THE first Monday of May, the starry night where art and fashion come together is fast approaching. Yes, the annual MET Gala, the most glamorous fundraising event where only the snobbiest who’s who are invited. Each year the Gala has a theme and attendees meticulously curate their outfits, which range from the whimsical to the wacky. But hey, if it makes news all over the world, let’s do it in the name of charity.
Indian representation in the form of attendance has increased at the Gala over the years. However, Indian art and fashion have been celebrated at the Gala for decades. In 1985, the theme was ‘Costumes of Royal India’. Paying tribute to Indian royalty, craftsmanship and patronage. Almost 40 years later, Indians continue to shine at the Gala with fashion icons such as Natasha Poonawalla bringing Indian art and fashion to the global stage with their clothing choices.
Natasha Poonawalla at the Met Gala 2023 | Instagram
In 2019, Nita Ambani, joined the Metropolitan Museum’s board (the Met Gala is a fundraiser for its costume history department), making her the first Indian trustee. But what got her a seat at the table? And more importantly, how does this matter?
The West has always looked at the East for exquisite craftsmanship amongst other things, however, the East has always looked at the West for validation, acceptance and that seat at the table.
For starters, we have a Louvre in Abu Dhabi and an Archaeological Survey of India, started by the British. Fortunately, we also have Indian representation in the leading museums and art institutions internationally. As the exclusive, private member clubs are becoming the hip and trendy aspirational choice for the wealthy in India, the ultra-wealthy of India have their eyes on international boards of Museums. Gaining this honorary badge is the ultimate symbol of prestige, an exclusive luxury item.
Patronage in the arts is largely dependent on industrialists and business tycoons in today’s day and age. Artists thrive with large grants as do museums. It is these donations, which equate to larger and better quality exhibitions, diverse audiences and richer experiences.
However, this is not a new trend. Indian corporates have been joining exclusive boards for years now with Tina Ambani being elected as a Trustee on the board of the prestigious Peabody Essex Museum, which houses a cornucopia of rare Indian artefacts, and Anand Mahindra holding a Trusteeship at the Natural History Museum. Isha Ambani too gained this coveted elite blue tick by being appointed as the youngest trustee at the Smithsonian’s National Museum of Asian Art in 2021.
Anand Mahindra was appointed to board of Natural History Museum in 2015 | Mahindra.com
Being a part of these institutions is a symbol of power and prestige. It gives the person the ability to have a voice on a global scale and influence an international cultural narrative. These privileges do involve loosening the purse strings a considerable amount though. The MET for example requires a minimum donation of US $10 million to be ‘considered’ as a board member. Unlike a game of poker, the buy-in alone cannot get you a seat at the table. There is an expectation of actively engaging with the collection, aiding in building the museum, giving time and having the attention to detail.
Above all, a strong passion and dedication to the arts are the topmost criteria. Having Indian members sit on prestigious cultural boards helps bring Indian heritage, art and culture to a global audience, giving them soft power.
Fortunately, several women seem to be taking up this mantle. For example, the historic Venice Biennale 2024, which is on since last week, and will be running until November, has perhaps the largest ever Indian representation from patrons. Despite the government choosing to not have an Indian pavilion, patrons such as Kiran Nadar and Karishma Swali of the Chanakya School have set two spectacular collateral exhibitions. Both exhibitions celebrate Indian heritage and modern Indian art.
The deep pockets of trustees and patrons are essential, and the glitz and glamour of being on illustrious boards is impressive. The dedication and passion for the arts that Indian patrons are channelling is what is commendable and what will allow Indian art to truly be valued. While I wait to see what the who’s who will wear for the MET, I hope more people aspire to gain a seat at one of these prestigious tables.