By james art For human anthems and an unscripted campaign film
The use of folk traditions, particularly Kanhaiya Dangal performances, further connects the campaign to its Indian roots. As the performers surrounded the couple, their presence evoked in me the image of a garland – a garland made of interactions and shared moments. Garg reflects on how returning to the art form is tapping into his personal roots, to which he continues to return. But more than that, he always had a love for the beauty of real human voices singing in unison. From Raw Mango’s 2018 Heer campaign, which featured a young girl singing, to the one featuring Kanhaiya Geet, Garg keeps coming back to it. In the case of Garland, he mentions how “…the performers were like witnesses to the wedding, similar to how priests observe the rites. Their anthems carried a personal, spiritual energy that was vital to the campaign.”
During our conversation, I couldn’t help but mention the campaign’s similarity to Monsoon Wedding, a film that captures the chaos and magic of Indian weddings. Garg agreed on how he wanted to show the good and the complicated – arguments with parents, drunken friends singing into the night, the joy of simple moments. The love of human voices singing in unison permeates the campaign episodes, starting with overlapping conversations, Kanhaiya Dhangal performances and ending with friends and loved ones singing drunk into the night. The campaign was rightfully not only about showcasing Raw Mango’s clothes, but also about reflecting real emotions.
This commitment to authenticity extends to the design philosophy. Garland subverts expectations, challenging the norms of what wedding attire should be. Garg further emphasized, “The mainstream media in India has created a craze for heavy, ornate Bollywood-style outfits that don’t breathe and don’t move with the body. We want to bring back clothes that reflect personal style and comfort – something that allows the individual to shine, not just the garment.”
The campaign provoked mixed reactions. While some praised its authenticity, others found it contrived. For Garg, these reactions are part of the process. “I’m not a director; I’m a designer. I don’t do campaigns to sell clothes, I do campaigns to tell stories. People were messaging us saying, “This feels like my story.” That’s all I want to hear. Feedback is important and I will take any feedback received as a way to improve what we do. But I will continue to express what I believe in through my designs and in turn through my campaigns.”
This approach to storytelling makes Garland a deeply personal campaign that resonates with anyone who has experienced the beauty and chaos of a wedding. After all, Garland reflects more than just fashion—it represents a vision of India that embraces both tradition and change. Sanjay Garg sums it up perfectly:
“This is my way of expressing what I believe India needs right now. Through my designs, I document stories and moments that matter, just as you as a writer do through words.”
And this line itself is the biggest selling point for Raw Mango as a brand and Sanjay Garg as a creative. It offers a refreshing perspective that creates a connection that is deeply connected to their audience. The Garland collection and campaign is a fitting celebration not of convention, but of meaning, connection and individuality. Through their thoughtfully crafted garments presented through an emotional narrative, the collection invites us to re-imagine what it means to celebrate, love and belong.