Reimagining a myth into art has always invited conversations and debates. Similarly, when the trailer of Nitesh Tiwari’s Ramayana dropped on various social media handles, it brought one of India’s most revered epics back into focus and sparked a debate over its visual interpretation.
While the film’s grand scale, VFX and world-building have drawn appreciation, its costumes and styling have received mixed reactions, with some calling the approach ‘too modernised’.
As filmmakers continue to reimagine age-old stories for contemporary audiences, a question remains – how much creative liberty can be taken without losing the cultural essence of the original? CE speaks to creatives from the fashion and film industries to understand their perspectives.
Kristen John, stylist and content creator
Styling and every small detail have been executed to the best they possibly could. The costumes are rich and thoughtfully designed, and add so much to the characters and the world of the film. The overall packaging of the trailer, including the visuals, styling and production design, looks grand, cohesive and cinematic. I don’t think there is a fixed line because mythology has been interpreted differently through art, theatre, paintings and cinema for centuries. As designers, we should do our research, understand the cultural significance and then create with honesty and intention. As long as every creative choice comes from a place of respect and serves the story, I think audiences are more open to different interpretations. Everyone has an opinion the moment something is released, but that shouldn’t stop designers from experimenting.
Ruchika Bhat, fashion designer
My first impression was disappointment. It has a sense of grandeur, but not in the way I’ve come to associate with the Ramayana. I grew up watching Ramayana: The Legend of Prince Rama, which filled me with awe. With the latest, I found myself questioning not just the styling but the entire modern aesthetic. Everyone looks somewhat whitewashed rather than divine, and many of the backgrounds feel artificial, almost like they’re trying too hard to emulate Hollywood. I do believe creative freedom is important, but mythology comes with deep cultural and emotional significance, so it’s impossible to please everyone. That said, it is very clear from the marketing, budget, visuals and other factors that this film is clearly targeted for a western audience that frankly does not care at all. A lot more could have been done with a much tighter budget and more focus on a natural depiction rather than the emphasis on aesthetic soullessness.
Rukmini Nitin, celebrity stylist
The Ramayana is something many of us experienced through stories long before we ever really read it. I grew up listening to it from my grandmother, and through those narrations I created my own imagination of Rama, Sita and that entire world. When I watched the trailer, I didn’t expect it to match the picture in my mind. I looked at it as the director’s interpretation of the same epic. What fascinated me was the scale of the world-building, the VFX and the way elements like the pushpaka vimana were brought to life. The costumes were not exactly how I had imagined them, but that didn’t bother me because every person visualises the Ramayana differently. As a stylist, I believe creative reinterpretation is important, but the cultural essence and dignity of the characters should never be compromised. The question is not whether something looks different, but whether it still respects the spirit of the story.
Hemanth Kumar, director
My only reservation is with the costumes and, to some extent, the overall production design. I wish the makers had taken a more research-driven approach to imagine the Treta Yuga, building its visual world from first principles. What textiles, natural dyes, craftsmanship and techniques could have existed then? Every costume, ornament and prop should feel like a natural extension of that world. Take Rama and Sita during their vanavas, for instance. After spending years in the forest, their appearance should reflect that journey, but their clothing and overall look don’t quite communicate the passage of time or the realities of forest life. At the same time, I wish the film had moved beyond both the familiar visual language of Ramanand Sagar’s Ramayan and the grand, Baahubali-style aesthetic. This was a rare opportunity to reimagine what the Treta Yuga might actually have looked and felt like.
Ananya Babu, fashion content creator
The trailer looked majestic and visually spectacular. The scale felt larger than life, and it was evident that the makers were aiming for a grand cinematic experience. I believe creative reinterpretation is important, but so is preserving the essence of the story. When adapting epics, makers can take greater creative liberties with the scale, sets and overall cinematic vision, while remaining authentic in the styling and presentation of the characters, especially given how emotionally invested audiences are in these figures. Authenticity helps preserve the soul of the narrative. Also social media has made it harder to experiment because audiences dissect every first look almost immediately.
Uday Brahma, filmmaker
The costumes and styling could have been more phenomenal. Although the trailer was better than the teaser, I felt the landscape was missing. An epic of this scale needs a strong ambience and more detailing to build the world. The vastness of the Ramayana demands more. Also, I don’t think people dislike modern interpretations. Audiences today are evolving, and they demand technically acclaimed work. This is not about backlash. Filmmakers should learn to devote themselves to the myth and go beyond limitations to achieve their vision. Creating an epic like this is almost like a meditation; it cannot be justified by just fancy colour tones and flat VFX. I surrender to higher visions; I don’t chase horizons. I’ll worship pure cinema.