In June, luxury fashion label Prada stirred controversy when its runway models showcased toe-braided sandals that closely resemble the Kolhapuri chappal, a traditional handmade footwear from India. Made in Kolhapur, Maharashtra for centuries, these sandals saw little recognition in Prada’s collection, igniting a significant backlash. As discussions intensified, Prada issued a statement acknowledging the sandals’ Indian roots and expressing eagerness for a “dialogue for meaningful exchange with local Indian artisans.”
Recently, a team from Prada met with Kolhapur artisans and shopkeepers to better understand the craftsmanship behind the chappal. The meeting was noted as “successful,” and possibilities for future collaborations with local manufacturers were hinted at, marking a rare instance of a global fashion brand recognizing its oversight in crediting indigenous talent.
The incident reflects a broader trend in the fashion industry where big brands often draw inspiration from Indian and South Asian cultural traditions, yet fail to credit their sources properly. Earlier in the year, brands like Reformation and H&M faced similar accusations of cultural appropriation due to their collections’ resemblance to traditional South Asian garments, while Dior drew criticism after its recent Paris collection featured designs inspired by India’s mukaish embroidery without attribution.
While some argue that the appropriation isn’t always intentional and that global designers often draw upon diverse aesthetics, the essence of respect and acknowledgment remains critical. Shefalee Vasudev, a fashion writer based in Delhi, emphasizes that design principles require brands to give credit where it’s due, asserting that neglecting this responsibility results in cultural disregard towards Indian heritage.
India’s luxury market is forecast to grow, potentially reaching $14 billion by 2032, driven by an emerging affluent middle class. However, some experts, like Arvind Singhal of Technopak, argue that many luxury brands still perceive India as merely a production hub rather than a significant consumer market.
Fashion designer Anand Bhushan echoes this sentiment, reminding brands that what may seem like cultural borrowing must come with a thorough understanding of the history and significance of the art they incorporate. The challenges faced by global labels in this context are compounded by the oversight of cultural nuances, often viewed through a predominantly Western perspective.
Observers like Nonita Kalra recognize efforts made by Prada to rectify its mistake, yet suggest that more significant industry shifts must occur. A more diverse workforce within fashion brands could help address preconceived notions and stereotypes related to Indian culture and consumers.
This discourse around cultural appropriation ignited by Prada highlights both an opportunity and a challenge for India to support and elevate its artisans amidst a global landscape that often overlooks their work. The depth of India's rich artistic traditions, at risk of being overshadowed, underscores the need for greater respect and appreciation — not just from foreign brands, but from local consumers as well.
As Laila Tyabji from Dastkar observes, without valuing local craftsmanship and instilling pride in its artisans, exploitation is likely to persist. Demonstrating respect for these artisanal practices may lead to powerful transformations both within and outside India's borders.
