Designer Sanjay Garg completed a decade in the fashion industry this year, and it’s safe to say that there’s no stopping him now. Garg, of Raw Mango, has come as a breath of fresh air into the fashion world and revamped the traditional sari with his contemporary ideas.
In an exclusive interview with Brown Girl Magazine, the mastermind of fashion talks about the handloom, trends to keep in mind, and how the sari is a transcendental garment.
Raw Mango has set a very distinctive tone for itself as a brand because, instead of the typical Bollywood glam that involves a lot of bling, it has been focused on beautiful handlooms and reviving in young women their love for saris. Could you tell me the thought behind taking this direction?
Raw Mango is a sari brand, and Sanjay Garg is our line of garments (lehengas, dresses, coats and separates). The DNA is the same, the textile development process is as involved, however, the intention behind Sanjay Garg was to give occasion wear options to women when they were not wearing a sari.
Have you always had a love for the handloom? Did you feel it needed a revival?
Handloom is special to me because it speaks to ones’ culture, community, craft and much more.
There has definitely been more awareness about handloom than before, but it is still too early to see whether this revival has brought about change and importantly, we need more numbers associated with progress. Access to simple data is still an issue, it is hard to judge change without that.
Because of this modern age, the art of sari draping is dying. More and more women don’t know how to drape and avoid saris because they find it difficult. How do you believe the sari will survive in our modern age? Do you find this is a problem you consider and try to address when designing your collections?
Our Raw Mango campaigns are always photographed on real women, most of whom wear the sari and are comfortable with it in their wardrobes. We don’t design with the intention to change that but are actively involved in that conversation as well. For instance, I’ve been on the Advisory Board and very involved in www.thesariseries.com — a digital anthology of drape that recently released and creates access to over 90 short how-to drape films. Projects like these have the potential to impact change in this space and are deeply connected to the world of Raw Mango.
Can you describe the Raw Mango woman? Do you have a muse? Is there a woman who inspires you when you are designing?
The idea of one woman is an unrealistic ideal — our designs range from saris with monkeys, flamingoes, rabbits and more to the antique trellis of florals. The options are endless, and we are fortunate to be able to cater to all kinds of women — whether they choose minimalistic options like our gold tissue sari, a sooti sari, simply color block, our textiles, or opt for a banarasi silk.
[Read Related: Find Your Sari: Liya Thachil of WESTxEAST Demands a Revolution to Return to the Sari]
Is there a type of silk sari that is your favorite?
If I had to pick five saris, they would be Kanchipuram, Pondru, Varanasi, Lahariya, and Chanderi.
Let’s talk about the collection, ‘Cloud People.’ Could you tell us about this collection, especially the name? You offer a pantsuit in a Bordeaux brocade, which took my breath away. Should we expect more separates and, for lack of a better word, Western silhouettes?
‘Cloud People’ invokes a celestial spell, bringing to earth winged messengers and unearthly spirits — mythical symbols of hope and guardianship. Requiring close appreciation, minute collection details reveal soft feathers and scalloped clouds of angels in flight, made through hand embroidery, Bengal mul, zardozi, and brocade.
Menswear of the Awadh region informed many of ‘Cloud People’s’ silhouettes including dresses, kurtas, trousers, jackets and more.
In closing, what is a piece of style advice that you could share with us?
I think it’s important to not get carried away by trends, instead, explore your culture, tradition, and heritage and think about the uniqueness each textile or fabric can bring, and of course, dress for your body type.
From humble beginnings, Rohit Gandhi and Rahul Khanna joined forces to create the worldwide fashion design brand Rohit + Rahul. Based in one of India’s fashion capitals, Delhi, the two take an eccentric approach to designing by utilizing geometry and modern art to build their design lines. This is commonly seen in some of their more recent design lines such as the ‘Fibonacci’ line. Also, the founding members of the brand Fashion Design Council of India, Rohit Gandhi and Rahul Khanna insert new meaning into fashion by telling a story to the younger generation. With their bold pieces, Rohit and Rahul want consumers to feel empowered and individualized.
Tell us about your journey and where it all started.
