Inspired by India is an exploration of more than six centuries of trade, cultural exchange, and inspiration between India and the West. Through the lens of various material categories, including textiles, fashion, jewellery, and perfume, marvellous stories unfold surrounding the histories of objects and the complex networks of cultural exchange the...y represent. The book explores how some of the most legendary design houses have looked to Indian culture, decorative arts and artisanal crafts for inspiration. Indian-inspired objects from luxury houses including Herm?s, Chanel, Cartier, and Dior are featured, revealing creative and fascinating stories of inspiration and creativity. The stunning Inspired by India also includes rich visual imagery from leading museum and gallery archives, as well as the archives of the world's greatest luxury houses and renowned fashion designers, including Dries Van Noten, Alexander McQueen, and John Galliano.
Phyllida Jay has a doctorate in anthropology from University College London. Her work looks at society and culture in contemporary India through fashion, craft and design. She is especially interested in the cultural history of Indian craftwork and the role of Indian artisans in international luxury. She is the author of two books, Fashion India and Indian Khadi Cloth: from National Fabric to Luxury Fashion. She also works as a journalist and regularly writes for several publications including, the Business of Fashion, the New York Times, BBC Culture and Vogue India.
Phyllida Jay has a doctorate in anthropology from University College London. Her work looks at society and culture in contemporary India through fashion, craft and design. She is especially interested in the cultural history of Indian craftwork and the role of Indian artisans in international luxury. She is the author of two books, Fashion India and Indian Khadi Cloth: from National Fabric to Luxury Fashion. She also works as a journalist and regularly writes for several publications including, the Business of Fashion, the New York Times, BBC Culture and Vogue India.
Phyllida Jay has a doctorate in anthropology from University College London. Her work looks at society and culture in contemporary India through fashion, craft and design. She is especially interested in the cultural history of Indian craftwork and the role of Indian artisans in international luxury. She is the author of two books, Fashion India and Indian Khadi Cloth: from National Fabric to Luxury Fashion. She also works as a journalist and regularly writes for several publications including, the Business of Fashion, the New York Times, BBC Culture and Vogue India.
Phyllida Jay has a doctorate in anthropology from University College London. Her work looks at society and culture in contemporary India through fashion, craft and design. She is especially interested in the cultural history of Indian craftwork and the role of Indian artisans in international luxury. She is the author of two books, Fashion India and Indian Khadi Cloth: from National Fabric to Luxury Fashion. She also works as a journalist and regularly writes for several publications including, the Business of Fashion, the New York Times, BBC Culture and Vogue India.
ISBN
9789392130564
Binding
Hardback
Page Extent
256
Weight (kg)
1.4
Height (in)
11.42
Width (in)
10.24
Subject
Design
Published Date
30/04/22
Publisher
Roli Books
Reviews
The Tribune
Published Date:- October 30, 2022
INdia has been a land of mystique and exoticism, attracting many travellers and writers to its way of life, its religions, textiles, culture, history, arts and crafts. From the east to the west, it has been a major influence on the world of design, spanning many centuries. The new book by Phyllida Jay details this aspect.
The ease with which she shifts from history to textiles to art to fashion to jewellery is indicative of her in-depth knowledge of the subject. Nothing escapes her eye as she covers different aspects of Indian influences across fields. Priya Kapoor’s contribution is no less as she has successfully developed the concept, bringing out all-round influences in this publication, with appropriate imagery complementing the text. Illustrations gathered from museum paintings, archival photographs, collections of fashion houses and jewellery houses add depth and meaning to the publication.
Read more....
The Indian Express
Published Date:- October 10, 2022
In January this year, there was a storm of social-media protests over an episode of the Sex and the City sequel series, And Just Like That. Carrie Bradshaw (Sarah Jessica Parker) is invited by her new friend Seema Patel (Sarita Choudhury) to her family’s Diwali party and the two walk into a “sari” shop to buy appropriate apparel for the event. Only, as most South Asian viewers pointed out, the outfits in the shop are actually lehengas and what Carrie finally wears to the party is also a lehenga. Outraged cries rung out over this “cultural flattening” — presumably the makers of the show thought that distinguishing one South Asian garment from another would prove too bothersome for a viewership that speaks fluently in Balenciaga and Alaïa — but the episode helped highlight, albeit inadvertently, the zones of grey between inspiration and appropriation.
Read more....
Condé Nast Traveller
Published Date:- September 19, 2022
Dries Van Noten’s luxurious 2022 spring-summer collection drew on his impression of visiting Kolkata just after Holi and seeing splashes of colour in unexpected places.These are just a handful of the instances of India’s impact on global style. Anthropologist and fashion scholar Phyllida Jay’s Inspired By India: How India Transformed Global Design (Roli Books) is a compendium of clothes, textiles, jewellery, material objects, photography, paintings and other visual cues that reveal the vast influence of Indian textiles, craft and culture on the biggest influencers of global style.
In Napoleonic France and through the novels of Jane Austen in Regency England, we see how wearing fine Indian muslin denoted the consumer’s status, taste and connoisseurship. Such was the popularity of textiles like the brightly-painted chintz, that France and England placed decades-long bans on their import in the 18th century in order to protect their own silk and wool mills. However, the desire for these vibrant textiles meant that despite hefty fines, they were smuggled as contraband and worn in the privacy of the home.
"Can you define cultural appropriation and explain how it differs from cultural appreciation?
One of the things the book sets out to explore is, how do we navigate within this complex moment in post-colonial image production, material manufacture and the crafting of identity? What are the parameters for deciding whether something is homage, pastiche, or ignorant and even racist cultural appropriation?"