Scandinavian scarf or a dupatta: What the TikTok trend reveals about cultural appropriation in fashion

Indian Express

10 hours ago

Remember Kareena Kapoor Khan's iconic character Poo in Kabhi Khushi Kabhie Gham flaunting a black dupatta with her beige jacket and halter-neck top? Chic, classy and oh-so-elegant, Poo became a fashion icon in the 2000s, setting off a trend among college students and young millennials. Aishwarya Rai Bachchan, too, rocked a similar look in Bride and Prejudice, pairing a slinky dupatta with her Indo-Western ensembles.
Now, decades later, TikTok has repackaged this dupatta-wearing '2000s baddie' look into a Western concept, calling it the 'Scandinavian scarf' trend.
Harshita Srivastava, senior faculty of fashion styling at Pearl Academy, explained that the Scandinavian scarf refers to 'a soft piece of fabric resting on the front of the neck and shoulders, cascading down the back.' It's now being sported by celebrities, models, and pop culture influencers, and widely adopted by young Western fashion enthusiasts.
The trend has sparked criticism on social media, as the so-called 'Scandinavian scarf' looks suspiciously similar to the South Asian dupatta. But the phenomenon of the West acknowledging and celebrating something only when they adopt it is hardly new.
'In 1498, Vasco da Gama 'discovered' India, they say, and paisley 'rose to popularity' in the 1800s because of Queen Victoria's taste. It raises the question: discovered for whom, and popular where?' asked Srivastava.
'The list of such trends is endless: yoga, chai tea lattes, turmeric milk, incense sticks, curry sauce, 'namaste', henna tattoos, naan bread, mango lassi… The point is, this isn't an isolated event, and certainly not the first time Europe has viewed itself as the centre of the world,' she said.
We live in a world that has been tilted, one where no act of borrowing from another culture can exist without historical context.
'When a privileged community adopts from a marginalised one, especially one that has faced historic oppression, colonisation, etc., they trigger and repeat the original trauma. Imperialism, identity, and systemic erasure are linked,' said Srivastava.
According to her, Eurocentric aesthetic preferences are how dominant cultures engage with a trend while actively shrinking the visibility of the culture and people they are adopting from, reinforcing unfair and oppressive structural dynamics.
'Cultural appropriation happens when patterns, symbols, silhouettes or designs are taken from an oppressed culture without context or consent. Especially when the dominant culture 'appreciates' things it once dismissed, or even punished,' Srivastava said.
She raised an important concern –– who gets to profit from a culture and who is punished for it?
Raghavendra Rathore, founder of Raghavendra Rathore Jodhpur, said that in the ever-shifting world of fashion, the line between inspiration and appropriation has grown even more difficult, and more critical.
'Inspiration comes from various periods and cultures and even the structures and textures of nature; creativity lives on references. For designers, this referencing is a means of storytelling, a process that revitalises classic forms, not an imitator strategy,' he explained.
But when reverence becomes replication, the integrity is lost. 'Inspired work is legitimate when it's honest –– it acknowledges the source, respects the context, and adapts with purpose. It's about paying respect to history and the original creator, not just copying a look,' he said.
That said, now, with social media, we have the tools and the power to question and disrupt a repressive cultural erasure with radical visibility. We get to take part in a trend while combating it at the same time. To wear, flaunt, and celebrate the dupatta without calling it a 'Scandinavian scarf'.
The rise of artificial intelligence complicates the conversation further. 'AI recycles and redefines past work by scanning billions of images, designs and styles. While this enables rapid creation, it risks diluting originality, leading to a homogenised visual culture,' said Rathore, adding that today's idea of 'originality' is already shifting since almost everything we create is built on something that came before.
This debate is especially relevant for Indian fashion, with its deep well of artisanal techniques, regional crafts, and visual diversity. As Indian designers reinterpret global influences and global houses borrow from Indian aesthetics, the question of inspired vs appropriated becomes a complex one.
This dialogue is especially important for Indian fashion, which rests on a rich foundation of tradition, craftsmanship, and diverse regional aesthetics. The challenge, according to Rathore, is to move from surface-level borrowing to respectful cultural exchange. In fashion – as in all creative work – it comes down to the integrity of the process.
'If one finds inspiration in another's work, the garment must clearly deviate in form, function, or context,' said Rathore, who believes that paying respect to a source honestly marks intellectual and artistic strength rather than a sign of weakness.
In a world becoming ever more transparent and algorithm-driven, Rathore believes the future of fashion belongs to those who can responsibly and honourably turn influence into innovation.
If you are bored with the regular way of draping a dupatta and serving major traditional vibes, Srivastava shared some quick and easy ways to style this piece of fabric.
'You can either drape it like a dupatta from the same or a contrasting colour and fabric family, draped like a shawl around the shoulders or the head, as a 90s scarf to tie the hair on a hot summer day or you can even opt for a monochrome set, adding bindis, chudis and even some ribbons,' said the fashion expert.
Ishika Roy is a is a Trainee Sub Editor for the lifestyle desk at The Indian Express. She shares a keen interest in reading, writing and researching on all things beauty, entertainment, pop culture and lifestyle. Ishika holds a Bachelor's degree in Sociology from Miranda House, Delhi and a Post-graduate degree in Journalism from Symbiosis Institute of Media and Communication, Pune. ... Read More