For a bride, the "fit" is the only logical starting point. Long before the decor is settled, you’re likely excavating the lookbooks and magazine cutouts you’ve been hoarding since childhood. It’s a rite of passage. And while marrying the love of your life is the objective (obviously), the Big Fat Indian Wedding is effectively a marathon of high-stakes dressing for a crowd of family, friends, and people you’ve never met.
In a country this culturally diverse, multiple ceremonies are a blessing for the wardrobe. It’s a vibe so infectious that even Taylor Swift—your favourite English teacher—is rumoured to be planning a three-day Rhode Island celebration. The internet’s collective response? “So, basically a desi wedding.” But behind the dazzling Instagram carousels lies a logistical nightmare. We’ve all seen it: the Sangeet portrait in a structured saree, followed by a dance performance in a silver lehenga thirty minutes later. When did the bride even breathe, let alone change?
If you’re struggling to grasp how this "new normal" works without losing your mind, you aren't alone. Even comedy creator Syd Wingold—known for her unhinged costume videos—leaned into the trend for her 2026 wedding. Breaking the "one ceremony, one look" rule, Wingold opted for two distinct wedding dresses. It’s the ultimate solution for the chronically indecisive: if you can’t pick a favourite, just wear both.
The expert's gospel
To get the industry take, we tapped Sukriti Grover, the brains behind Nupur Sanon’s high-profile Udaipur nuptials, and Tanya Vohra, founder of CLAD, who specialises in exclusive wedding styling. In 2026, bridal fashion has pivoted from a numbers game to a "Golden Ratio" of impact versus effort. “It's no longer about how many outfits you wear, but how intentionally you wear them," says Vohra. While five to six looks is the standard for a large-scale wedding, she notes that anything beyond that feels like a chore.
Grover agrees, tying the "norm" strictly to the itinerary. For Nupur Sanon, the wardrobe spanned from a traditional peach Manish Malhotra lehenga to a modern white gown. "The number of looks has increased because brides want to transition into 'downtown' mode more comfortably post-function to actually have a good time," she explains.
“But wait, why am I not in the photos?”
The danger lies in the "wardrobe cannibalisation" effect—where the changing room becomes the bride's primary residence. Vhora warns that the schedule shouldn't be a slave to the stylist. "It becomes counterproductive when the outfit changes start to dictate the schedule of the wedding," she says.
"If a bride is constantly rushing and missing emotional moments because she’s pressured by time, the wardrobe has taken over."
For the sangeet—the peak of outfit-change anxiety—Grover suggests a more tactical approach. Instead of a total overhaul, think modular couture. "One can add drama with removable trails or detachable additions," she suggests. It’s about keeping the performance in mind so you aren't fighting your fabric while trying to nail a hook step.
A little mix-and-match
Interestingly, both experts are pushing for a "smarter, not harder" philosophy. Vhora advocates for revamping existing pieces rather than constant newness. "Post-wedding, if you have a dinner, you can probably just wear a lighter blouse with the existing lehenga," she suggests. It’s a move she encourages with designers to ensure transitions are seamless and functional. Grover echoes this, noting that while every bride wants to be a trendsetter, the choice to mix and match often comes down to personality. "Depending on the theme, one either goes with classics or a slightly mixed-and-matched scenario."
