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Hello USA!

Presenting our collections of saris, garments and textiles in:

San Francisco Bay Area
Dates: 29th & 30th May
Time: 11-7 pm
Venue: Urshika Kapoor Studio, 5552 Rosa Way, Newark, CA 94560

Los Angeles
Date: 31st May
Time: 12-7 pm
Venue: 1 Hotel West Hollywood, 8490 Sunset Blvd, CA 90069

New York
Dates: 5 & 6 June
Times: 11-7 pm
Venue: 22 East 2nd St. New York

New Jersey
Dates: 7th June
Times: 12-7 pm
Venue: Hyatt Regency New Brunswick, 2 Albany St, NJ 08901

Virginia
Dates: 13th & 14th June
Times: 11-7 pm
Venue: Sheraton Reston Hotel, 11810 Sunrise Valley Dr, VA 20191

We are so excited to see you all!

Sign up to register: Link in bio

NYC / NJ / DC — @raw_mango arrives early June.

We’re joining Raw Mango for a few days on the East Coast with an incredible selection of textiles, saris, and garments - drawing from both classic and recent collections.

Come by, spend some time, say hello!
For 1:1 appointments, DM @borderandfall

Aditi Rao Hydari @aditiraohydari in our ‘Hirnoda’ lime mulberry silk sari featuring floral motifs embroidered with zardozi and kiran detailing along the border.

Aditi Rao Hydari @aditiraohydari in our ‘Hirnoda’ lime mulberry silk sari featuring floral motifs embroidered with zardozi and kiran detailing along the border.

We’re on our way, USA.

San Francisco Bay Area
Dates: 29th & 30th May
Time: 11-7 pm
Venue: Urshika Kapoor Studio, 5552 Rosa Way, Newark, CA 94560

Los Angeles
Date: 31st May
Time: 12-7 pm
Venue: 1 Hotel West Hollywood, 8490 Sunset Blvd, CA 90069

New York
Dates: 5 & 6 June
Times: 11-7 pm
Venue: 22 East 2nd St. New York

New Jersey
Dates: 7th June
Times: 12-7 pm
Venue: Hyatt Regency New Brunswick, 2 Albany St, NJ 08901

Virginia
Dates: 13th & 14th June
Times: 11-7 pm
Venue: Sheraton Reston Hotel, 11810 Sunrise Valley Dr, VA 20191

We are so excited to see you all!

Sign up to register: Link in bio

We’re on our way, USA.

San Francisco Bay Area
Dates: 29th & 30th May
Time: 11-7 pm
Venue: Urshika Kapoor Studio, 5552 Rosa Way, Newark, CA 94560

Los Angeles
Date: 31st May
Time: 12-7 pm
Venue: 1 Hotel West Hollywood, 8490 Sunset Blvd, CA 90069

New York
Dates: 5 & 6 June
Times: 11-7 pm
Venue: 22 East 2nd St. New York

New Jersey
Dates: 7th June
Times: 12-7 pm
Venue: Hyatt Regency New Brunswick, 2 Albany St, NJ 08901

Virginia
Dates: 13th & 14th June
Times: 11-7 pm
Venue: Sheraton Reston Hotel, 11810 Sunrise Valley Dr, VA 20191

We are so excited to see you all!

Sign up to register: Link in bio

We’re on our way, USA.

San Francisco Bay Area
Dates: 29th & 30th May
Time: 11-7 pm
Venue: Urshika Kapoor Studio, 5552 Rosa Way, Newark, CA 94560

Los Angeles
Date: 31st May
Time: 12-7 pm
Venue: 1 Hotel West Hollywood, 8490 Sunset Blvd, CA 90069

New York
Dates: 5 & 6 June
Times: 11-7 pm
Venue: 22 East 2nd St. New York

New Jersey
Dates: 7th June
Times: 12-7 pm
Venue: Hyatt Regency New Brunswick, 2 Albany St, NJ 08901

Virginia
Dates: 13th & 14th June
Times: 11-7 pm
Venue: Sheraton Reston Hotel, 11810 Sunrise Valley Dr, VA 20191

We are so excited to see you all!

Sign up to register: Link in bio

We’re on our way, USA.

San Francisco Bay Area
Dates: 29th & 30th May
Time: 11-7 pm
Venue: Urshika Kapoor Studio, 5552 Rosa Way, Newark, CA 94560

Los Angeles
Date: 31st May
Time: 12-7 pm
Venue: 1 Hotel West Hollywood, 8490 Sunset Blvd, CA 90069

New York
Dates: 5 & 6 June
Times: 11-7 pm
Venue: 22 East 2nd St. New York

New Jersey
Dates: 7th June
Times: 12-7 pm
Venue: Hyatt Regency New Brunswick, 2 Albany St, NJ 08901

Virginia
Dates: 13th & 14th June
Times: 11-7 pm
Venue: Sheraton Reston Hotel, 11810 Sunrise Valley Dr, VA 20191

We are so excited to see you all!

