring power of the Ramayana. The intensity of public response to the appearance of Sita and Kaikeyi demonstrates how deeply the characters remain embedded in cultural imagination. Whether audiences ultimately embrace or critique the final looks, the conversation underscores that every new interpretation of the epic enters a space already filled with powerful, pre-existing images.
The designers have made their case clearly. They ask only that viewers reserve final judgment until the film can be experienced as a complete work. In an era of instant online reaction, that request for measured viewing carries its own quiet significance.
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