Actor Yash’s transformation into Ravana in director Nitesh Tiwari’s Ramayana involved much more than an elaborate appearance and impressive screen presence. Behind the powerful look was an extensive costume-design process that required detailed research, multiple trials and considerable attention to comfort and movement. The scale of the preparation is now clearer after costume stylist and designer Saniya Sardhariya revealed that some of Yash’s outfits weighed as much as 33 kg, while his crown alone weighed 1.8 kg.
In an interview with India Today, Saniya shared details about the challenges of designing Ravana’s costumes, jewellery, armour and other elements of the character’s appearance. According to her, most of Yash’s costumes weighed between 16 kg and 20 kg, including the jewellery. However, a few particularly elaborate outfits were significantly heavier, reaching approximately 30 kg to 33 kg.
These heavier costumes included Ravana’s look associated with Lanka, his wedding outfit and the costume designed for Surpanakha’s wedding sequence. Saniya clarified that these were among the heaviest looks rather than the weight of every costume used throughout the film. The figures also highlight the amount of physical effort required from Yash while portraying a character whose appearance needed to reflect power, royalty and grandeur.
Yash’s 1.8 kg crown was one of the biggest challenges
While the costumes and jewellery required extensive work, the crown proved to be one of the most difficult elements to design. A crown is central to Ravana’s royal identity, so the creative team wanted it to look distinctive and visually impressive. At the same time, it had to be practical enough for Yash to wear during long shooting schedules and repeated takes.
Saniya revealed that the team created several mock 3D versions of the crown before finalising its design. The designers first concentrated on getting the appearance right and then worked backwards to find ways to reduce its weight without compromising its overall shape and detailing. Despite these efforts, they could not bring the weight below 1.8 kg.
The designer explained that even a comparatively small amount of weight on the head can become uncomfortable, particularly when an actor has to perform scenes involving continuous movement. Wearing the crown for extended periods also made it difficult to move the head naturally. The team therefore had to find a balance between the visual requirements of the character and the practical demands of filming.
Heavy armour and jewellery made movement difficult
The crown was only one part of the challenge. Yash’s complete Ravana appearance also included a chest plate, elaborate shoulder structures, arm accessories and layers of jewellery. These elements had to work together as a single design, but their combined weight and positioning could restrict the actor’s movements.
Saniya said Yash would remove some pieces between shots to get relief from the heavy costume. The challenge was not limited to carrying the weight. The designers also had to ensure that the different elements fitted together properly, did not interfere with one another and allowed the actor to move his head and arms naturally.
For scenes requiring repeated takes, the fit and inner lining of the costume became particularly important. Even a visually impressive design could become a problem if it restricted the actor’s movement or made it difficult to perform naturally. The team therefore worked to make the outfits as comfortable as possible while retaining the grandeur expected from Ravana’s appearance.
Yash was closely involved in developing Ravana’s look
One of the important details shared by Saniya was Yash’s involvement in the design process. The stylist has worked with the actor for around 11 years, but Ramayana was their first mythological film together. She knew that creating a traditional epic character would require a different approach from their earlier projects.
Yash is known for preferring a relatively understated personal style, so the transition to elaborate mythological costumes required careful planning. Rather than presenting him with the complete, heavy outfit immediately, Saniya decided to introduce the different elements gradually. During the initial look tests, she added one piece at a time so that the actor could understand the design and the team could identify potential problems.
The process involved research, fittings, trials and mock shoots. Yash also experimented with the different costume elements and suggested adjustments based on how he wanted to move during particular scenes. For instance, he would point out when a drape needed to be longer or when a particular part of the outfit required more flexibility to support a movement during a performance.
These suggestions helped the designers make practical changes without losing the character’s visual identity. Saniya said the first complete look test was encouraging, as the different elements came together effectively. She also credited the direction and involvement of the wider creative team, including director Nitesh Tiwari and producer Namit Malhotra.
Jewellery and armour were designed as part of one visual identity
Another significant aspect of Ravana’s appearance was the relationship between jewellery and armour. Instead of treating them as completely separate elements, the design team decided to blend the two so that the character would have a richer and more imposing appearance.
Jewellery brand Amrapali worked with the film’s team on the customised pieces. The metal armour was produced separately and then embellished with detailed motifs and decorative elements. This required close coordination between different teams, as the jewellery designs had to match the size and structure of the armour. The process involved additional work, detailed measurements and multiple rounds of adjustments.
The motifs were also important in establishing Ravana’s character. Saniya explained that the finished design included references to his devotion to Lord Shiva, particularly through serpent and trident motifs. The intention was to reflect different dimensions of Ravana’s personality through his appearance rather than relying only on heavy ornaments or an imposing crown.
Addressing comparisons between the crown’s shape and certain Southeast Asian representations of Ravana, Saniya said her research was largely focused on Sri Lankan architecture. She did not directly attribute the design to Southeast Asian influences, describing the similarities as parallels rather than a confirmed source of inspiration.
Prosthetics added another layer to the transformation
The heavy costumes were not the only demanding part of Yash’s transformation. Saniya also spoke about the challenges of working with prosthetics, which had to complement the costumes and remain practical during filming. Some looks required extensive prosthetic work, making the process particularly time-consuming.
Costume and prosthetic teams had to coordinate carefully so that every element worked together. The overall appearance needed to remain consistent, while the actor still had to perform scenes that demanded natural movement and expression. Managing the combined demands of costumes, armour and prosthetics made preparation especially important.
Despite the physical discomfort and long shooting hours, Saniya recalled that Yash kept the atmosphere on set lively. She said the actor often joked with the crew about the sharp elements on his crown, shoulder pads and arm accessories. If a piece was uncomfortable or pricked him, he would turn it into a light-hearted moment with the people around him.
According to the designer, Yash remained involved and cooperative throughout the process, even when the costumes became difficult to wear. His sense of humour helped the team manage the demanding schedule and made the experience more enjoyable for those working on the film.
Yash’s Ravana look in Ramayana is therefore the result of a detailed combination of design research, handcrafted detailing, technical planning and the actor’s own inputs. The revelation that some costumes weighed up to 33 kg and that the crown alone weighed 1.8 kg offers a glimpse into the effort required to create the character’s larger-than-life appearance on screen.
With Ranbir Kapoor playing Lord Rama, Sai Pallavi portraying Sita and Yash appearing as Ravana, the film brings together a prominent cast for its retelling of the epic. Ramayana: Part 1, directed by Nitesh Tiwari and produced by Namit Malhotra, was released in theatres on November 5, 2026. The behind-the-scenes details of Yash’s costume now add another dimension to the discussion around the film’s visual preparation and the work involved in bringing its mythological characters to life.