Sign up to register: Link in bio

We’re on our way, USA.

San Francisco Bay Area
Dates: 29th & 30th May
Time: 11-7 pm
Venue: Urshika Kapoor Studio, 5552 Rosa Way, Newark, CA 94560

Los Angeles
Date: 31st May
Time: 12-7 pm
Venue: 1 Hotel West Hollywood, 8490 Sunset Blvd, CA 90069

New York
Dates: 5 & 6 June
Times: 11-7 pm
Venue: 22 East 2nd St. New York

New Jersey
Dates: 7th June
Times: 12-7 pm
Venue: Hyatt Regency New Brunswick, 2 Albany St, NJ 08901

Virginia
Dates: 13th & 14th June
Times: 11-7 pm
Venue: Sheraton Reston Hotel, 11810 Sunrise Valley Dr, VA 20191

We are so excited to see you all!

Sign up to register: Link in bio

The earliest artistic expressions across civilizations were explorations of the relationship between the mother and her child. Depicted in moments of caregiving through the various stages of childhood, mothers are often portrayed as affectionate, patient protectors in art and sculpture.

Featured here:

1. Terracotta figurine, c. 2600–1900 BCE, National Museum
2. Archaic Mother Goddess, 3rd–2nd century BCE, Government Museum Mathura
3. Mother Goddess, c. 600 CE, Cleveland Museum of Art
4. Mother and Child, 4th–6th century CE, Indian Museum
5. Aphrodite and Eros, 2nd–1st century BCE, Archaeological Museum of Eretria
6. Egyptian milk bottle early 18d
7. Goddess Ambika, 6th century, Bihar

HIRING | Join us full time.

Candidates with relevant experience, please email a cover letter and resume to hr@rawmango.in

HIRING | Join us full time.

Candidates with relevant experience, please email a cover letter and resume to hr@rawmango.in

HIRING | Join us full time.

Candidates with relevant experience, please email a cover letter and resume to hr@rawmango.in

HIRING | Join us full time.

Candidates with relevant experience, please email a cover letter and resume to hr@rawmango.in

Discovered in 1972 submerged in the sea floor off the southern coast of Italy, the Riace Warriors are a pair of bronze statues depicting Greek warriors in their prime. Archaeologists are yet to determine who these statues depict or how they made their way to Italy.

These statues were cast about four hundred and fifty years before the common era using the lost-wax casting technique. Thousands of years old, in this technique first a wax model is created around which a mould is formed. On the application of heat in a kiln, the wax figure melts away (it is lost) leaving behind channels for molten bronze to be poured in. Once cooled, the mould is broken and the bronze sculpture is carved, chiseled, engraved and polished to perfection. A similar technique is still practiced by the Newar artists in the Kathmandu Valley. It is notable that these statues resulting from the lost-wax process retained their original form even with centuries of exposure to saltwater.

The Greek prized anatomical accuracy with sculptors reproducing details like arteries, veins, musculature and hair with a realistic effect. Statues created during a similar period in the subcontinent leaned towards mythical representations with portrayals of religious figures, stories and legends.

Over the years, the warriors have been examined with a subjective lens in addition to the technical one. The two are named Statue A and Statue B. Statue A is said to depict a young warrior, proud and conscious of his own beauty and power. Statue B portrays someone more mature with a relaxed pose and a gentle gaze.

Discovered in 1972 submerged in the sea floor off the southern coast of Italy, the Riace Warriors are a pair of bronze statues depicting Greek warriors in their prime. Archaeologists are yet to determine who these statues depict or how they made their way to Italy.

These statues were cast about four hundred and fifty years before the common era using the lost-wax casting technique. Thousands of years old, in this technique first a wax model is created around which a mould is formed. On the application of heat in a kiln, the wax figure melts away (it is lost) leaving behind channels for molten bronze to be poured in. Once cooled, the mould is broken and the bronze sculpture is carved, chiseled, engraved and polished to perfection. A similar technique is still practiced by the Newar artists in the Kathmandu Valley. It is notable that these statues resulting from the lost-wax process retained their original form even with centuries of exposure to saltwater.

The Greek prized anatomical accuracy with sculptors reproducing details like arteries, veins, musculature and hair with a realistic effect. Statues created during a similar period in the subcontinent leaned towards mythical representations with portrayals of religious figures, stories and legends.

