Ask Sanjay Garg, designer and founder of Raw Mango if he’s an auteur, and he’d agree. “Yes, I think so,” he tells us reflectively on the way he leads his label’s unconventional fashion campaigns. “We are authentic to ourselves and trust our own creative instincts; our campaigns are proof of that. I would say there is no one doing what we are, so yes, I would agree with the application of the term ‘auteur’.”
Rightly so, since the label’s inception in 2008, Sanjay Garg has envisioned campaigns that feel real, raw and atmospheric. They transport the viewer right in the middle of the creative storytelling. Sometimes we travel with him to a South Delhi home for a staged wedding that appears real (Garland 2024) with non-professional models, Iphone photography for a raw visual touch and a gathering of wedding attendees adorned in brocades, and silks. Other times, he takes us to a barely known 12th century BCE archeological site like Kaushambi in Allahabad (AGAMA 2025) where he revives Deccan-Mashru Ikat. This time Garg transported us to the lesser known palaces and abandoned havelis of Santrampur in Gujarat where he shot Raw Mango’s new campaign ‘Once Upon a River – Festive 2025’.
Dubbed as a dream-like celebration of “unions of different kinds” the campaign’s collection is a confluence of tactical and the ephemeral bonds. It’s where bunai (weaving) melds with kadhai (embroidery) in sarees, kurta sets and flowy silhouettes, where the royal residence of Shri Joraver Vilas (campaign shoot location) tucked in the Aravallis meets Suki river, and Santrampur finds itself at the crossroads of Madhya Pradesh, Rajasthan and Gujarat, serving as a befitting backdrop for the theme rooted in unison.
Inspiration in heritage
Raw Mango’s campaign video opens with an eerie nightscape: an abandoned haveli brooding by the inky Suki River, its placid waters with ripples under a moonless sky whisper a calm before the storm. From this spectral opening, the visuals deepen more into mystery. Figures appear entangled in sculptural , almost otherworldly poses. Flaming torches fire up the night indicative of a ritualistic procession. Boats float in the dead of the night, horse-riders ride in colonnaded passages in early morning, and models in dramatic thick kohl-like lines almost appear like rising from the tombs of Egypt or Turkey.
“We are exploring our own take on surrealism, a story that takes place between the imagined and the real. To this 20th century avant garde movement, we bring an indigenous language that plays with all the characteristics of the art form, including the uncovering irrational, and the exploration of the unconscious mind. The river is the metaphorical setting for this story of union,” he tells Outlook Luxe adding that he was exploring ideas of union in different forms. “The union between two people, between different forms of craft, between the land and the water—we explore them all in a dreamlike setting: a palace by a river in Gujarat,” Garg tells.
Santrampur served as a unique location for the shoot. “There are layers to Santrampur’s architecture and style. The location exists at the union of three separate cultures (Gujarat, Madhya Pradesh and Rajasthan), and apart from the architectural influences drawn from those regions, there are also Art Deco inspirations across the location. The residential palace is built on a private lake at the center of a hill, perfectly in tune with the landscape around it. It feels like you’ve stepped outside of your own time and into another era. The lake comes inside the courtyard so you never have to leave the house to be with the water. Fitting for a story about unions,” Garg tells adding about his liking for heritage locations.
“I’m from Rajasthan, which is known for its palaces – which is perhaps why I’m drawn to palaces and the history behind them. I learned about the legacies of Gujarati palaces recently – there are just as many riyasats and mahals in Gujarat, but we don’t really hear about them. This is kind of a dedication to that. India has so many stories to tell. The world is so big, and finding a connection with a place is special,” he shares.
A montage of archival textiles
Raw Mango’s ‘Once Upon a River – Festive 2025’ is not just a festive but a wedding-focussed collection done the “Raw Mango way” as Garg puts it. “We always say it’s not just about the wedding itself, but the marriage celebration is a union of two families. And it’s not just about the main day, but for the other days and other celebrations as well. The collection heavily references archival textiles. We have drawn from Ashavali and Varanasi brocade archives, to Ottoman velvets and even the inlay work seen in Mughal architecture. That’s what ‘Once Upon’ alludes to, it’s a story that transcends time and reality.”
While Raw Mango’s ensembles have always favoured weightless ornamentation using new motifs and techniques within the weave itself, in this collection ornamentation plays a more prominent role with tactile embroidery on brocades.
Garg tells us about his favourite pieces that have arrived just in time before Diwali and wedding shopping for the season. “The Tarnau black silk satin sari is one of my favourites. It’s a classic black with gold and silver sari, which is plain on the inside and very drapey. It has a heavy border so it can be easily paired with ornate pieces of jewellery. The border is inspired by the marble inlay work seen in Mughal architecture, and it is embroidered in zardozi and gota appliqué in silver and gold in equal parts, speaking to the Awadhi Ganga-Jamuna tehzeeb. I also love jackets. They are so Indian, but have an international appeal. They can be paired with anything, from saree and skirt to shorts. Whichever silhouette you choose, I would recommend our woolen jackets for winter nights,” he says suggesting some Diwali and wedding outfit ideas.