We began our design journey in 1997. We saw a significant gap in the global market between Western and Indian couture segments and [so] amalgamated our personal style statements to merge it with our conviction to cater to this deficit, and launched our brand. The brand stands for contemporary designs and embodies an aesthetic of understated red carpet creations. As designers, we believe in curating garments that are timeless and decorous. Also, we have entered our 25th year of creative partnership as an established designer brand.
Ten years from now we see our company with corporate backing, more evolved with exponential growth.
Which client are you most looking forward to working with?
The client we most look forward to working with is the youth of today. The younger audience is experimental and bold; they don’t shy away from trying new trends. We look forward to dressing clients who are ahead of their time, love to explore the world and understand our structure and silhouettes.
What was one of your favorite showcases? What was different about this showcase compared to the others you have had?
We embroidered our surface textures and did a presentation with masks which was quite unusual. Another interesting project we did was inspired by art which is the ethos of the brand. It’s our sublime passion for art that reflects in the thoughtful craftsmanship of our brand.
What was it like having a partner?
Two is a team and it is great fun working together. We take various aspects from each other’s lives and put those thoughts into our design process. We both are different personalities and critics of each other which helps us understand things better. The journey so far has been exhilarating and challenging too; we were a two-man army. Back then from managing designing to marketing, merchandising, and sales, all of it was managed by the two of us. Now, we have a team working alongside us which makes us feel we have come a long way.
What interests do you have outside of fashion?
Outside of fashion design, our interest lies in art. Our design inspiration is derived from art and architecture. The heritage and the vintage lineage of the city of New Delhi where we are based are what instill our passion for finesse and immaculate grandeur in the minutest of details. We have been successfully running our art gallery, Palette, which houses modern contemporary artworks of young and established minds alike.
Where did the idea for the Fibonacci show come from? What’s one of your favorite looks?
‘Fibonacci’ at its heart, is a nod to craft — both structural and artistic — where every piece is a study in precision. The collection brings together this iconic designer duo’s dedication to the study of structure in art and architecture, transferring these learnings to design. The idea of the Fibonacci show was inspired by the artist named Zaha Hadid, who is known for her liberated architectural geometry. Our favorite look is a mosaic sherwani which was recently worn by Indian megastar Ranveer Singh.
The Astral Gala line is inspired by stars and galaxies. It is a reflection of our love for the cosmic universe which is surreal. The line is inspired by the old-age divas from the retro era fused with new modern techniques of boning and construction.
What is your favorite type of clothing piece to design? Which clothing pieces do you find most challenging to design?
Constructed jackets are our favorite piece of clothing; we pay a lot of attention to our finishing and construction. Constructed pieces are the most challenging to design but it also gives us more room for experimentation. Also, heavy ornamentation/surface textures make the garments difficult to mold and sculpt hence, we face challenges with those garments.
It would be Billy Porter for his unique fashion sense.
What do you hope to take away from this interview with Brown Girl Magazine?
It is inspiring to connect with a global community-building publication like Brown Girl Magazine which reaches out to a huge audience. One of the key takeaways from this conversation would definitely be the power of storytelling and narration as an individual from the creative industry and its influence on the upcoming generation of designers.
How has the power of storytelling influenced your past shows and how do you plan to utilize it in your future shows?
Storytelling is a key aspect and we utilize our runway sets to showcase our brand ethos and the inspiration behind the collection. We showcased the Fibonacci collection at Couture Week last season. The collection was inspired by the movement that marries precision with an architectural penchant for precision, guided by nature’s invisible rule — the Fibonacci wave. The intricate set for the show was built by artist Akon Mitra by combining thousands of origami pieces that arched over a ramp to depict a wave in perfect mathematical proportion. The set design reflected the beauty of patterns defined by Fibonacci’s irrational number, where every pattern is uniform and built with clear lines and divisions.
What do you want people to feel when they wear your designs?
Brides and grooms should be comfortable and feel true to themselves when they choose to wear us. We want our designs to empower their true personalities and shine through on their big day!
