▁tro phy ▁room ▁where ▁all ▁her ▁awards ▁are ▁kept , ▁a ▁similar ▁room ▁was ▁created . ▁Qu otes ▁from ▁the ▁Bible ▁were ▁added ▁on ▁the ▁walls . ▁A ▁ 1 9 th - century ▁church ▁in ▁D har ams ala ▁was ▁chosen ▁for ▁the ▁wed ding ▁sequence . ▁Van ita ▁noted ▁that ▁" the ▁cin ematic ▁real ism , ▁was ▁a ▁different ▁experience ▁from ▁the ▁grande ur ▁of ▁Bh ans ali ' s ▁sets ." ▁However , ▁she ▁found ▁it ▁difficult ▁to ▁re create ▁the ▁run - down ▁g ym ▁where ▁Kom ▁was ▁trained . ▁A ▁place ▁was ▁chosen ▁with ▁minimal ▁facilities ▁and ▁water ▁le aking ▁onto ▁the ▁walls . ▁She ▁revealed ▁that ▁the ▁sets ▁had ▁to ▁feel ▁authentic ▁rather ▁than ▁artificial ly ▁created . ▁The ▁cost umes ▁were ▁designed ▁by ▁I sha ▁M antry ▁and ▁Raj at ▁Tang ri . ▁Tang ri ▁visited ▁Man ip ur ▁to ▁study ▁fabric ▁used ▁in ▁local ▁cl othing . ▁Tang ri ▁used ▁photograph s ▁from ▁Kom ' s ▁child hood ▁to ▁create ▁cl othing ▁which ▁r anged ▁from ▁traditional ▁to ▁sport y ▁and ▁athlet ic ▁att ires . ▁For ▁Kom ' s ▁wed ding ▁sequence ▁in ▁the ▁film , ▁Tang ri ▁created ▁an ▁exact ▁rep lica ▁of ▁her ▁wed ding ▁g own . ▁ ▁Hollywood - based ▁Mark ▁Gar bar ino ▁was ▁Ch op ra ' s ▁make up ▁artist . ▁At ▁first , ▁they ▁wanted ▁her ▁to ▁look ▁exactly ▁like ▁Kom ▁by ▁using ▁prost h etic ▁make up . ▁Ch op ra ▁did ▁a ▁prost