Over the years, the warriors have been examined with a subjective lens in addition to the technical one. The two are named Statue A and Statue B. Statue A is said to depict a young warrior, proud and conscious of his own beauty and power. Statue B portrays someone more mature with a relaxed pose and a gentle gaze.

Discovered in 1972 submerged in the sea floor off the southern coast of Italy, the Riace Warriors are a pair of bronze statues depicting Greek warriors in their prime. Archaeologists are yet to determine who these statues depict or how they made their way to Italy.

These statues were cast about four hundred and fifty years before the common era using the lost-wax casting technique. Thousands of years old, in this technique first a wax model is created around which a mould is formed. On the application of heat in a kiln, the wax figure melts away (it is lost) leaving behind channels for molten bronze to be poured in. Once cooled, the mould is broken and the bronze sculpture is carved, chiseled, engraved and polished to perfection. A similar technique is still practiced by the Newar artists in the Kathmandu Valley. It is notable that these statues resulting from the lost-wax process retained their original form even with centuries of exposure to saltwater.

The Greek prized anatomical accuracy with sculptors reproducing details like arteries, veins, musculature and hair with a realistic effect. Statues created during a similar period in the subcontinent leaned towards mythical representations with portrayals of religious figures, stories and legends.

Over the years, the warriors have been examined with a subjective lens in addition to the technical one. The two are named Statue A and Statue B. Statue A is said to depict a young warrior, proud and conscious of his own beauty and power. Statue B portrays someone more mature with a relaxed pose and a gentle gaze.

Discovered in 1972 submerged in the sea floor off the southern coast of Italy, the Riace Warriors are a pair of bronze statues depicting Greek warriors in their prime. Archaeologists are yet to determine who these statues depict or how they made their way to Italy.

These statues were cast about four hundred and fifty years before the common era using the lost-wax casting technique. Thousands of years old, in this technique first a wax model is created around which a mould is formed. On the application of heat in a kiln, the wax figure melts away (it is lost) leaving behind channels for molten bronze to be poured in. Once cooled, the mould is broken and the bronze sculpture is carved, chiseled, engraved and polished to perfection. A similar technique is still practiced by the Newar artists in the Kathmandu Valley. It is notable that these statues resulting from the lost-wax process retained their original form even with centuries of exposure to saltwater.

The Greek prized anatomical accuracy with sculptors reproducing details like arteries, veins, musculature and hair with a realistic effect. Statues created during a similar period in the subcontinent leaned towards mythical representations with portrayals of religious figures, stories and legends.

Over the years, the warriors have been examined with a subjective lens in addition to the technical one. The two are named Statue A and Statue B. Statue A is said to depict a young warrior, proud and conscious of his own beauty and power. Statue B portrays someone more mature with a relaxed pose and a gentle gaze.

Discovered in 1972 submerged in the sea floor off the southern coast of Italy, the Riace Warriors are a pair of bronze statues depicting Greek warriors in their prime. Archaeologists are yet to determine who these statues depict or how they made their way to Italy.

These statues were cast about four hundred and fifty years before the common era using the lost-wax casting technique. Thousands of years old, in this technique first a wax model is created around which a mould is formed. On the application of heat in a kiln, the wax figure melts away (it is lost) leaving behind channels for molten bronze to be poured in. Once cooled, the mould is broken and the bronze sculpture is carved, chiseled, engraved and polished to perfection. A similar technique is still practiced by the Newar artists in the Kathmandu Valley. It is notable that these statues resulting from the lost-wax process retained their original form even with centuries of exposure to saltwater.

The Greek prized anatomical accuracy with sculptors reproducing details like arteries, veins, musculature and hair with a realistic effect. Statues created during a similar period in the subcontinent leaned towards mythical representations with portrayals of religious figures, stories and legends.

Over the years, the warriors have been examined with a subjective lens in addition to the technical one. The two are named Statue A and Statue B. Statue A is said to depict a young warrior, proud and conscious of his own beauty and power. Statue B portrays someone more mature with a relaxed pose and a gentle gaze.

USA | SAVE THE DATE
Presenting our collections in:

San Francisco - 29 & 30 May
Los Angeles - 31st May
New York - 5th & 6th June
New Jersey - 7th June
Washington DC - 13th & 14th June

We are so excited to see you all!

Sign up to register: Link in bio

Filmed during a practice session,
artist Shreema Upadhyay @shreema_upadhyaya performs ‘Degula’, her first choreographic work in Bharatanatyam that explores the relationships between the earthly and the divine, the physical and the spiritual, the body and the temple.

