Sara Ali Khan’s Gaurav Gupta saree-gown has a beautiful Indian twist you won’t miss

Devendra Pratap Singh

October 14, 2026


Sara Ali Khan’s Gaurav Gupta saree-gown has a beautiful Indian twist you won’t miss

Mogra has always been part of the Indian wardrobe, even if it isn’t something we usually wear as clothing. Twisted into a gajra, offered at temples or tucked into a bride’s hair, the small white flower carries a familiarity that goes beyond its fragrance. And in Gaurav Gupta’s latest couture creation on Sara Ali Khan, it finds a place on the garment itself.For the seventh season of The Bride Side, Sara wears ‘EMERGENCE’, a sculpted tulle saree-gown from Gaurav Gupta’s Spring/Summer 2026 Paris Couture Collection, The Divine Androgyne. The look brings together a structured, corset-like bodice and soft, flowing drapes, with hand-embroidered mogra tassels tracing the shoulder and waist.The silhouette is unmistakably Gaurav Gupta. The fitted bodice gives the outfit its shape, while the sheer tulle and long drape soften the overall look. A high slit adds movement, and the floral detailing brings texture without making the ensemble feel busy.But the mogra is what makes this creation stand out. Instead of being worn as a separate accessory, the flower becomes part of the design, giving the sculptural silhouette a distinctly Indian reference.As Gupta explains in his post, mogra, or jasmine, has a long association with Indian religious and cultural traditions. Its white buds are used in temple offerings, devotional garlands and floral adornments for weddings and festivals. The designer draws on that familiarity but doesn’t take the conventional bridal route.The embroidered tassels recall the delicate look of floral adornments, while the draping and sculpted construction give them a different context. The result feels rooted in tradition without looking like a traditional bridal outfit.The collection’s title, The Divine Androgyne, and the episode’s theme, ‘The Scent of Divinity’, add another layer to the look, bringing together clothing, ritual and the idea of the sacred.What we love most is how Gupta takes something as familiar as mogra and gives it a place in his signature couture language. The flower doesn’t need to be reimagined beyond recognition. Here, it simply finds a new way to be worn.



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