“The ring didn’t fit,” reveals Gopi Gill. After 11 years together, after three attempts at getting it made right, after months of rehearsing what he wanted to say, when he finally got down on his knee on a Beverly Hills rooftop in 2023, with soft pink florals and candlelight surrounding them, Anmol Pandal dropped to hers to meet him. “We both cried.” And she was so overwhelmed that her hands swelled and the ring wouldn’t go on. It is, in every way, the most perfect detail of their love story, which is so long and layered that even the proposal couldn’t contain it all. That spirit would go on to define every element of their wedding at Villa Cetinale in Siena, Italy, across five days in March 2025. The couple didn’t curate their destination wedding on trends, but they built on objects, memory and intimacy.
Eleven Years In The Making
Anmol is a graphic designer from San Francisco; Gopi, an entrepreneur and real estate investor from Los Angeles. They met via mutual friends. Their relationship did not begin with immediacy or drama. Instead, it unfolded gradually, gaining strength as they grew individually and together. “We always say we grew up together. Not just in the sense of time passing, but in the way we became who we are while being with each other,” they share. That sense of evolution became central to how they approached their big day in Tuscany.
The Vintage Vision
Planning began two years before the wedding, but didn’t follow a rigid structure. Anmol, a designer by instinct and a collector by nature, began gathering pieces long before the venue was confirmed. “The three words we kept coming back to were vintage, ethereal, and raw,” she says. “We didn’t want anything to feel overly polished. Everything had to feel intentional, but still real, like it had depth and meaning behind it.” Villa Cetinale was booked before they had seen it in person. “When we finally went for the venue visit, it felt even more unreal than we had imagined. It had this sense of being its own world, quiet, expansive, surrounded by greenery, and we could immediately picture everything unfolding there.”
Welcome Dinner & Mehndi
The weekend opened with an intimate gathering for immediate family. Anmol wore a sage Sabyasachi kurta and garara shaped by old Punjabi silhouettes, paired with Kashmiri-inspired heirloom earrings from Shri Paramani Jewels. Gopi wore a kurta designed with Anmol, its small floral embroidery tying directly into her look. The mehndi artist was sourced locally in Italy, a detail that felt, like much of the weekend, incongruous and completely right.
Haldi & Sangeet
The Haldi was built around butter yellow, ivory and hints of lavender. “We kept describing it as a day in Amalfi, but in the middle of Tuscany — warm, easy, and sun-soaked,” says Anmol. Bumblebees were embroidered onto the napkins as a quiet nod to Gopi’s nickname, Gucci. Anmol wore a muted lavender lehenga by AR by Rhea Kapoor with ivory threadwork and gota embroidery; Gopi, a mirror-work lavender kurta by Abhinav Mishra with a vintage bumblebee brooch.
By evening, everything shifted. The Sangeet drew from an old-school Mughal sensibility filtered through a deeply Punjabi lens. Colours, olive, rust, brown, referenced the stages of mehndi drying on skin. Family members wore phulkaris sourced from Punjab, tying the room together through textile rather than matching costume. Pomegranates appeared throughout the décor, a deliberate preview of Anmol’s bridal lehenga the following day. “The night felt like a sufi gathering,” she recalls, with dholki and old Punjabi songs sung from the middle of the floor. Anmol wore an olive Sabyasachi lehenga with antique gold detailing; Gopi opted for a gold kurta with a burgundy velvet vest and a pomegranate brooch.
The Anand Karaj
The ceremony morning was the quietest of all. With every guest in ivory, the space felt serene and sacred. The personal objects woven into the ceremony were remarkable in their specificity. Anmol walked under a Baag sourced from Pakistan dating to the 1800s, paired with her mama’s heirloom choker and her mother’s watch from the 1990s. Her choora came from the same market where her mother had once bought hers. A vintage choora box was engraved with “Mann Nivaan, Matt Uchi”, a phrase passed down from her naniji. The welcome sign was handwritten by her mother.
“We wanted the food to feel like something you would eat at your great-grandmother’s home in Punjab — familiar, comforting, and rooted in memory,” says Anmol. Around the mandap, roses and daisies (their birth flowers and the same motifs embossed on the invitations), framed the ceremony.
Anmol wore a muted blush Sabyasachi lehenga with Mughal maharani-inspired polki jewellery. Gopi arrived in an ivory Sabyasachi sherwani with a carved wooden talwar, brass detailing and a blush turban.
The Candlelight Reception
The final evening was formal and cinematic, set inside the villa’s cave and lit almost entirely by candlelight. Ivory florals and rustic Italian stoneware dressed the tables. Every guest wore black. For the cocktail, Anmol wore an ivory Sabyasachi sari with Burmese ruby polki jewellery; Gopi, a custom ivory tuxedo designed by Anmol.
For the reception, she changed into a custom nude Fjolla Nila gown with a long trail, styled simply to let her jewellery lead. Gopi wore a black Dolce & Gabbana tuxedo with Dior shoes and a vintage rose brooch the couple had found in Italy on their very first visit to the venue.
The Personalised Details
The invitations arrived wrapped in a vintage 1800s painting print, edges scalloped to mirror the ceremony charger plates, with a handwritten prayer by Anmol’s mama on handmade paper, and birth-flower florals embossed throughout. A bespoke fragrance ran as a sensory thread across all five events, tied to different chapters of their relationship including a scent Anmol passed every day walking to school when they first began talking.
Across every look, Anmol also styled Gopi entirely. The brooches, bumblebee at the Haldi, pomegranate at the Sangeet, vintage rose at the reception, were not accessories, but punctuation. “Anmol has always been someone who collects — especially vintage pieces and things with history,” says Gopi. “A lot of the wedding was built from those pieces, many of them sourced across Punjab, each with its own story behind it.”
Through The Lens
The photography and film were handled throughout by House On The Clouds. “Siddharth [Sharma] wasn’t just trying to understand the schedule or the events, he was asking about us,” says the couple. “It felt less like onboarding a vendor and more like starting a collaboration with someone who genuinely cared about getting it right.” For Anmol, camera-shy by nature, the trust translated directly. “It didn’t feel like posing or performing. It just felt like being present.” Looking back, she says, “it really felt like we weren’t just being photographed — we were being understood. And that’s something we’ll always carry with us.”
The Bride’s Checklist
The Bride: Anmol Pandal
The Groom: Gopi Gill
Photography & Videography: House On The Clouds
Venue: Villa Cetinale, Tuscany
Florist: Tuscany Flowers, Artemisia Fioristi
Bride’s Outfits: Sabyasachi, AR by Rhea Kapoor, Fjolla Nila
Groom’s Outfits: Sabyasachi, Abhinav Mishra, Dolce & Gabbana
Bride’s Jewellery: Ancestral and Shri Paramani Jewels
Bride’s Accessories: Jimmy Choo, Gucci, Sabyasachi
Gifting: Designed and curated by Anmol
Catering: CGA Events
Makeup & Hair: Shradha Luthra
Entertainment: DJ Raj
Invitations & Wedding Stationery: Michaela McBride Calligraphy
Content Creator: So Bridal Social
Wedding Cake: Tuscany Wedding Cakes
