Heritage and Innovation Must Coexist, say Designers Shaping Luxury Wedding Scene in India

This August, Delhi’s Taj Palace was transformed into a spectacle of couture, gemstones, and artistic opulence for the Vogue Wedding Atelier 2025, a curated showcase that has become the annual barometer for India’s high-end wedding economy. The event’s latest edition brought together some of the country’s most celebrated names in fashion and jewellery like Abu Jani Sandeep Khosla, Falguni Shane Peacock, Manish Malhotra, Sabyasachi, all offering a glimpse into the evolving tastes of the modern Indian bride and groom.

The timing is apt. India’s luxury wedding scene is no longer just a niche, it’s a global talking point. According to a 2024 report by KPMG, the Indian wedding industry is valued at Rs. 4.74 trillion (about £45 billion), growing at a 15–20% annual rate, with the luxury segment leading the charge. Destination weddings, couture lehengas, and bespoke jewellery are no longer indulgences; they’re centrepieces in an economy fuelled by rising disposable incomes, aspirational lifestyles, and India’s booming high-net-worth population.

From Tradition to Global Stage

Sandeep Khosla, one half of the legendary design duo Abu Jani Sandeep Khosla, believes India’s bridal culture remains a work in progress when it comes to true international recognition. “We are nowhere on the global stage yet. We have a long, long way to go. The West has dominated—the French, the Italians, the Americans, and the Japanese. Unless you make a concerted effort to become one and actually promote India as a culture, as a country, as a design, nothing is going to happen,” he says.

The brand, famed for its revivalist approach to Indian craft, continues to champion techniques such as mirror work, chikankari, and zardozi, elevating them with Mughal-era inspirations. These craft traditions, often centuries old, form the backbone of India’s luxury wedding aesthetic, a counterpoint to the fleeting trends of fast fashion. “We are all about India, and we are all about techniques, and we are all about revival. Whether it's the mirror work which we started, I'd say this is something we did 36 years ago. The chikankari, which we've been doing for 35 years.”

Industry analytics underline the scale of transformation. Where a “big-fat Indian wedding” once meant a week of family functions, today it’s an orchestrated, multimedia event with budgets often crossing ₹5–10 crore for ultra-high-net-worth clients. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that couture and jewellery account for 30–35% of total wedding spend, with luxury décor, destination venues, and entertainment forming the rest.

What’s changing is the intent: couples are seeking global-standard quality without compromising on Indian identity. And this shift is reflected in both fashion and jewellery.

The New Bride: Planned, Personal, and Proudly Indian

Falguni Peacock of Falguni Shane Peacock has seen a marked shift in how brides approach their wedding wardrobes. “All brides are super planned. Brides are creating mood boards, colour stories. There is so much clarity, which really helps the designer create something amazing,” she says.

Yash Dongre, representing Anita Dongre, notes that re-wearability is now a priority, even in couture. Brides and grooms are commissioning pieces they can later style for cocktail events, red carpets, or international galas. This not only makes economic sense but also aligns with the growing conversation on sustainable luxury. "Today, both brides and grooms are getting a lot more aware about re-wearing so when they are planning their trousseau and their wardrobe, they are looking to incorporate styles that they can definitely re-wear in the future."

He emphasises that "craft is something that shouldn't just be locked up in your closet. You should be able to wear it for events in the future, whether it's family weddings, friends' weddings, or re-wear it in a more contemporary way to a cocktail event, also.”

Yash also echoes this sentiment, adding that the commercial potential of Indian craft extends far beyond bridal wardrobes. “Indian crafts can be worn on a western silhouette, on a cocktail gown, on a dress. I think for the next few years, it’s a very bright future for Indian crafts,” he says.

While couture dominates the visual spectacle, jewellery is quietly experiencing its own renaissance. For director of Popley Eternal, luxury jewellers, Suraj Popley, the modern bride is not only design-savvy but also conscious about longevity. “She wants to wear something very, very unique which nobody else has, something which she can carry on from generation to generation,” he explains.

His Ocean Collection, unveiled at the Atelier, blends traditional craftsmanship with unconventional stones like rubellite and tanzanite, aiming for versatility beyond the wedding season. “We consider jewellery more as a piece of art,” Popley says. He also notes, adding that he sends craftsmen "to Paris to be trained under international brands. And that's how we're able to achieve unique craftsmanship."

The numbers bear him out: the Gems and Jewellery Export Promotion Council reported that India’s gem and jewellery exports reached $40 billion (£31 billion) in FY2024, with demand for handcrafted, bespoke pieces rising sharply in the Middle East, US, and Europe.

Heritage, Modernised

Across the board, the designers agree that India’s craft heritage is its strongest selling point, but modernisation is key. Whether it’s Abu Jani Sandeep Khosla’s revival of Bareilly’s zardozi, Falguni Shane Peacock’s Gen Z-friendly embroidery, or Anita Dongre’s work with SEWA craftswomen, the push is towards relevance without erasing tradition.

Falguni, for instance, insists that heritage techniques can and must be adapted, “We do zardozi and heritage techniques, but we have it with a modern twist, something which is appealing even to the Gen Z’s and it appeals even to the elders,” she says.

The international appetite for Indian wedding luxury is creating unprecedented opportunities. Yash Dongre shares insights from his global experience: "Today, Indian weddings have really gone global. We've seen the amount of fanfare that Indian weddings get all over the world." This recognition is driving innovation in how traditional crafts are presented internationally.

"Indian crafts can be worn on a western silhouette, on a cocktail gown, or on a dress. I'm seeing a lot more international brands working with Indian craft, and a lot of Indian brands doing a lot more contemporary wear on the global stage," Dongre explains, citing success in Dubai where "we incorporate the same craft techniques on modern silhouettes, and it's selling so well on that market.”

Similarly, Yash Dongre’s commitment to the SEWA cluster reflects a growing consciousness about ethical luxury: supporting artisan livelihoods while delivering world-class products.

This year’s edition of Vogue Wedding Atelier felt like a blueprint for where the industry is headed: hyper-personalised, proudly Indian, and unapologetically luxurious.

The Road Ahead

With the luxury wedding market set to hit Rs. 6 trillion by 2027, industry players are banking on two trends: internationalisation of Indian craft and the democratisation of bespoke services through technology. Virtual fittings, AI-assisted design customisation, and blockchain-verified provenance for jewellery are already in play among leading brands.

Yet, as every designer interviewed stressed, the essence lies in the hands of India’s artisans. Whether the world comes to see Indian luxury as the equal of Paris or Milan will depend on how well the industry protects, promotes, and innovates on its heritage.