Yash’s Ravana look in 'Ramayana': A possible influence of Southeast Asian aesthetics?

It goes without saying that the look of Yash as Ravana in director Nitesh Tiwari’s ambitious "Ramayana" film has drawn attention for its striking visual design. Unlike the familiar images of Ravana from traditional calendar art, television serials and earlier film adaptations, this version presents the character as a powerful warrior king with a distinctive historical, multicultural bent.

While the team hasn't yet mentioned it explicitly, one presumes the visual design of Ravana in "Ramayana" may have been heavily influenced by Southeast Asian aesthetics. The elaborate crown, gold armour, structured clothing and long velvet cape suggest influences from countries such as Thailand, Cambodia and Indonesia, where different versions of the Ramayana have developed over centuries. Here, he appears more like an imposing ruler from an ancient royal civilisation than a conventional mythological villain.

One of the most noticeable elements of Yash’s appearance is his elaborate crown. Its tall, pointed, layered structure resembles the traditional Chada headgear worn in Thailand’s Khon dance performances and Cambodia’s Reamker theatrical productions. This is different from the broad, relatively flat crowns commonly seen in Indian television portrayals of Ravana. The Chada-style design rises vertically, creating a dramatic silhouette that immediately communicates royalty and authority.

The crown also features flame-like decorative patterns along its sides. Such details are common in traditional Southeast Asian royal costumes, where elaborate gold designs represent divine power, status and strength. The armour follows a similar design approach. The gold breastplate and shoulder guards, traditionally associated with warrior jewellery and ornaments such as the Keyura, feature dense decorative patterns. These invite comparisons to Thai Lai Thai designs and the detailed carving traditions found in Indonesian art. The overlapping geometric plates give the armour a sharp, powerful appearance. They also recall Southeast Asian artistic representations of Tosakanth, the Thai interpretation of Ravana.

Another important detail is the lower-body costume. Instead of the simple dhoti often used in Indian mythological productions, Yash wears darker, structured and heavily pleated trousers. These appear to draw inspiration from garments such as the Sompot Chong Kben, traditionally worn in Cambodia and Thailand, as well as royal costumes used in Indonesian Wayang Wong dance performances.

The long velvet cape and structured shoulder pieces complete the look. Similar capes and decorative shoulder designs are used in Southeast Asian royal dance dramas to make kings and powerful characters appear larger than life. The cape also provides additional space for intricate gold embroidery, making the overall costume even more dramatic.

How Southeast Asia sees Ravana differently

The possible Southeast Asian influences in Yash’s costume are particularly interesting because Ravana himself has a very different place in the cultural traditions of the region. In the familiar Indian understanding of the Ramayana, Ravana is primarily remembered as the powerful demon king who abducts Sita and eventually loses the war against Rama. However, Southeast Asian versions of the epic often present him as a more complicated character.

Depending on the country and the tradition, Ravana can be a tragic romantic, a respected royal figure, a powerful anti-hero or even a character whose story is closely connected to local religious beliefs. These interpretations do not always present him as completely evil. Instead, they explore his family background, ambition, intelligence, emotional weaknesses and personal struggles. Some versions even begin with his genealogy and the history of his family before introducing Rama as the central hero.

In Thailand, the Ramayana is known as the Ramakien, and Ravana is called Thotsakan, a name associated with his ten necks. He is commonly depicted with striking green or golden skin and an elaborate royal appearance. Thotsakan is a powerful ruler, but his character also has a deeply emotional side. His intense love for Sita plays an integral role in his story, and his downfall is often presented as a tragedy shaped by desire, pride and personal weaknesses. Over time, he has also become an important figure in Thai popular culture.

In Malaysia, the story is known as the Hikayat Seri Rama, where Ravana is called Maharaja Wana — a strong influence of Islamic cultural elements. His story includes an unusual account of exile. According to the narrative, he is banished by his father and spends time hanging upside down. During his exile, he encounters Nabi Adam, or Prophet Adam. Through this meeting, he receives divine authority over four worlds from Allah after promising to follow the law. This adaptation shows how the Ramayana's characters and stories were reshaped to fit the religious and cultural traditions of the Malay world.

In Cambodia, the epic is called the Reamker, and Ravana is known as Krong Reap. He is presented through the traditional theatrical style of the Yeak, or demon characters. Krong Reap is a powerful royal figure whose personality combines great ambition, artistic refinement and serious flaws. His story unfolds within Cambodia's Theravada Buddhist cultural framework and is an important part of the country's dance and theatre traditions.

Indonesia has several versions of the Ramayana, including the Serat Kandha and Kakawin Ramayana. In these versions, Ravana is known as Rahwana or Prabu Dasamuka. Javanese traditions include unusual stories about his birth. In one variation, the deities Shiva and Shakti temporarily inhabit his parents to bring about his conception. His character is also closely tied to Wayang Kulit, the famous Indonesian shadow-puppet tradition, where mythological characters are represented in the form of elaborate puppets and performances.

In Laos, the epic is known as Phra Lak Phra Ram. Ravana, also called Thôtsakane, is portrayed as an arrogant, materialistic Brahmin — the son of Virulaha (the Southeast Asian version of sage Vishrava). The story takes on a Buddhist meaning, functioning as a Jataka-style account connected to the previous lives of the Buddha. Ravana's attachment to wealth, power and worldly pleasures is starkly contrasted by Rama's spiritual qualities and moral strength.

In the Philippines, the Maranao epic Darangen includes a version known as Maharadia Lawana. Here, Ravana becomes a central anti-hero, and the narrative gives considerable attention to his experiences and struggles. This shifts the emotional focus of the story and allows audiences to understand events from a perspective different from the familiar Indian telling.

Together, these adaptations show how the Ramayana has travelled across borders and become part of different cultural identities.

The team behind the look

Some earlier online chatter speculated whether the detailed armour and gold ornaments were digitally created. However, the production team clarified that the costumes were physically constructed using real materials and detailed craftsmanship, including real gold detailing.

Ravana’s extensive jewellery, including his ornate crowns, breastplates, and accessories in Ramayana, was designed by the House of Amrapali (Tribe Amrapali) under the creative direction of Tarang Arora in collaboration with costume stylist Saniya Sardhariya.

Sardhariya is known for her work in celebrity styling and major film projects, particularly in South Indian and pan-Indian cinema. She previously worked with Yash on "K.G.F: Chapter 1" and "K.G.F: Chapter 2". She also worked on Rakshit Shetty's "777 Charlie". Beyond cinema, Sardhariya has been associated with Yash's public appearances and custom-designed outfits. These include specially created blazers featuring Trishula embroidery and gold multi-headed Ravana brooches worn around the time of the "Ramayana" world premiere in Los Angeles.