Rohit Gandhi and Rahul Khanna have taken a unique approach to fashion design not only utilizing storytelling to define the identity of their goal consumer, but also modern art to shape their clothing lines. The brand has been featured in GQ, multiple fashion shows such as Amazon India Fashion Week, and dressed famous clients such as Aishwarya Rai, Deepika Padukone, and many more. Rohit and Rahul aren’t just two fashion designers that came together; Rohit + Rahul is a team that gives you an identity with their design work.
Ever since we can recall, the Cannes Film Festival has been a merger of movies and glamour. On one side, there are hand-picked films — ready to premiere and make their mark in the world of entertainment — and on the other, audiences and paparazzi alike are served epic moments in fashion.
The festival, aimed to preview upcoming films from all over the world, invites a wide variety of guests that span the film fraternity, of course, but more recently, has opened its doors to many digital content creators, including renowned South Asian creatives.
With a more vast guest list comes a more recent debate: Cannes is a film festival and not a fashion showcase. Kickstarting the debate this year was none other than ace Bollywood director, Nandita Das, who in an Instagram post shared:
Sometimes people seem to forget that it is a festival of films and not of clothes!
In short, Das wants Cannes’ narrative to continue to focus on films.
But of course, there’s been a paradigm shift in the guest list over the last few years; this shift has allowed talents from various industries — including lifestyle content creators, entrepreneurs, etc., who showcase their work in fashion and beauty like fine masterstrokes — to walk the carpet and represent their craft, making space for others in their industry.
Influential names like Dolly Singh, Kaushal, Diipa Buller-Khosla, and Shivani Bafna — all of whom made a raging impact on the red carpet this year — weigh in on the significance of representing South Asian artists/influencers on the red carpet, and how they feel they’ve been part of this paradigm shift at Cannes Film Festival.
Diipa Buller-Khosla
I believe that each step we take at events like Cannes sends a powerful message of diversity, cultural richness, and artistic excellence. Representation matters, and the presence of South Asian creators on the red carpet at Cannes helps broaden the narrative of beauty, talent, and creativity. It allows us to showcase our unique perspectives, narratives, and contributions, ultimately contributing to a more inclusive industry. By actively participating and making our presence felt, we help create more opportunities and spaces for South Asian creators, encouraging others to share their stories with the world.
Since 2015, the first time I walked the red carpet, till this year I have always been invited by L’Oreal Paris, one of the main sponsors of the event. It has always been such an honor to be invited to the festival through the makeup brand that I have been using for almost two decades, and, before my social media career began. Personally, I feel a sense of acknowledgment from such a prestigious brand, and its head office teams that sponsor Cannes Film Festival, and value the work I have done and continue to do as a South Asian content creator within the beauty space. Makeup, hair, and beauty will always play a big role within the film industry and it’s something I have always created my content around which is why I am proud to attend.
This is a proud moment not just for me but also [for] my peers and the entire content creator ecosystem given that we have reached such new global stages and presence. Of course, as you said, such film festivals, once considered as an exclusive hub for a congregation of the finest acting talents have, in the last few years, opened their arms to more people from the entertainment industry.
This is not just a sudden phenomenon with a burst of Indian creators at the festival this year but there is increased participation from non-film and non-South Asian celebrities across various spectrums from different sides of the world. Along with the many filmmakers, actors, producers, etc I also met some amazing influencers and entrepreneurs from other sides of the world. It’s amazing to represent India and celebrate and champion the advent of the digital ecosphere on such a prominent platform.
The confluence of actors and creators signified the amalgamation of traditional cinema and new-age digital influence, highlighting the transformative power of creative expression and how festivals like Cannes have become more forthcoming and progressive in their approach.
Cannes, like any other prominent festival, boasts of a red carpet that is synonymous with fashion and glitz, and I wanted to use this opportunity to represent all the amazing Indian fashion designers on the carpet besides, of course, attending the screenings. As someone who is just not an influencer but also an actress, I thoroughly enjoyed all the red-carpet screenings and meeting like-minded film talent from around the world at the event. At some point in the future, I would like to be attending Cannes for a film I’ve featured in.
Creators are often placed into boxes of where they belong and the rooms they can be a part of. Being on the red carpet dismantles the ideology that there’s a cap on how far we, as creators and as a South Asian community, can go and what we can achieve.
