The bride redefined

The westernisation of desi wedding wear is shaping a new identity

KARACHI:

A South Asian wedding is nothing short of a grand spectacle. Bold, vibrant colours, the music, and a sea of intricately dressed guests set the scene for what is often a multi-day extravaganza. At its heart, the bride stands resplendent, traditionally adorned in shades of red and gold. But in recent years, this image has started to change. Designers like Shehla Chatoor, Sana Safinaz and Faraz Manan are ushering in a wave of Western influences that are reshaping what it means to dress for a desi wedding. The majority still prefer the traditional, but this is a trend that is fast catching up.

To many, this shift is fascinating, but as with any cultural transformation, there's a fine line between innovation and erasure. The westernisation of desi wedding wear offers stunning new possibilities, as well as giving way to the "anything goes" ideology that many in the fashion scene believe to be true – but also raises questions about what traditions we hold onto and why.

The road past red

For centuries, red has been the cornerstone of bridal wear in South Asia. According to trusted bridal catalogue, Brides and Indian outlet ZeeNews, the colour is tied to the Hindu goddess Durga, representing power, protection, and new beginnings. In Pakistan, where many cultural traditions predate Partition, red has also been synonymous with bridal attire. The heavy red lehenga, often adorned with gold zardozi or dabka embroidery, was once an unshakeable tradition.

Yet today, brides are opting for colours that would have been considered unthinkable a generation ago. From the ivory of Alia Bhatt's Sabysachi saree to Mahira Khan's icy blue Faraz Manan lehenga, shades like pastels, whites, and even yellows are making their way to centre stage. This shift isn't just aesthetic – it's deeply symbolic. Brides are breaking away from the mould, choosing lighter, softer tones that reflect a personal sense of style rather than adhering to cultural expectations.

Seeking out the silhouette

Silhouettes, too, have undergone a dramatic transformation. Where once lehengas and ghararas dominated, strapless gowns and mermaid cuts have entered the fold. Faraz Manan, known for his global appeal, has been a trailblazer in this realm. His strapless gowns are often paired with veils that mimic the traditional dupatta but aren't quite them. Even his lehenga designs are slimmer, more tailored, and undeniably Western, with a lot of them modelled sans dupatta. When brides do forgo the dupatta, to some guests, it's an act of horror. "No dupatta?" they'll gasp.

Take Mahira Khan's blush-toned lehenga choli, designed by Faraz Manan. The spaghetti straps and fitted mermaid silhouette echoed classic Hollywood glamour while retaining the embroidery and beadwork that are hallmarks of South Asian couture.

The mermaid silhouette, with its fitted bodice and flared hem, was introduced by French couturier Marcel Rochas in the 1930s, quickly gained popularity for its dramatic, figure-hugging design. By the 1950s, it became a favourite among Hollywood icons like Rita Hayworth and Marilyn Monroe, cementing its place as a timeless silhouette. For those who grew up admiring the larger-than-life voluminous shapes of traditional bridal wear, this sleek reinterpretation may be stunning – but also a little less rooted in the grandeur that defines our weddings.

This new wave of design is about individuality. Brides want to stand out, and that often means choosing something that feels more international than traditional. While this self-expression should be applauded, there is the worry that we're losing a sense of connection to the silhouettes that once symbolised our shared heritage.

Sequins, jackets and florals

Wedding guests, too, are stepping away from what is considered traditional, and nowhere is this more evident than in Sana Safinaz's Secret Scandals collection. Sequins have taken over, replacing traditional embroidery techniques like zardozi and dabka. While these intricate forms of hand embroidery carry centuries of history, sequins are lighter, faster to produce, and more in line with global trends.

The hesitance of some is completely justifiable. Zardozi, after all, is a craft steeped in legacy – it dates back to the Mughal era and was once reserved for royalty. The technique, along with Dabka embroidery have been central to South Asian bridal wear for centuries, showcasing the intricate craftsmanship of the region. Zardozi, which originated in Persia and arrived in India in the 16th century, takes its name from the Persian words zar (gold) and dozi (sewing). This embroidery gained prominence during the Mughal era, especially under Emperor Akbar, when garments were adorned with real gold and silver threads, seed pearls, and gemstones.

Dabka, a similar technique rooted in the Middle East, uses coiled metal wires to create textured patterns and was also widely used for its striking visuality. While these crafts saw a decline during industrialisation and the loss of royal patronage, they experienced a revival after independence in 1947. Today, artisans have adapted these techniques to modern needs, replacing real gold and silver with more affordable brass or copper wires with gold or silver polish, along with silk threads. This makes the embroidery lighter, more practical, and cost-effective, while still maintaining their intricate and eye-catching appeal.

Another standout Western trend is the incorporation of short jackets. Worn first by the Dutch navy in the 1800s, these jackets are reimagined in silk, lined with pearls, tassels, or laces, and styled over lehengas or trousers. They add depth and structure to outfits, transforming even the simplest silhouettes into statement pieces. They symbolise the perfect marriage of East and West – keeping the regal, layered look of traditional wear while adding a touch of something new and fun.

At the heart of this shift is a move away from painstakingly slow labour-intensive techniques like zardozi and dabka. As well as the fact that sequins and other contemporary embellishments allow designers to innovate and experiment in ways that were previously unimaginable.