Jewellery in a mythological film must do more than establish a character’s wealth or rank. It can signal lineage, convey authority and distinguish one kingdom from another. For Tribe Amrapali, the challenge of designing jewellery for Ramayana, directed by Nitesh Tiwari and starring Ranbir Kapoor, Sai Pallavi, Yash, Sunny Deol and Ravi Dubey, was to translate the epic’s cultural and artistic heritage into ornaments that serve the film’s interpretation of the story.
As the film’s official jewellery partner, Tribe Amrapali created more than 4,500 individual jewellery pieces for the first part of the film over 18 months, according to Tarang Arora, CEO and Creative Director, Amrapali Jewels. The undertaking began with research into mythology, ancient Indian ornamentation, temple art, sculpture and traditional jewellery forms.
“When we first encountered the world of Ramayana, what stood out was the opportunity to contribute to a story that has been part of our cultural and collective memory for generations,” says Arora. “The brief was not simply to create jewellery for individual characters, but to help build a visual universe that could bring the epic to life for a new generation.” The result is a collection spanning principal characters, royal families, warriors, courtiers, attendants and crowd ensembles, with each group requiring ornaments appropriate to its place within the narrative.
Three kingdoms, three design philosophies
The design process began by establishing distinct identities for Ayodhya, Mithila and Lanka. Rather than applying a uniform aesthetic of royal grandeur, the team used differences in proportion, motif, silhouette and detailing to distinguish the kingdoms.
Ayodhya’s jewellery is characterised by harmonious symmetry, refined proportions and intricate traditional detailing. The intention was to convey royal dignity and restraint. Mithila draws on floral motifs, graceful curves and delicate ornamentation, particularly in the jewellery created for Sita, where femininity, purity and quiet strength inform the designs.
Lanka takes a more dramatic direction, with bold forms, angular contours and sculptural silhouettes that communicate power and opulence. These distinctions extend to individual characters. Ravana’s jewellery employs angular forms and dark-hued stones to create an imposing presence, while the ornaments for Mandodari and Vibhishana use more symmetrical compositions and warmer, luminous stone tones.
The distinction is especially apparent in the jewellery designed for Ravana. An armour-like, gold-plated ceremonial collar extends across his shoulders and chest, combining repoussé work, embossed relief, floral scrolls and sculptural detailing with deep-blue cabochon stones. Heavily sculpted upper-arm cuffs, gemstone-studded forearm cuffs, statement rings and bracelets complete the ensemble. His kamarbandh features layered medallions and cascading decorative elements accented with blue and crimson gemstones.
The combination of substantial forms and intricate surface work gives the ornaments their commanding character, with the jewellery reinforcing the portrayal of Ravana’s authority and power.
Symbolism in the details
Research into Indian artistic traditions informed the designs, but the objective was not to reproduce historical ornamentation literally. References had to retain their cultural associations while serving the film’s cinematic interpretation of the epic.
Lord Rama’s jewellery, for instance, centres on the Sun motif, reflecting his Suryavanshi lineage and symbolising strength, righteousness and divine radiance. Circular medallions inspired by the Dharma Chakra and lotus details associated with purity and divinity further inform the designs.
His ensemble combines layered necklaces, a prominent medallion, a collar-length necklace, sculpted keyuras or upper-arm ornaments, engraved wrist cuffs, earrings and rings. The mekhala, or waist ornament, features repoussé craftsmanship, embossed motifs and architectural contours. The overall treatment is restrained in comparison with Ravana’s, with the emphasis on symmetry, proportion and symbolic detail.
King Dashrath’s jewellery follows a similarly measured approach to royal ornamentation. Substantial gold-plated necklaces, a repoussé pendant, graduated chains, engraved armlets, stacked wrist cuffs and an ornate waist belt establish ceremonial stature without relying on the more aggressive silhouettes associated with Lanka.
From royal splendour to forest simplicity
One of the more telling departures from the film’s elaborate royal jewellery is the ornamentation created for Rama, Sita and Lakshman during their fourteen-year forest exile.
Here, the designs move away from elaborate gemstones and ornate metalwork towards rudraksha bead malas, handcrafted beaded armlets, understated ear ornaments and simple wrist adornments. Sita’s ensemble incorporates a delicate bead mala, drop earrings, a petite nose pin and slender bangles, introducing a softer treatment alongside the more ascetic compositions worn by Rama and Lakshman.
The shift in materials and ornamentation distinguishes this phase of the narrative from the splendour of the royal courts. Organic textures and sacred symbolism take precedence over elaborate embellishment, with the designs reflecting the characters’ changed circumstances.
The craftsmanship behind the commission
Executing the designs required the combined expertise of designers, researchers, sculptors, model makers, metal craftsmen and master artisans. The production process encompassed research, conceptualisation, sketches, material selection, model making, prototyping, craftsmanship, assembly and final finishing.
Traditional techniques, including fine engraving, chasing, filigree-inspired openwork, granulation-inspired textures and sculptural embossed detailing, were used to build depth into the ornaments. Repoussé work and embossed relief are particularly evident in the more sculptural pieces, including Ravana’s ceremonial collar and Rama’s waist ornament.
Each piece had to retain its individual character while remaining consistent with the aesthetic established for its kingdom and character. The scale of the commission made coordination between design and production central to the process.
Arora describes the project as a departure from the conventional approach to designing jewellery for individual wearers. “For us, this was never about creating jewellery as costumes; it was about building the visual grammar of the Ramayana universe through ornamentation,” he says. “This project challenged us creatively in ways we had never experienced before, as every character demanded a distinct design philosophy while remaining part of one cohesive visual world.”
He adds that the work involved extensive historical, cartographic and cultural research, translating what he describes as the epic’s sacred geographies, metallurgical traditions and artistic legacy into wearable forms.
A new setting for Indian craftsmanship
The commission brings traditional jewellery-making techniques into a cinematic production, placing the work of master artisans within a project intended for audiences in India and internationally. For Tribe Amrapali, the significance extends beyond the number of pieces produced. The designs connect motifs, materials and techniques drawn from Indian artistic heritage with the identities and journeys of the film’s characters. As Arora puts it, “Every motif, texture, silhouette and handcrafted detail carries narrative intent, reflecting the identity, journey and spirit of its wearer.”
The project demonstrates how jewellery can function as a considered part of film design, with changes in ornamentation marking distinctions of lineage, status and circumstance. For a story as deeply embedded in India’s cultural memory as Ramayana, that responsibility places the craft not merely in the service of spectacle, but at the intersection of heritage, character and cinematic interpretation.