In a world where the threads of history and modernity often seem at odds, the realm of fashion emerges as a canvas for dialogue and exploration. It invites us to reflect on our roots while envisioning a future that honours both tradition and innovation. This delicate balance is at the heart of Raw Mango's upcoming collection, AGAMA, derived from Sanskrit, meaning "that which has been passed down from tradition. Designed by the visionary Sanjay Garg and brought to life through the artistry of photographer Ashish Shah and videographer Vikas Maurya, AGAMA unfolds a narrative steeped in pilgrimage, ritual, and devotion. Set against the evocative backdrop of Kaushambi, a 12th-century BCE archaeological site near Allahabad, this collection beckons us to journey through time, where echoes of the past harmonise with aspirations for a sustainable future.
Embodying a narrative that intertwines the past with a vision for the future, AGAMA is more than just a fashion line. The collection imagines a fictitious community that reflects a return to nature and a celebration of earth-centric beliefs. This duality is manifested in the garments themselves—outerwear and saris crafted from Mashru, Mashru Ikat, and Kantha textiles. Each piece serves as a canvas for storytelling, where ancient techniques meet contemporary aesthetics.
Historically significant, Mashru weaving originated in regions such as Banaras, Gujarat, and the Deccan. The collection revives this tradition by incorporating Ikat techniques, resulting in fabrics that feature smooth silk surfaces adorned with geometric patterns like the khanjari motif. Raw Mango has innovatively expanded this practise by utilising wider looms, thus creating the first Mashru Ikat sari.
Kantha, another highlight of AGAMA, showcases the artistry of quilting through running stitches that breathe new life into scrap textiles. In this collection, katran—fabric offcuts from production—are meticulously sorted, dyed, and stitched together to form unique jacket bases. This interpretation not only honours the traditional roots of Kantha but also introduces a novel use of gota thread as the quilting stitch.
It draws inspiration from historical texts like the Chaitanya Charitamrita, which recounts poignant tales of familial connections through textiles.
Designer Sanjay Garg shares the intricacies of the collection with ELLE
ELLE: In what ways do you see the narratives woven into your textiles influencing the emotional connection between the wearer and the garment? Can you share an example from AGAMA that illustrates this?
Sanjay Garg (SG): The textile that you wear is always emotional, it’s an extension of yourself, your second skin. It’s about pride, what comes from tradition. Why is the story needed? Why should it be about what comes from your land? Or food, even - why should it be indigenous? Why should the story be yours?
ELLE: The collection draws from ancient texts and rituals. How did you incorporate symbolic elements into your designs to show the inspiration?
SG: It does, our inspiration comes from ancient symbols, though not as directly. We have imagined a world drawing from the nomadic life - people who travel from place to place. Aspects, cultures that are not tied to fixed geographical boundaries - like the Man Sarovar, or Mecca that’s so far and yet so significant to us, or the community of Sikhs on the other side of the border. The earliest literature reference of kantha is the story of a mother sending the fabric to her son, through a group of pilgrims across boundaries.
The garments we’ve made account for this function - how thick it is; it can’t be a fitted thing; a rugged overshell, to be worn and used across boundaries.
ELLE: As a designer, how has your personal journey influenced the themes explored in AGAMA? Are there particular experiences or insights that shaped this collection?
SG: I am from Rajasthan. The whole world knows kantha as a product of Bengal - the same running stitch I grew up seeing called Goodri work. It goes back to this question of nomad, of going beyond geographical boundaries. Where I grew up, in the village, there were a lot of tribes that came and lived around you, for example the Buhbaliyas, the Gadiya Lohars and other people.
ELLE:The revival of Mashru Ikat is a significant aspect of AGAMA. What inspired you to focus on this particular textile at this moment?
SG: I was always a big admirer of Suraiya Apa’s (Suraiya Hassan Bose, 1928-2021) work. I met her before, when she was practising the that (Mashru ikat) on two looms. She couldn’t increase her production beyond that. She gave me samples and told me you need to continue this.
Mashru has also been a cornerstone of Raw Mango, first presented in 2015. We have done many kinds of Mashru - with stripes and florals. I had been waiting for the opportunity to do this, to revive Deccan Mashru-Ikat.
ELLE: Fashion often evokes emotions. What emotions do you hope to evoke in those who wear or engage with the AGAMA collection, and how do your designs facilitate that connection?
SG: The garments are rooted in this concept of the nomadic, not limited by geographical boundaries. Imagined as versatile outer shells, the jackets are versatile - for different weathers, different countries, different ages, styles. The silhouettes draw from those seen in Central Asia, worn by travellers and nomadic tribes, that over time incorporated elements, colours, forms, motifs, and textiles from their travels. This created a unique shared aesthetic of Asia - different stories, common heritage.
As Raw Mango continues to innovate within its design philosophy, it challenges conventional boundaries while remaining anchored in cultural heritage. This collection invites wearers to engage with their surroundings meaningfully, fostering a sense of euphoria rooted in environmental consciousness.
In AGAMA, Raw Mango not only celebrates craftsmanship but also encourages a dialogue about our relationship with nature and tradition. As we await its launch, one thing is clear: AGAMA is set to redefine how we perceive and wear our history in a contemporary context.