However, as the sixth Disney Princess and the franchise's first non-white member, the character is credited with introducing racial diversity to Disney's princess genre, although she has at the same time been criticized for being Westernized and Anglicized in both appearance and demeanor.
Jasmine has made subsequent appearances in Aladdin's sequels The Return of Jafar (1994) and Aladdin and the King of Thieves (1996), as well as its television series and a Broadway musical adaption of the film.
Originally conceived as a spoiled, materialistic princess, the writers eventually re-wrote Jasmine into a stronger and more prominent heroine following the elimination of Aladdin's mother from the script, while borrowing story elements from the romantic comedy Roman Holiday (1953).
Out of his desire to incorporate Arabian architecture into the film, art director Bill Perkins based Jasmine's design on the famous mausoleum the Taj Mahal, particularly the curves demonstrated in the character's hair, clothes and jewelry.
While working on the character at Disney-MGM Studios in Florida, Henn noticed a young female amusement park guest with long black hair, and ultimately decided to use her as his initial inspiration for Jasmine; the guest's identity remains anonymous to-date.
the sole decision Jasmine maintains complete agency over during the entire film is who she falls in love with – aided by the Genie's refusal to use his magical powers to force characters to fall in love – although not who she marries.
Jasmine explores "the idea that enclosing yourself behind walls can make you more vulnerable, not less", as evidenced by the fact that the character is unprepared and knows little about money when she ventures into the marketplace for first time.
Directors and writers Ron Clements and John Musker eventually disregarded Woolverton's script in favor of developing something more similar to Ashman's version albeit making several changes to his treatment, among them approaching the character of Jasmine "a little differently" Despite the presence of a prominent princess character, the directors decided to treat Aladdin more-so like "an Arabian adventure" as opposed to a traditional Disney fairy tale or princess film in the vein of Snow White and the Seven Dwarfs (1937) or Beauty and the Beast, The idea of a disguised Jasmine stowing away from her palace in the middle of the night was inspired by the romantic comedy film Roman Holiday (1953), in which Princess Ann, portrayed by actress Audrey Hepburn, similarly escapes the royal embassy in disguise in order to spend one day exploring Rome on her own.