A Throwback To Designer Raghavendra Rathore’s Royal Wedding

Picture an Indian groom dressed in a classic bandhgala, breeches and a vibrant safa—the first name that comes to mind is Raghavendra Rathore. Over the years, he has become the definitive choice for grooms who seek a quiet, assured sense of royalty on their big day. By reimagining the bandhgala as a global emblem of Indian sophistication and championing age-old crafts through a lens of impeccable tailoring, Rathore continues to bridge heritage with a distinctly modern sensibility. Most of us may not even recall what the designer wore for his own wedding. For those looking to take a cue from his personal style and translate it into their own big day wardrobe, we turn back the clock to revisit how Rathore himself dressed for the occasion—with all the elegance and quiet grandeur that defines his aesthetic today.

Manifest:  As one of India’s foremost couturiers today, what did you choose to wear for your own wedding—and what influenced that decision at the time?

Raghavendra Rathore: Tradition and a deeply personal sense of style guided my choices. I wanted the look to remain rooted in the auspiciousness of gold and festive tones, while still feeling personal. A significant element was an elegant creation of my great-grandfather, the safa, which became central to the styling and brought the entire ensemble together. Many of the textiles used were over a century old, requiring meticulous handling and craftsmanship. The embroidery was thoughtfully placed to create impact, while maintaining a sense of restraint and timelessness.

M: Can you walk us through the details of your ensemble—fabric, silhouette, craftsmanship, and any personal touches?

RR: The ensemble was crafted in a rich brocade base with intricate zari work, in a palette of orange, gold, and red to complement my wife Kavita Rathore’s attire. The silhouette remained classic, paired with a cross sash and a traditional kamarbandh. Details such as heirloom buttons, a hand-dyed safa, and handcrafted breeches completed the look. Each element was carefully considered to balance heritage with refinement.

M: Do you see any early signs of your now-signature aesthetic reflected in what you wore back then?

RR: Absolutely. It was deeply rooted in what continues to define my work today; classic, timeless design with an uncompromising focus on fit and tailoring.

M: What did your wife Kavita wear for the wedding, and how was her look conceptualised?

RR: Her ensemble was a reflection of enduring Jodhpur tradition. It featured intricate sitara and salma work, techniques that have been a part of the region’s bridal vocabulary for centuries. Crafted in chiffon and silk with real zardozi, the palette stayed within classic reds, complemented by beautifully coordinated footwear.

M: Were you involved in designing or influencing your wife’s wedding ensemble in any way?

RR: Not directly I would say.  My mother took all the responsibility along with the help of her friends to curate Kavita’s wedding ensemble. They ensured everything stayed true to tradition with every little detail representing the Rajputana heritage. With all their effort put together, she definitely looked pretty as a picture on our wedding. 

M: How do you think bridal fashion has evolved since then, compared to what she wore?

RR: While styles have evolved and become more expressive, the underlying essence of our customs and craftsmanship has remained intact. That said, there is a visible shift towards embellishment and scale today, sometimes at the cost of subtle elegance. Interestingly, a more restrained and craft-focused aesthetic continues to hold strong in parts of South India.

M: Take us back 20 years—where did your wedding take place, and what made that location personally significant to you?

RR: The wedding took place in Jodhpur, at our home, surrounded by family, close friends, and longstanding patrons. It was important for me to celebrate in a space that held personal history and emotional resonance.

M: What were the defining cultural or familial traditions that you think shaped your wedding?

RR: It was a three-day celebration rooted in ritual and continuity. Ceremonies were interwoven with music, recitations, and moments of reflection. There was a constant dialogue between tradition and personal expression, even in how I engaged with what I wore.

M: How would you describe the mood and aesthetic of your wedding celebrations at the time?

RR: There was a certain grandeur to it, balanced with an underlying serenity. The setting was alive with movement, elephants, camels, and a steady flow of guests, yet anchored by deeply spiritual ceremonies, chants, and the timeless beauty of Jodhpur.

M: Weddings today are meticulously curated—what was the planning process like back then, and who were the key people involved in bringing it together?

RR: It was far less structured than it is today. The entire process was driven by family, goodwill, and an inherent understanding of tradition rather than formal planning systems in place. The idea of professional wedding planners was not prevalent at the time.

M: Looking back, is there a moment from the planning phase that still stands out—either for its chaos or its charm?

RR: The unpredictability of large traditional gatherings and how they came together seamlessly. [I recall] My design team and the karigars working under pressure to complete key pieces. It was an emotional transition—from planning to the actual ceremony.