India inspires exotic perfumes, clothing lines in the US.
By Niharika Mookerjee
NEW YORK: The western love affair with India that set Columbus across the far seas in search of the exotic, lingers on as a sensory pull in global fashion and beauty industry today. In clothesline, it is visible in its flowing shapes, lightness of textures and esoteric designs with a mix of brocade embroidery. In perfumes and accessories, it sparkles with the seductive fancy of a vivid romance and a gentle nuance of eastern spirituality. Part of it is also the commodification of the unconventional eastern avant-garde.
Next month, Etro, an Italian fashion house will launch a new fragrance labeled Rajasthan, encapsulated in a flacon of dazzling orange and pink with a hint of purple. The perfume claims to weave a playful richness of damask rose, amber and white musk with the mildness of mimosa, evoking “the heightened nomadic and yearning femininity, the hypnotic dance of eternal desire, a wild gypsy poetry set in a colorful jeweled Maharajah’s cities which are eternal like the breathing of the earth and the energy of the desert.”
A journey to India through the light, color and scent of its land has been celebrated by other location-themed fragrances such as Jaisalmer, from the Japanese fashion brand, Comme des Garconne. With its exquisite fusion of incenses of cinnamon and ebony, it taps into the yearning for the remote and the magical. Others such as Herme`s Une Jardin Apre`s La Mousson seeks its inspiration from the monsoon-drenched gardens of Kerala.
The recreation of the Moghul past with its poetic palaces and bouquet of fragile blossoms has been a recurrent theme in some of Guerlain’s signature fragrances, Shalimar and Samsara. Overlaid with quintessential Indian scents of sandalwood and jasmine, accented at times by vanilla, they are a walk through mysterious corridors of haunting impressions.
Vibrant colors in clothing
Likewise in the realm of colors, fluorescent green and blue chiffon dresses, spun over with graceful Indian embroidery of sequins and beads, translates into a heady ensemble in summer when warm winds begin to blow and evenings are just right for a light chic wear. A splash of coral pinks, lilacs, yellows and limes dazzle summer’s sunlit days while poppy reds, purples, olive greens and mandarin orange ignite the frosty cold of winter months.
Although the fundamental differences in styles among different countries are largely determined by climate, they also mirror the culture of the land with its myriad influences of painting, poetry, music and literature. For instance, Fauvists, Cubist, surrealist and abstract paintings with their predilection towards eastern geometric patterns and tribal style have left an indelible impression on clothing and taste.
Much later in the 1960’s, the beatnik generation, moved by the plight of the marginalized and vehemently rejecting the materialism of established authority, took to wearing folk costumes from native India. With Alan Ginsberg, Bob Dylan, Joan Baez and Beatles as their sworn gurus, they swung into rebellion against western protocol, choosing to wear brightly colored tie-dye shirts with the Om sign on it.
To show their solidarity, intellectuals and artists wore kurtas as they implored for peace and free love against the atrocities of the Vietnam War. Leaving their hair open and flowing was another way of expressing their defiance against conservative restraint.
Speaking of these very trends in clothing that are noticeable in any store today, Elle, manager at Banana Republic in Exton, Pennsylvania, points out that geo pattern designs, ikkat motifs and abstract prints are among the hottest styles around fall and winter.
“For summer we move towards the glitzy look with sleeveless blouses and bead trimmings that recall Indian patterns. In winter, silk blouses with paisley designs, embellished with a thin layer of mirror work around the neck or sleeves bring out a festive look,” she said.
The bohemian Beatles cohort further reformed clothing from tightly- fitted tailored items into a feel that accentuated freedom of movement and comfort. Loose-fitting long kurtis and maxis provided a perfect fusion of utilitarianism softened by urbane grace.
They are now aspired by both the young and the middle-aged, who delight in the abandon of the non-conformist look of relaxed lines. These include chiffon tops, mingled with silver metal threads and thin cut-out insets of lace. Following the same practice of eliciting an image of subdued glamor, Chico and Macy maintain a distinctive collection of lapis lazuli cotton shirts embossed with paisley designs.
The young, who are usually more dynamic, are most susceptible to the caprices of the fashion world. They prefer buying from the flea markets and boho-indie stores like Free People or Nirvana that host mesmerizing selections of ankle length, cotton-crimpling skirts with pleats of ribbons. Some even carry Indian calligraphic design, edged with lace to convey a vintage yet modern look.
Red and white block print dresses or beige flowing tops with an anarkali cut prove to be particularly irresistible to the 20 year olds. The website at Free People states that “the collections are made from a love of India” and are “curated from the fine details India has to offer; embroideries, prints, embellishments, rich colors and fine gauze fabrics.”
Accessories with an Indian touch
Among textiles, a sumptuous display of silks, cashmeres, crepes, brocades and tanchois drape the racks at Joanne Fabrics, while jewelry, at another popular store, Forever 21, encases an opulent collection of gem- inlaid strands, composed of several layers that imitate kundan style ornaments.
Rhinestone studded accessories with brocade trims fastened upon shoes, and purses redolent in shades of peach, ivory, turquoise and gold add to the glittering spectacle. Reminiscences of the clinking sounds of bangles in Indian bazaar drift upon bangles, soaked in colors of iridescent pink, blue and gold.
This enduring fascination for silk, cotton, gold and taffeta, which in centuries past, led to the establishment of the East India Company, was initially introduced to Europe by Portuguese traders. In France, cotton was known as indiennes, chites, surates or patnais according to where they came from, that is Chittagong, Surat or Patna. Again, the word ‘pajamas’ refers to the Moghul breeches that were used as night wear in England during the 1620’s.
In fact, the origin of the western pant suit is a derivative of the eastern style of dressing. Conventionally, European garb for women tended to be gowns and long dresses while pants were considered masculine. In contrast, straight pants, harem pants and salwar kameezes have been worn for several ages in China, India and Turkey. This trend quickly caught on European imagination during the movement for women’s liberation and, gradually, around mid-20th century, it progressed into the impeccably tailored Chanel suits.
However, in recent years, mass production of homogeneous goods has internationalized western clothing with ethnic costumes being consistently replaced by inexpensive wear. Regardless of their age, women whether in India, Japan or USA opt for pullovers with jeans for a confident and casual pose.
Despite these egalitarian trends, the ancient motifs and textiles of India have left an unmistakable legacy in the west, with globally acclaimed designers from the sub-continent like Prabal Gurung and Naeem Khan, taking it several steps forward in dressing Hollywood divas and US First Lady, Michelle Obama. Yet their repertoire is, by no means, reserved only for the sensibilities of the top echelon of society. Stores like Target, J Crew and Neiman Marcus carry their brands as frontline items. In the end, it is personal charisma that radiates through the seams of high fashion.