The Cannes Film Festival has always been viewed as the epitome of a glamorous event — everyone who attends looks like they’re living their best lives. I used the platform to share an authentic message of what the experience felt like for me. To represent all of us who doubt our potential, experience imposter syndrome, and are nervous to find their place, yet continue to push through to achieve their dreams!
As the first Indian American influencer to walk at Cannes, I hope I can inspire young women to confidently ask, ‘Why not me?’
There’s no doubt that the Cannes Film Festival is centered around films, and continues to be a unique space for the global film fraternity to bring their art and showcase their aptitude. But, creators like Bafna, Singh, Buller-Khosla, and Kaushal — a special shoutout to Raja Kumari for being instrumental in paving the way as well — have their own set of responsibilities to fulfill upon their invitation to the prestigious event. Their will to represent their South Asian identities, celebrate their industries, and continue to hold space for their peers makes their presence at Cannes more than just clothes.
All images in the featured photo are from the influencers’ Instagram feeds.
January 27, 2023February 2, 2023 9min readBy Vashali Jain
For the Singh family, Chandan Fashion has always been bigger than simply a bridal showroom. Located in the heart of Gerrard Street, a bustling Little India in Toronto, the bright blue and pink building can be spotted from a distance. Over the years, Chandan has garnered attention from customers from all over North America, even as far as California and Virginia.
For Chandan and Roop, who work alongside “Mom and Dad,” Chandan Fashion is a family business and a way to showcase the beauty of South Asian culture while playing a helping hand in allowing every bride and groom to feel special on their big day. Chandan is their legacy and one they hope to be able to showcase the beauty and intricacies of throwing that “big Indian wedding” on their new CBC show, “BollyWed.”
“BollyWed” follows this tight-knit family through the joys and difficulties of running a multigenerational business. Throughout the variety of clients, discussions of new generation business practices versus old generation, many lehengas, and plenty of laughs, this is one whirlwind journey through the marriage industry.
Brown Girl had the opportunity to interview Chandan and Roop Singh, who were incredibly down-to-earth and a joy to speak to. Here is the interview down below!
What was the inspiration for opening Chandan?
Chandan: My mom and dad started the vision back in 1984 — they started the business. I have a store in India that was started by my grandfather which my father worked in as well, so it is kind of multi-generational of being within this industry of clothing and fashion. My father had a dream of starting what his father did in India, in Canada. While visiting friends in Toronto, my father knew that the Gerrard Indian Bazaar was the right place for them to start, it was the largest Indian market in the Northern America area. He rented a space for two years a couple of doors down from where Chandan originated and then in 1986 we had the opportunity to purchase the corner unit and grow it from one floor to two, to now a four-floor showroom.
Roop: And it should be noted that 1986 is also the year that Chandan was born, hence the name of the store. Chandan Fashion.
Many cities have their own versions of Little India. What was it like growing up/operating in Gerrard Street East? What do you think makes Gerrard Street unique?
Roop: It is funny you say that because even now when we have people traveling to Toronto, checking out Gerrard Street is on their itinerary. So we get a lot of clientele that are visiting from out of town whether it be visiting for the day or weekend. Some of them will sometimes get a hotel nearby for about a week and do their entire wedding family shopping with us.
Chandan has literally grown up in Gerrard Street, but I grew up in Toronto as well. I spent a good chunk of my own childhood in Little India on Gerrard Street. Growing up in the 90s, it was the only Indian bazaar in the greater Toronto area, so anyone who wanted to meet members of their community, have really good South Asian food, shop for upcoming events, or celebrate Diwali or Holi, this is where [they’d] go. This is where my mom would take me on the weekends and I remember popping into Chandan Fashion when my mom needed an outfit. In that way, our childhoods are connected over Little India and I feel like a lot of first-generation kids will sympathize with me, when we wanted to feel a little bit at home, that is where we would go.
How did you get the “BollyWed” opportunity on CBC? What is it like working with your family? What roles do you all play in the business? How do we get to see this in the show?
