Sonam Kapoor's Purple Cape By Anamika Khanna Took Six Months To Make—And It Shows

On the evening of 6th July, Anshula Kapoor tied the knot with longtime boyfriend Rohan Thakkar in a private ceremony attended by close friends and family. The event saw her Kapoor siblings in attendance, dressed to the nines. And as expected, Sonam Kapoor cut a regal figure dressed by couturier Anamika Khanna.

Sonam’s look was anchored by a deep purple cape, its surface worked in intricate golden embroidery that reportedly took six months to complete, a detail that showed in the density of the pattern, running edge to edge across the sleeves and border in a paisley motif, with a flash of red lining visible in its folds. Underneath, she wore a fluid champagne-toned asymmetrical kurta and sharara, its bodice finished with delicate floral thread

and sequin work at the neckline and hem.

Her jewellery pulled from a jewel-toned palette that played off the cape’s purple — a multi-layered emerald bead necklace sat beneath a heavier gold choker set with rubies and a central sapphire, with matching (and really heavy) jhumka earrings and a maang tikka completing the temple-style set.

Stacked bangles and statement rings finished the hands, while a small embroidered potli bag by Bespoke Ozels and juttis by House of Vian rounded out the styling. Hair, styled sleek with soft waves left loose by Alpa Khimani, and makeup by Namrata Soni kept the focus on the jewellery and the cape’s embroidery. The look was put together by stylists Rhea Kapoor and Abhilasha Thakur, with Niyati Jain and Forum Vig Mehta rounding out the styling team, and captured by photographer Sarang Gupta.

Her sister Anshula Kapoor had, for the wedding, opted for a custom lehenga by Tarun Tahiliani. The lehenga had shades of orange and pink base, worked over with dense golden embroidery. The lehenga carried an intricate paisley border along the hem, and the dupatta, embroidered to match, was draped over her side through the ceremony, framing her face in gold. She also chose to wear another sheer dupatta in the same colour family on her head.

Her jewellery came from Raniwala 1881, and it was layered the way bridal jewellery is meant to be. A multi-strand necklace set with emeralds and pearls sat at the centre, with a matching choker with jadau work close at the throat. A maang tikka traced her centre parting, jhumka-style earrings framed her face, and a baju bandh wrapped her upper arm — a detail increasingly rare in contemporary bridal styling, and one that nodded to older traditions of ornamentation. She also wore a similar emerald laced baju bandh on her waist, over the lehenga.

Bangles stacked at both wrists, finished with rings that caught the same golden undertone as the rest of the set. Fresh mogra and rose garlands layered over the jewellery for the pheras, their white and blush tones softening the gold underneath. Her hair was pulled back into a low, sleek bun.