Imagine the sound of the dholak echoing from a corner where women sing folk songs, while others groove to Bollywood numbers as the bride gets her mehendi done. Endless cups of tea do the rounds if it’s cold outside, and the air is filled with the aroma of fresh jalebis, laddoos, and other mithais. Children run about, relatives chatter animatedly, and a traditional setup is arranged for the bride to perform her rituals. Doesn’t it paint a familiar picture? The kind that instantly reminds you of a cousin’s wedding, a relative’s big day, or even a close friend’s shaadi. Let’s all agree, rituals like haldi, mehendi, and the grand sangeet are what we look forward to the most. This is where the real fun begins. People dress their best, pick their favourite songs, and dance their hearts out. These days, Bollywood lovers, music buffs, and dance enthusiasts take it all a notch higher with choreographed performances and full-on entertainment. Fashion designer Mayyur Girotra presents the same through his latest couture collection 2025 - 26, The Sangeet Tales.
Sharing his thoughts, he mentions, “Pre-wedding celebrations carry their own kind of magic, filled with colour, ritual, and emotion. I translate that spirit into garments that are bold, vibrant, and deeply rooted in indian craft.” For him, these celebrations are not just preludes; they are performances full of soul and ceremony. Through this collection, he invites brides to embrace every step of their journey with the same excitement and reverence as the wedding day itself. Mayyur explains, “We always felt that there was a gap between mehendi and sangeet. And I think I filled that up very well with this edit. That’s one function where people often get lost — ‘What should I do, where should I go, what space should I fill in?’ And then in the whole tsunami of tone-on-tone, sequins, gold on gold, and silver, we wanted to break that mould. I think that’s what we have achieved.” For Mayyur, indian weddings are nothing short of a magnificent spectacle, an immersive celebration of colour, craft, and culture, all woven together to tell a layered story. “I am deeply inspired by the way tradition and artistry co-exist,” he shares. “The intricate hand embroideries, the vibrant jewel tones that symbolise joy and auspiciousness, every element, from the glowing palanquins to the jasmine scented braid, creates an atmosphere that feels both timeless and alive.”
For Mayyur, there’s never a straight answer when it comes to choosing fabrics or a colour palette. As he puts it, the process is entirely creative and artistic. “I’ve opted for pure Chanderi silks, Kanjeevarams, and I mix a lot of fabrics in garments. I don’t stick to one palette. Even at the last minute, I might change the blouse with another lehenga, or the dupatta with a different one. There’s no set format or definition I follow. I’ve loved playing with colours since I was a kid. I enjoy mixing fabrics, materials, and shades,” he shares.
On moodboards, he admits, “I do make them, but I never follow them. By the end, the product turns out very different. Sometimes even a single outfit can have four different fabrics and techniques coming together, and that’s the beauty of it.”
When Mayyur unveils a new edit, it’s impossible to miss the design elements. As he recalls, “When I started my label, I used to make beautifully detailed couture pieces right from the beginning because I had been brought up in that manner. I’ve lived with textiles and embroideries. My grandmothers, my mother, my aunts have all been very fashionable all their lives, they still are. In our house, fashion is something very serious.”
He fondly remembers accompanying his mother to the south to shop for Kanjeevarams and Garhwals. “I knew about Patan and Patola, Ikkat and all those fabrics since I was a child. I feel blessed that my training began very early. My mom, and especially my nani, were deeply into Sucha embroideries and work. I was always inclined towards these things, so I even knew about gold and silver embroideries, because she used to work with them and explain everything to me: what they are, how they are done.”
When Mayyur launched his label 14 years ago, embroidery was already central to his work. “At that time, I didn’t have a strong design language, though I always knew I would shape it one day. Through trial and error, you eventually form your own path and your distinctive elements that people recognise you for,” he says. And today, that language is clear. “Now I’m known for the riot of vibrant outfits I create, the beautiful techniques I use, and the lightweight finish of the garments. It’s always a celebration of India, a celebration of happiness stitched into every piece,” he adds.
in designing The Sangeet Tales, Mayyur has been mindful that indian wedding fashion today demands not only opulence but also comfort and personal expression. “To balance grandeur with wearability, I focused on creating pieces that celebrate maximalism through rich tones, intricate zardozi, and mirror work, while carefully considering fabric choices and construction to ensure ease of movement and versatility,” adds Mayyur.
For women, there are lehengas in vibrant tones of lime green, pink, and mustard, layered with mirror work and embroidery. “The strapless lime green and pink lehenga is designed for movement, making it perfect for a sangeet night, while the fuchsia and mustard lehenga is ideal for a bride who wants to stand out at her mehendi,” Mayyur says.
Men’s wear carries the same festive energy. he mentions, “The embroidered green jacket layered over a floral kurta is a fresh departure from muted tones and works beautifully for these functions. Styled with trousers, it can also transform into a cocktail look.”
Since his designs are all so vibrant and elaborate, we end up asking him about his take on minimalism, which is in trend these days. “Minimalism has its beauty, but I believe indian celebrations call for magnificence. These occasions are moments of spectacle, and I feel the clothes should reflect that energy. My love for detail, embroidery, and colour comes from my upbringing, where textiles and craft were part of daily life. It feels natural to me to translate that heritage into statement-making pieces.”
The campaign shoot for The Sangeet Tales is nothing short of breathtaking. Talking about the location and his vision behind it, Mayyur shares, “We chose alila Fort Bishangarh in Rajasthan because it perfectly mirrors the ethos of the collection. The fort, with its timeless architecture, became the dream backdrop for these jewel-toned lehengas and intricately embroidered pieces. The earthy sandstone walls made the colours pop, while the courtyards and arches added the sense of depth and tradition I wanted to highlight in the campaign.”
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