Roop: It has been quite a journey. It wasn’t necessarily such a drastic transition because already the family was very close-knit in the sense that they are working day in and day out. We do our social media together and our buying together, go to fashion shows. So naturally things we were already doing as a family were just translated to the TV. That is what I love the most about the show, it is just an authentic following of what we do on a daily basis as a family and as a business. It has been a great experience and something that we are super grateful for. It was actually seven years in the making and I’ll let Chandan tell you how “BollyWed” came to be.
Chandan: It started out in 2014. I was at a wedding show and I was approached by the executive producer, Prajeeth and we shot a shizzle. He had an idea of a wedding show with a family narrative and I had been watching ‘Say Yes to the Dress’ extensively. I knew that there was this really interesting market and this fascination with South Asian outfits and bridalwear given that it was so colorful and the beadwork was so ornate. There was a lot more interesting subject matter, especially if we tie that into a seven-day-long wedding and you tie that into multiple events and families. That is more prevalent in South Asian culture: what the mother-in-law thinks, what the mother thinks. But five to six years went by and we got 22 rejections over that period by almost every network imaginable. I was always excited that we were getting rejected because I knew that eventually, we would get a yes. Eventually at the end of 2021, around the end of the COVID era, the production company reached out asking if we were still interested in the show. I said it was never a question of ‘if,’ it was a question of ‘when.’ From the get-go, I knew that this show would be picked up, I knew it would be a success. In March 2022 we got greenlit. We had this amazing journey of seven months of continuous filming. It has been an amazing journey to be able to represent South Asians on television in a way that has not been done before. I like lighthearted programming and I am glad that we were able to influence the show because of our lives and make it a lighthearted family show that people can watch. But we still get to have important discussions.
Roop: I love that Chandan mentioned this. We get to showcase a lot of pivotal subjects in today’s society. For example, we made sure that inclusivity was showcased across all 10 episodes and that is something that I give credit to our directors and producers, they did a wonderful job showcasing how inclusive not just us as a business, but as a brand and as a family we are. These are values that have been instilled in us, that when somebody crosses your threshold and comes into your store, it doesn’t matter what their background is, their color, or their orientation, that is irrelevant. It is something that we don’t factor in, we just consider that this is the patron, the client. There is no judgment — not in our store, not in our family. And I love that we were able to share that on a big screen for everyone to see. That was one reason why it was so important to do this, but the other reason has a lot to do with Chandan and his childhood.
Chandan: So for me, I was born and raised in Toronto. I went to a very small school where I was the only South Asian for a long time in that school. I was the only Punjabi kid, the only kid with a turban, and eventually the only one with a beard, so I noticeably stood out compared to all my peers. My father with his best intentions sent me to a really small school, a private school, that he could not afford to pay for. Where at times the check would bounce every month, but he had a very strong belief that if he provided me a quality education [so] I would keep something really dear to him —keeping the belief in religion — I wouldn’t cut my hair, I wouldn’t cut my beard, I wouldn’t conform to society. He wanted to give me the best chance to succeed as is, [but] the unfortunate truth was I was bullied, I was picked on. I wouldn’t tell him, but people would grab my jurra, my turban, and my hair. And as a kid I would just let it go because you do not want to go home and tattle to your parents, but also because I knew how sensitive of a topic it was to my dad. And I think that my experience would have been different if people didn’t ask me every month, ‘How long is your hair? What do you keep under that?’ All these questions made me feel really uncomfortable, but the other kids also asked because they had never seen anyone like me. If I had grown up with a show like this, I would not have felt so alone, such a strong desire to belong. This is one of the reasons I really believed in the show, I really wanted to have representation. Even if there is just one other kid who watches this show and grows up in a suburb where there aren’t many South Asian kids; if he is able to turn the TV on and see my dad with such a thick accent — English isn’t his first language — but he still owns it so confidently. Or they see a guy like me with a turban and a beard and see that frankly he still has such a hot wife.
Roop: But beyond that, this gentleman with a turban and thick accent, they are such normal people. They love takeout, they like to play tennis, and they could be your neighbor. Other than their outward appearance, they are very much like you, very similar.