In Bharatanatyam, the performer assumes the role of storyteller and the characters within the story. Conceptual symbols are communicated with hand gestures called ‘mudras’. A ‘tripitaka’ – an outward facing palm with abent ring finger – can symbolize a tree or vines. A ‘simhamukha’ (the ring and middle fingers touching the thumb, with the index and pinky pointing upwards) with the performer on bent knees can give viewers the impression of a kneeling cow. This can be seen in Shreema’s first movement in the video presented above.

By combining the ‘mudras’ with the movement of the body, the performer builds an environment layering the story with emotive facial expressions. As the performance progresses, a narrative presents itself in the sequence in which symbols are performed, the emotions linked to them and the movements that tie them together.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Captured in the Tiruvannamalai district of Tamil Nadu, these photographs depict classic Indian cars modified to emulate traditional horse-driven chariots or ‘rathas’.

There has been evidence of wheeled vehicles pulled by animals in the subcontinent as early as the Indus Valley, domesticated horses arrived attached to chariots. Conceived for speed and mobility, these horse-driven chariots were used for racing and communicating nobility. Literature from the Vedic period documents the construction of a ‘ratha’ and its usage in battle.

With time, ‘rathas’ became linked with prestigious processions – be it religious gatherings with a deity placed at its seat or royal coronations. The cars seen above are part of wedding processions where couples drive around the community to announce their betrothal, accompanied by family and friends.

These photographs are part of Chariots of Frolic – a documentary project by photographer Sameer Raichur @sameer.raichur supported by the Forum Art Gallery residency in association with the Chennai Photo Biennale, 2019.

Raw Mango Botanicals - a considered selection of saris for the season.

Seen here:

Konkona Sen @konkona in Siori sari
Elli AvrRam @elliavrram in Balsam Sari
Nimrat Kaur @nimratofficial in Colossus sari

Raw Mango Botanicals - a considered selection of saris for the season.

Seen here:

Konkona Sen @konkona in Siori sari
Elli AvrRam @elliavrram in Balsam Sari
Nimrat Kaur @nimratofficial in Colossus sari

Raw Mango Botanicals - a considered selection of saris for the season.

Seen here:

Konkona Sen @konkona in Siori sari
Elli AvrRam @elliavrram in Balsam Sari
Nimrat Kaur @nimratofficial in Colossus sari

Raw Mango Botanicals - a considered selection of saris for the season.

Seen here:

Konkona Sen @konkona in Siori sari
Elli AvrRam @elliavrram in Balsam Sari
Nimrat Kaur @nimratofficial in Colossus sari

Raw Mango Botanicals - a considered selection of saris for the season.

Seen here:

Konkona Sen @konkona in Siori sari
Elli AvrRam @elliavrram in Balsam Sari
Nimrat Kaur @nimratofficial in Colossus sari

Raw Mango Botanicals - a considered selection of saris for the season.

Seen here:

Konkona Sen @konkona in Siori sari
Elli AvrRam @elliavrram in Balsam Sari
Nimrat Kaur @nimratofficial in Colossus sari

Celebrating 3 years of Raw Mango, Hyderabad.

Located in a building from the early 1980’s, our store in Banjara Hills was once a residential dwelling.

With touches of concrete, wood and glass contrasting against the neighborhood’s natural surroundings – the architecture is an ode to the mix of modernity and heritage that defines the city. Each room houses curiosities collected from antique shops, private collectors and flea markets.

Celebrating 3 years of Raw Mango, Hyderabad.

Located in a building from the early 1980’s, our store in Banjara Hills was once a residential dwelling.

With touches of concrete, wood and glass contrasting against the neighborhood’s natural surroundings – the architecture is an ode to the mix of modernity and heritage that defines the city. Each room houses curiosities collected from antique shops, private collectors and flea markets.

Celebrating 3 years of Raw Mango, Hyderabad.

Located in a building from the early 1980’s, our store in Banjara Hills was once a residential dwelling.

With touches of concrete, wood and glass contrasting against the neighborhood’s natural surroundings – the architecture is an ode to the mix of modernity and heritage that defines the city. Each room houses curiosities collected from antique shops, private collectors and flea markets.

Celebrating 3 years of Raw Mango, Hyderabad.

Located in a building from the early 1980’s, our store in Banjara Hills was once a residential dwelling.

With touches of concrete, wood and glass contrasting against the neighborhood’s natural surroundings – the architecture is an ode to the mix of modernity and heritage that defines the city. Each room houses curiosities collected from antique shops, private collectors and flea markets.

Celebrating 3 years of Raw Mango, Hyderabad.

Located in a building from the early 1980’s, our store in Banjara Hills was once a residential dwelling.

With touches of concrete, wood and glass contrasting against the neighborhood’s natural surroundings – the architecture is an ode to the mix of modernity and heritage that defines the city. Each room houses curiosities collected from antique shops, private collectors and flea markets.