In an epic as widely loved as the Ramayana, every detail is read closely: the glint of a medallion, the curve of a floral choker, the angle of a crown. For Namit Malhotra’s Ramayana, one of the most ambitious cinematic undertakings in Indian film, those details have been entrusted to Tribe Amrapali, the contemporary jewellery label known for its silver and gold-plated silver designs.

The result is a body of work of striking scale: more than 4,500 individual pieces for Part 1 alone, developed over 18 months under the creative leadership of Tarang Arora. Drawing on ancient Indian ornamentation, mythology, temple art and sculpture, the team built a distinct design language for each of the story’s three kingdoms: Ayodhya, Mithila and Lanka.

The Film

Directed by Nitesh Tiwari, Ramayana is a two-part retelling envisioned for a global IMAX release. The cast features Ranbir Kapoor as Lord Ram, Sai Pallavi as Sita, Yash as Ravana, Sunny Deol as Hanuman and Ravi Dubey as Lakshman. It is produced by Namit Malhotra’s Prime Focus Studios with eight-time Oscar-winning DNEG and Yash’s Monster Mind Creations.

Part 1 is set to release worldwide on 5 November 2026, followed by Part 2 at Diwali 2027, in Hindi, Tamil, Telugu, Kannada and Malayalam. Sony Pictures will distribute the film globally outside India, while Dharma Productions will handle the Hindi-speaking market.

Tribe Amrapali’s work spans the entire ensemble: principal characters, royal families, warriors, courtiers, attendants, supporting cast and crowd ensembles, all given a cohesive yet varied visual language.

Ayodhya: The Radiance of Royal Heritage

Ayodhya’s jewellery is defined by classical elegance: harmonious symmetry, refined proportions and traditional detailing that balances grandeur with restraint. For Lord Ram, the Surya, or Sun, motif is the defining element, 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 complete a visual identity shaped by heritage and purpose.

Mithila: The Poetry of Floral Artistry

Where Ayodhya is regal, Mithila is delicate. Floral motifs, graceful curves and balanced silhouettes lend its jewellery softness and understated elegance. For Sita, intricate floral detailing and refined craftsmanship express femininity, purity and quiet strength, inspired by the cultural richness of Mithila and the sacred gardens associated with the epic.

Lanka: The Magnificence of Power and Dramatic Artistry

Lanka introduces a bolder, sculptural vocabulary of asymmetrical forms, sharp contours and richly textured surfaces. For Ravana, Kaikasi, Mareech, Shurpanakha and Vidyutjeeva, angular shapes and dark-hued stones convey intensity and formidable presence. Yet the kingdom is not a monolith: for Mandodari and Vibhishana, bolder but more symmetrical compositions and warmer, luminous stones express wisdom, balance and inner strength.

The Making of a Monument

Creating the jewellery of three kingdoms meant a meticulous process of research, conceptualisation, design sketches, material selection, model making, craftsmanship, assembly and final finishing, with each ornament designed for the character it would adorn and its place in the larger narrative.

Traditional techniques gave the pieces their depth: embossed relief work, fine engraving and chasing, filigree-inspired openwork and granulation-inspired beadwork. From statement ornaments for royal characters to accessories for crowd ensembles, designers, master artisans, model makers and production teams worked to keep consistent quality across thousands of pieces while preserving the individuality of each.

“When the opportunity to collaborate with Ramayana came to us, the most exciting part was simply being invited to be a part of this extraordinary journey,” said Tarang Arora, Creative Head, House of Amrapali. “We all grew up with the story of the Ramayana as we knew it, but this project is reimagining that timeless epic for a new generation. It has the potential to become the Ramayana that today’s children and future audiences will connect with and remember.”

Describing the process, Arora added: “The challenge was not merely creating ornaments but building a complete visual vocabulary for an expansive universe of characters, each carrying a unique identity, emotion, and journey. The process involved balancing deep research with artistic interpretation, ensuring every motif, texture, and element remained meaningful while serving the cinematic vision of the film.”

The film’s makers echoed the sentiment: “More than embellishment, these pieces are woven into the storytelling, helping create a world that is both timeless and immersive.”

The Last Word

In a film built on scale, it is the smallest things that make a world believable. By giving each kingdom its own metal, motif and silhouette, Tribe Amrapali has turned jewellery into a form of storytelling, one that sets Ayodhya’s sun, Mithila’s blossoms and Lanka’s shadows apart before a word of dialogue is spoken. It is also a reminder of the role Indian artisans play in carrying living craft onto the global screen, as audiences prepare to meet this epic anew.

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