Anshula Kapoor married Rohan Thakkar in Mumbai on July 6, building her bridal look around her late mother Mona Kapoor’s 42-year-old gold tissue and zardozi dupatta. The heirloom sat at the centre of an intimate ceremony at Taj Lands End, with Tarun Tahiliani designing everything else around it.
Anshula’s post after the wedding put the heirloom first, framing it as the only must-have of her bridal day. She described the garment as something she wanted to be wrapped in on the day she started a new family. The lehenga, jewellery and veil were all built around that one piece, with the heirloom visible from every angle of the ceremony.
The Heirloom at the Center of July 6
The dupatta Anshula wore as a bride was a 42-year-old gold tissue and zardozi dupatta, once belonging to her late mother Mona Kapoor. Anshula framed it as the only must-have. The piece sat across her shoulders against the pale coral-pink of her Tarun Tahiliani lehenga, framed by a coral-and-pink woven border. She chose to wear the original, not a recreation of it.
There was only one thing I knew I wanted to carry with me when I became a bride – my mom’s 42-year-old gold tissue & zardozi dupatta. Everything else was built around it. On a day that marked the beginning of a new family, it felt right to be wrapped in the one that raised me first.
Anshula’s full wedding-day caption on the heirloom dupatta named the heirloom as the structural centre of the look. The bride placed the late mother’s garment ahead of every other design choice in the caption. Tarun Tahiliani was named as the designer who brought the vision to life. Mohit Rai and Ruchika Krishna were credited as the stylists who shaped the look. She posted it on the wedding day. The caption also named Vansh Virmani as the photographer who framed the bridal portraits.
A Tarun Tahiliani Palette Designed Around the Dupatta
Tarun Tahiliani built the lehenga around the dupatta. He worked in colours Anshula described as antique rose, blush and muted gold, the three tones she named in her caption. The palette broke with the traditional red, India Forums noted. The shift placed the pale coral-pink in conversation with the gold of the heirloom, not against it.
The skirt carried dense paisley and floral patterns worked in blush, deeper coral and gold, with zardozi-style embroidery on the sweetheart-neck blouse. Anshula credited Tarun Tahiliani with weaving four distinct Indian crafts into one bridal garment, all in the colour palette chosen to complement the heirloom. The detail-heavy fabric sat lightly on the body, with the embroidery catching light rather than weighing the skirt down. Each of the four crafts sat in a different part of the ensemble, signalling that they were chosen in dialogue with the dupatta. The crafts were each tied to a personal reference in Anshula’s caption, from her Punjabi roots to her husband’s Gujarati family. The four crafts framed the heirloom in the final look.
- Kashida embroidery worked across the lehenga.
- Rich zari woven into the embroidery and the borders.
- A Bandhani gharchola dupatta added in tribute to her Gujarati in-laws.
- Phulkari borders along the hem, a nod to her Punjabi roots.
Draped over her shoulders, the antique gold dupatta wore a coral-and-pink woven border that ran around it, picking up the embroidery underneath. The bride did not pin a veil over her face during the ceremony; she pinned a blush veil behind her bun instead, keeping the gold piece fully visible. The placement kept the heirloom in plain view through both the wedding and the post-ceremony portraits.
Layered Kundan, a Veil Pinned Behind the Bun
The jewellery was sourced from the heritage jeweller Raniwala 1881, which Anshula tagged in her wedding caption. Around her neck sat a kundan choker with pearls and emeralds, stacked beneath a longer kundan-emerald sita haar. Bridal coverage described the layering as ‘layering done right,’ with each piece sitting clearly above the next. The stack read as a counterweight to the coral and pale pink tones elsewhere on the look.
A classic round maang tikka sat along her centre parting, paired with a small red bindi in the traditional placement. The bride skipped the oversized bridal naths and elaborate matha pattis that India Today noted have become a pattern in celebrity weddings. The styling kept the dupatta and the choker as the brightest elements on her face and chest.
Her wrists carried gold and kundan bangles layered with traditional bridal chooda. The makeup, by Savleen Manchanda, focused on bronzed eyes, fluttery lashes, glowing skin and soft nude pink lips.
The veil was a blush pink, attached behind Anshula’s sleek low bun rather than worn over her face during the ceremony. India Today noted the choice kept the gold dupatta visible in every wedding portrait. The bride’s caption named NARS as the makeup partner. The hairstylists on record were Hair by Shivani K and Pooja Devpuria. The photographer credit at the foot of the caption went to Vansh Virmani.
