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An ode to those beautiful traditions that celebrate love, as their magic gets captured in every jewel we craft.
Every piece of jewellery is accompanied by a rich history of craft, tales and symbolism that holds a special place at the heart of every culture. Rivaah reveres every tradition and it is captured in every piece we craft lovingly. Tap to read more.
The Tode is the heaviest on craft among Tode and Patla - designed in the Maharashtrian nakashi style depicting symbols of fertility - seeds, mangoes, flowers and vines. The Patla instead is a simple gold bangle with swastika signs. Both are interspersed within the staple green, glass bangles and are worn together by the Maharashtrian bride as a medley of contrasts that balance each other out.
Loosely translated, Gutta in Telugu means “shoals of small fish” and Pusalu means “beads”. The necklace strings pearls together and is held up in fringes. It owes its origins to the pearl fisheries of Andhra Pradesh. The motifs take after the pristine quality of the clouds, the vibrance of peacock feathers, and the beauty of floral bloom that is sure to take your breath away.
A splendid rectangular choker that cascades into a stream of gems, the Aad archives fine craftsmanship - a tribute to the regality of Rajasthan. Historically, it was donned as armour, and today it is worn by Rajasthani brides to honour their past as a warrior clan.
‘Kasu Mala’, when loosely translated in the Southern realms, means ‘a necklace of coins’. Although popularly worn by the Tamil Nadu bride today, this garland of gold coins represented the distinct coin designs of several states across India back in the day. Today it is synonymous with prosperity, and brings with it an abundance of good wishes for the bride who adorns it.
Drawing inspiration from a folktale of a fisherman waiting for his beloved with gifts from the waters, the Shankha Pola (conch and coral) is a classic dual bangle set that is a staple offering to the Bengali bride. There are two interpretations for the Pola. One is that it used to be made of dark-red coral. The second is that it is made from lac - a secretion of lac insect which grows on mulberry trees. Such trees grow abundantly in Bengal. A gold-capped Loha is gifted to the bride as a symbol of strength to go through the ups and downs of life.
Marwari brides have always doted on their Naths and this gorgeous ornament can be traced to the old Bani Thani paintings of Rajasthan too. It is believed that the bigger the Nath, more affluent the family. As the Naths kept getting bigger and more intricate, the chain crafted in gold or interspersed with pearls was affixed to add a thread of charm and security to it.
Etched on the walls of Ajanta and Ellora caves, the Maang Tikka dates back to the 2nd century BC. What started out as an elaborate headdress for the ajna chakra of the body, today has become a statement piece that adds a finishing touch to the ‘Solah Shringaar’ of the bride.
The Tamil Thaali began its life as a talisman for protection. The men would bring home objects of nature which were strung together and adorned by their wives. Each community has its own design imprinted on the thaali: the lingam, the thulasi-madam, the Vaishnavite namam and they all symbolise fertility. Along with that, the thaali has three knots or ‘mundru mudichu’ where they represent the mind, speech, and action. Typically, the thaali is carried around the hall by the priest and displayed on a bed of flowers for guests to bless it before it is tied around the bride’s neck.
Also known as the ‘Gokhru kada’, these bangles are bedecked with spikes and studded gems - inspired by the thorny bushes and sangri berries from the lands of Rajasthan. These bangles date back to a period back in history and it is indeed fascinating how jewellery designs have been thus inspired by nature. Crafted in gold and often embellished with gemstones, pearls and diamonds; and sometimes even with subtle meenakari work, pacheli bangles are truly one of a kind.
The Kolhapuri Saaz is akin to the sacred marital thread (Mangalsutra) for the Maharashtrian women. This statement piece is strung with 21 pendants - in which 10 pendants represent the avatars of Lord Vishnu, eight honour the eight auspicious signs or the ‘ashta mangal’, 2 have ruby and emerald stones studded and 1 final pendant is the taaviz or the talisman called the dorala - a fitting adornment for the holy matrimony.
The craftsmanship of enameling on ceramic and metal surfaces is what brings out the resplendence of the ornament. Introduced and made popular by Raja Man Singh at the turn of the 16th century, Meenakari’s signature motifs include delicate floral blossoms and vines. Today, they are detailed with exquisite handiwork of Rivaah’s skilled karigars to beautify the bride.