Your support in styling Priyanka for their drag performance was inspiring and refreshing to see. How do you change your styles/designs to foster inclusivity?
Roop: I think that goes back to what I was saying about how Mom and Dad have fostered this universal approach to our clientele. We do not look beyond their needs. I think it is also important to note that some people had thought that we had Priyanka come onto the show to make it more interesting, but their relationship with the store spans over the past five to seven years.
Chandan: Twenty years. Priyanka and their family have been shopping at the store for the past 20 years since they were kids. When Priyanka started exploring the world of drag, they came and said they needed a costume that they would be designing. It also wasn’t even any of my peers or me that made that connection with Priyanka, it was actually my dad, the older generation. He said, ‘Don’t worry beta.’ He actually corrected himself and said, ‘Beti, we will be there for you.’ And he got them a really nice sari and lehenga which they converted into a costume that won the first season.
Roop: And Priyanka put their own spin on it and created something amazing. Only because we were the designers of those pieces could we tell that that is a piece from our lehenga. They did such a fabulous job with it.
Chandan: I think we sometimes think of the older generation, like our parents, as being more conservative, but I think that it is a one-sided narrative. Not all of the older generation is as conservative as we think. And my dad just took it as a paying customer is a paying customer. It doesn’t matter what their orientation or beliefs are, and that just naturally unfolded into the story that we are sharing. He did not treat it as a big deal.
For our readers currently planning their weddings, do you have any pieces of advice on how to balance all the heavy details of wedding planning without losing sight of why they are doing it for?
Roop: One thing for the bride and groom is not to lose sight of themselves in all of this. I’ve been there and done that. You plan this extravagant seven-day affair, you have all these people flying out to your wedding, and you feel this really heavy responsibility to make sure that all these guests are taking time out of their lives to celebrate your union. And like myself — and I am guilty of this, which is why I want to tell my fellow brides — [you] tend to make it less about [yourself] and more about everyone else who is attending. And yes, of course, everyone is important and I owe them respect for joining us. But remember what you want in the heart of heart, if you want a small wedding, go for a small wedding. If you want a big wedding, go for a big wedding. If you want the seven-tiered cake, go for it, if you just want cupcakes, go for that. At the end of the day don’t forget what makes you happy. Don’t lose sight of it, just be authentic to yourself.
Chandan: Oftentimes in the wedding industry, people are really looked down upon. Like, ‘Oh my gosh, you are spending so much for this wedding!’ Or, ‘You are obsessing over these details!’ If it is important to you, it is okay. I would not let judgment get in the way of doing what you want whether it be a small intimate 20-person wedding or a having a 1000-person wedding. This is your moment. The biggest thing I hear is, ‘Oh, it is only for an hour.’ But, if you have a photographer, nothing is for an hour. It is for a lifetime. Those moments last a lifetime. If it is something that you hold near and dear to you, you will cherish it. I wish people would stay true to themselves.
Roop: Yeah, agreed. Be mindful of what sparks joy in you and let that be your compass. The most important piece of advice though: At every function please request that your caterer create a to-go container of the meal at the event for you and your partner to enjoy after because often, and it is so sad to hear this, the bride and groom will eat last at their own event or not at all. And you spend all these months planning [an] extravagant menu and then you don’t even get to eat your own wedding cake. Hah! That happened to us!
Do you have any future plans that you feel excited about sharing with Chandan?
Chandan: Yeah! I would say concrete plans are in the pipeline. In the first episode of ‘BollyWed’ [you] see that we come to the realization that there is just not enough space and we would love to expand into another space.
Roop: And this is where you get a lot of the new generation, old generation beliefs. Because mom and dad believe that the family should stay very close-knit and together to run the one location. And Chandan has the belief that [the] true success of a business is when it is scalable, and has multiple locations nationally, globally even. In Episode 10 you get a conclusion, but we will let the readers watch it for themselves!
You can now watch the inaugural season of CBC’s “BollyWed” on CBC TV every Thursday at 8 p.m. EST or stream it for free on CBC Gem! And that’s not all from the Chandan Fashion team! They’ll soon be featured in an Instagram LIVE chat with Brown Girl Magazine, so stay tuned!