Kaleeras Carrying Six Engraved Wishes
Anshula’s wedding also carried a custom set of kaleeras, designed by Mrinalini Chandra. The umbrella-shaped ornaments usually hang from the bride’s bangles during the chooda ceremony and are tied on by her sisters and close friends as blessings. Mrinalini Chandra’s design for Anshula replaced the usual charm shapes with small engraved hearts. Each heart carried one of the six engraved wishes from the women in her life.
- Love
- Kindness
- Hope
- Faith
- Joy
- Adventure
A vendor-by-vendor breakdown of the wedding day lists the wishes among the standout details. The bride’s own caption tagged the Mrinalini Chandra house as the partner alongside the sister label Kaliras by Mrinalini Chandra. The wishes sat close to Anshula’s wrist, where bridal portraits would have caught them clearly. The bride’s caption also credited her sisters and closest friends for shaping the design. The full vendor list at the foot of the post named every party tied to the wedding look. Mrinalini Chandra’s house shared the credit with the bridal label Kaliras by Mrinalini Chandra, which she runs as a separate brand.
From a Dating App in 2022 to a Mumbai Wedding
Anshula Kapoor and Rohan Thakkar met on a dating app in 2022, India Today reported. They had matched as strangers on the app, per the report. The proposal was set up by Rohan, who picked New York City’s Central Park for the moment.
Rohan proposed at Central Park in July 2025, India Today added in its coverage of the wedding. The proposal photographs were shared on Anshula’s Instagram account the same week, where the couple posed together. The couple’s engagement in India followed in the months after. Wedding planning ran through 2025 and into 2026, with the date set for July 6, 2026.
The wedding took place on Monday, July 6, 2026, at Taj Lands End in Mumbai, where the bride and groom were joined by close family and friends. The couple’s marriage was confirmed the same day by congratulatory posts from family handles. India Today reported the ceremony had been planned as a single-day event.
Rohan Matched the Coral With a Champagne Sherwani
Rohan Thakkar arrived at Taj Lands End in champagne-beige, not in the red or ivory that most Indian grooms still opt for. India Today reported he wore a sherwani woven with subtle metallic thread work that caught the ceremony light without appearing ornate. He paired the sherwani with an ivory churidar and a satin stole draped across one shoulder. The sherwani sat over the churidar in a relaxed fit, with the stole falling from one shoulder.
His headwear matched the sherwani: a champagne silk safa, finished with a sarpech in kundan and emerald drops. The emerald details tied in with Anshula’s kundan-emerald choker and sita haar, India Today noted. The sherwani’s metallic embroidery caught the same light as her zardozi dupatta during the ceremony. The wedding portraits from the day captured the couple in matching metallic embroidery, the dupatta on one and the sherwani on the other. The palettes were tuned to repeat the emerald accent across both frames.
The groom’s sherwani did not borrow the bride’s coral directly. The wedding photographs in circulation put Anshula’s palette at the front of the visual register, with the groom’s champagne one shade lighter beside her. The bride-led framing Anshula had set in her caption played out in the visual layout of the wedding day. The satin stole completed the sherwani register without pulling the groom’s frame toward the bride’s coral.
India Today’s coverage described the champagne sherwani as ‘complementing’ Anshula’s vibrant attire. The groom’s emerald drops caught the same light as Anshula’s choker across the ceremony. The sherwani shared the metallic embroidery with the dupatta across both wedding day frames.
Anshula’s Choice Echoes a Wider Bridal Heirloom Trend
Anshula’s bridal look fits inside a wider trend of brides building the wedding look around a family heirloom. India Forums noted the gesture resonated with other brides carrying heirlooms into their weddings. The same piece cited the ‘growing trend of brides incorporating family heirlooms into their celebrations.’ Each element of the bridal look was arranged around the dupatta.
The wedding’s choice was to wear the original, not a recreation of it as a keepsake. India Forums called the approach a ‘deeply personal touch’ that brides increasingly build around heirloom pieces.
- 3 pre-wedding bridal designers: Arpita Mehta, Punit Balana, ITRH
- 1 wedding bridal designer: Tarun Tahiliani
- 4 ceremonies total: mehendi, chooda, mata ki chowki and the wedding day
Anshula’s wedding caption gave the design process the kind of credit usually reserved for the dress. She wrote that every detail was imagined around the heirloom, with the design team reading the dress as a frame for the 42-year-old piece. The order of credits in the caption put her late mother first and the house of Tarun Tahiliani second. None of the heirlooms cited across the wedding coverage came from a designer; each came from a family. The post was the bride’s first public statement after the ceremony.
