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August 08, 2017

What To Expect From Raw Mango At LFW Winter/Festive 2017

Text by Shubham Ladha

Sanjay Garg tells us why he’s used chikankari for the first time as he walks us through his collection

Special firsts
“I first showed my label at Lakmé, so it is always a momentous feeling to be returning, especially this season – since we will be opening at an incredible venue. The theme Liquid Gold is reminiscent of an aura that is pure, rich and luxurious; drawing the perfect parallel to my work in chikankari.

A royal affair
“I chose Royal Opera House as the venue to present my collection due to its myriad layers of tradition and culture, which fit in seamlessly with my own fascination with history. Raw Mango is the kind of brand that is not too ostentatious so I didn’t want to build a huge set that would take away from the beauty of the ensembles. Opera House is inherently beautiful and I’ve tried my best to depict a synergy of history and fashion through my collection.”

Heady inspiration
“The collection channels a celestial spell, bringing winged messengers and ethereal spirits presented through mythical symbols of hope and guardianship. The supernatural elements embody our ambitions of flight and transcendence. Minute details reveal soft feathers and scalloped clouds of angels in flight with handcrafted chikankari on Bengal mul, zardozi and hand woven brocade. Originating in the Awadh region, chikankari is thought to consist of approximately 36 stitches, creating a shadow and drawn effect. Its limited use as an ornamental element, usually as daraz which is the joining of two separate pieces of cloth, can be both functional and decorative. The collection reinterprets this embroidery, which traditionally features florals and paisley motifs with a vocabulary that explores new renditions.”

On working with embroidery for the first time
“Never before have I been motivated to work on a specific technique or material since our design stems from an idea, be it interiors or embroidery. For me, textiles are not only about handloom. Design to me is a solution and in this case, it is about questioning the use of chikankari since everything we see today is a diluted derivative of the embroidery. I’ve explored angels as a figurative motif in my collection for the first time since florals and geometric patterns are usually the norm.”

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