Jewellery in a Solah Shringar ensemble

Times have changed. Fashion has evolved. Even womanhood has been redefined. But Solah Shringar continues to be a winning formula for any bride. With this 16-step ritual, women across centuries have achieved the desired look for their big day. Including bindi, sindoor, kajal, scent, mehendi and bridal dress, the whole ensemble of Solah Shringar comprises of jewellery to adorn a bride from head to toe.

For the uninitiated, here’s the complete lowdown on the jewellery that features in our centuries old bridal beautification ritual.

mangtikkaMaangtikka
Sitting on her ajna-chakra (seat of intuition), maangtikka is a hair accessory that adorns a bride’s forehead. While lighting up her face, it draws attention to her eyes and facial features. From stone-studded to enamelled and in geometric patterns, there is a stunning range of maangtikka to go with your look whether ornate or minimalist.

Nath

This dainty piece of jewellery accentuates the wearer’s facial features and lends it an irresistible charm. As per your choice and tradition, you can go in for the one with or without a chain. While Maharashtrian brides generally opt for a beaded nath, a nose-ring with a chain to be fastened to the hairdo is popular amongst north-Indian brides. nath

necklaceNeckpiece

No bridal ensemble is complete without a lavishly layered neckpiece. It is not just about any jewellery piece. It is the centre piece that adorns a bride’s neckline, as the highlight of the entire ensemble.

Earrings
A matching pair of ornate earrings works like a charm. From jhumkas to chandbalis and danglers, there is a range of options for you to choose from. For an elaborate look, you can go in for a pair with chains that can be fastened to the hairdo.jhumka

bajubandBajuband
Armlet has been part of the Indian culture since centuries. But in the ancient times, it would be worn only by men. Gradually, more and more women have started sporting it, as a statement piece around the biceps of the upper arm of one of the hands. From architectural motifs and tribal designs to enamelled pieces, a lot of versions of armlet is available for you to coordinate with your bridal wear.      

Bangles
Having its roots in Mohenjo-Daro settlements, bangles are one of the oldest form of jewellery. But even today, from being a marital symbol to a family heirloom, it has different traditional relevance from culture to culture. In fact, in many traditions, special rituals are conducted for the brides-to-be to wear bangles and now when it is your turn, don’t forget to check out your options in different metals, makes and designs.bangles

Hathphool
Embellishing both the hands, haathphool is a set of four rings attached to a medallion resting on the back of the palm and tied on to the wristband. Its inherent extravagant design infuses a royal charm into your bridal look. With the grow popularity of a minimalist bridal look, a haathphool with a single ring and chain too is commonly donned by brides these days.

Keshapasharachana
Literally meaning - hair flock arrangement, Keshapasharachana is a hair accessory that embellishes the bridal hairdo. It is generally fastened along the length of the braid to enhance the look of the bridal hairdo. Keshapasharachana

kamarpattaKamarpatta
Available in different designs, makes and metals, kamarbandh is a waistband that not only holds the saree in place but also accentuates the waistline.   

Payal-Bichua
Payal is a chain of silver or gold with a clusters of tiny bells is worn around both the ankles. With every movement of the bride, the bells of the anklets make a pleasant sound. Apart from that, bichuas (toe-rings), worn on the toes as one of the marital symbols, add to the beauty of the bride’s feet.  payal bichua

So all you brides-to-be out there, get set and shop!


Author: Deepa Mishra

Disclaimer: All images used in the blog have been sourced from Google purely for the purpose of informative reference. The models, celebrities or products showcased in these pictures are not to promote any brand in any manner.


  

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