Abstract The paper contributes to our understanding of current global Indian fashion engagements with textiles craft by studying the work of Manish Arora and Rahul Mishra. The research starts by analysing what both designers say about their use of crafts; it then considers their collections with special regard to sites of craft production before gauging the international fashion press’s perceptions of craft in Indian fashion. The paper finds that Arora and Mishra assign variable degrees of agency to the craftspeople they work with, and that their divergent modes of employing artisans are as strongly influenced by their personal relationships with Indian textiles as by their individual approaches to fashion. The findings are then reflected against recent calls from within Europe for fashion’s return to textiles heritage, and while we suggest that fashion design capabilities beyond the global north tend to be underestimated in this context, we propose that interactions between fashion and craft in the global south can indeed offer interesting new working models for fashion cultures even where these have no hinterland of living textiles heritage.

中文翻译：

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任何人的遗产？印度时装设计与工艺的关系在地方监护和全球时装价值化之间

摘要 本文通过研究 Manish Arora 和 Rahul Mishra 的工作，有助于我们了解当前全球印度时尚与纺织工艺的关系。这项研究首先分析了两位设计师对他们使用工艺品的看法；然后，在衡量国际时尚媒体对印度时尚工艺的看法之前，它会特别考虑他们的系列，特别是工艺生产地点。该论文发现，Arora 和 Mishra 为与他们合作的工匠分配了不同程度的代理权，并且他们雇用工匠的不同模式受到他们与印度纺织品的个人关系以及他们个人时尚方法的强烈影响。研究结果随后反映在欧洲内部最近呼吁时尚回归纺织品传统的呼声中，