With gold and black beads strung together, the Garhwali Mangalsutra is called Matar Mala by Kumaoni, Garwali, Pahari, Jaunsari and Bhotiya women. The number of gold beads strung can range from 5 to 8. Just like its variants from other regions, this Mangalsutra is worn long to nestle in the Anahata Chakra or the Heart Chakra, and using gold to craft it symbolises goodwill when crossing boundaries - a trascendental representation of wedding rituals.
This stunning Chandan Haar intricately crafted in gold that draws its origin from the “kavach” or protective armour that used to be worn for security.
Layers of magnificent gold beads unite at a sun-shaped pendant to form the Mohan Mala. The Mala uses gadrooning or ornamental moulding to shape the gold beads beautifully. ‘Mohan’ means ‘charming, alluring, fascinating’; and this piece lives up to the definition when it becomes a part of a Maharashtrian bride’s wedding ensemble.
The Maharashtrian Wati, where ‘Wati’ means ‘containers’ in Marathi, is a mangalsutra with two conical, vessel-shaped gold pendants symbolising life and fertility. They are strung together with black beads and gold to protect the wedded couple from negative energies. The black and gold beads refer to Shiva and Shakti and represent the families coming together for the sacred union.
The women of Maharashtra sport simple nose-pins shaped like a clove. Known as Naths, the practice of adding them as part of wedding ornaments dates back to the 16th century. Today they are available in intricate designs, studded with pearls, rubies, kundan and other precious stones.
Every Kannadiga bride’s most treasured adornment is the Maavinayaki Haar. Maavinyaki means ‘Mango’ in Kannada – a name fitting to describe the design this long necklace adopts. Mango is symbolic of love and fertility in the Southern realms. The Haar is studded with mango-shaped pendants – embellished primarily with cabochon rubies. Extending until the waist and showcasing a fine medley of gold chains and studded gems, the Haar is said to bless the couple with inner peace and a long, fulfilling marriage.
A distinctive statement for any Muslim bride is the Passa. It is an exquisite piece that holds together rows and rows of pure pearls, leaning towards a crescent panel in the bottom which is studded with diamonds, emeralds and rubies. The Passa used to be known as Jhoomar, owing to its chandelier-style design. It is a dainty headpiece that adorns the left temple of the Muslim bride.
History hails this choker as an icon of divine protection for the Punjabi bride and the groom. It is the first and the primary piece that the bride adds to her regal demeanor - a melange of precious stones and stunning goldwork.
Also known popularly as Haath Kamal, and Haath Panja, it literally translates to ‘Hand flower’. Often adorned by the Rajput royalty back in the day, it today symbolises prosperity. Kundan or refined gold is the most favoured choice of Sikh brides but of late the haath phools are seen to be studded with polki jewellery or the traditional uncut diamonds. The ornate haath phool that adorns the Sikh bride’s hand captures the blossoming love.
Fine craftsmanship, a rare pick of diamonds, a unique stroke of design. It’s with this proven blend that the perfect diamond jewellery for a bride is crafted. Accentuating her beauty, while complimenting her celebrations, every diamond in a bridal trousseau exudes a radiance only comparable to a bride’s joy.
We hail from a land of cultural diversity and the wedding traditions of each community are truly unique. Every tradition that matters to a Rivaah bride, matters to us too. So we go the distance to craft masterpieces that capture the rich heritage that a Rivaah bride carries with her, celebrating her love and legacy. Come and unravel the real brides across India here.
Rivaah portrays the medley of communities and cultures that form the legacy we revere and share through marriage. Take a look at what our brides have to say as we feel heartened by the faith they put in our jewellery to do right by their traditions on their beautiful wedding day.
Everything deserved to be the best on the best day of my life. The pieces ...
I decided to have a #TanishqWaliShaadi after I fell in love with the exquisite Divyam collection, and did all of my wedding jewellery purchase from Tanishq. It's a one-stop shop if you want one-of-a-kind jewellery!
Punjabi brides are typically gifted heirloom polki sets and Tanishq's beautiful polki jewellery are...