Cultural appropriation or inspiration? Prada gets flak for Kolhapuris on runway
Pharrell Williams, Louis Vuitton's menswear creative director, made his influences clear. The runway was designed by celebrated Indian architect Bijoy Jain, announced boldly across the brand's social channels. Music was composed by AR Rahman. Front-row seats were filled by Indian stars like Ishaan Khatter. The show notes openly acknowledged the collection as a reflection of 'the multi-faceted sensibilities of present-day India'. 'This is acknowledgment. This is cultural exchange. This is appreciation of heritage — not appropriation,' says Sujata Assomull, launch editor-in-chief of Harper's Bazaar India.
The issue at hand isn't just about giving credit where it's due — though that, too, is increasingly non-negotiable in today's hyper-connected digital age. The deeper problem lies in a long-standing pattern of discrediting and rebranding by luxury houses — a habit quietly perpetuated for centuries. Prada referring to Kolhapuri chappals as 'leather one-toe sandals' isn't fashion's first fumble. From the Indian dupatta being adapted into the so-called Scandinavian scarf, the traditional dhoti to harem pants, and the 'boho' paisley mango print to rebranded Kashmiri pashmina shawls as mere 'cashmere' — these are all examples of Indian cultural staples repackaged and sold by the West with little to no cultural acknowledgment.
Inside the Collection
Prada's Spring/Summer 2026 menswear collection marked a shift in tone — softer, more playful, and unmistakably relaxed. Gone were the sharp business suits. In their place: pastel-hued trousers, athletic-inspired tracksuits, and loose shorts cinched with elastic waistbands. Light blazers, glossy biker jackets, and whimsical accessories — raffia bucket hats, polished leather bags, and colour-blocked backpacks — added a sense of breezy irreverence. Footwear followed suit, favouring ease over formality: flip-flops, slender driving shoes, and open-toe leather sandals took centre stage, replacing traditional dress options. A fresh palette of mint, lemon, and powder blue breathed life into the classic greys, making the collection feel contemporary, cheerful, and unmistakably resort-ready.
The Origins of the Design
Kolhapuri chappals — awarded a Geographical Indication tag in 2019 — have been handcrafted for generations across eight districts in Maharashtra and Karnataka. Made from sun-dried buffalo hide and assembled entirely by hand, they require no synthetic materials or adhesives. Each pair is a labour of skill and tradition, often taking up to two weeks to complete. While Prada hasn't named Kolhapuris explicitly, the resemblance is hard to miss — and the omission has sparked renewed debate around cultural appropriation in luxury fashion. For some, seeing the silhouette on a global runway was a moment of overdue recognition. But in the absence of any acknowledgment — no mention of the artisans, no nod to the heritage — the gesture risks feeling hollow. Inspiration, when left uncredited, too easily slips into erasure.
The chatter around the matter
Still, its inclusion on the runway has sparked curiosity and intrigue. The sandals have been making the rounds online, with side-by-side posts and close-up comparisons drawing attention to their roots. For some, it's opened the door to deeper questions about visibility and sourcing, and what recognition can look like. The Kolhapuri chappal, a long-standing staple in Indian wardrobes, now finds itself in the spotlight. So, while its silhouette hasn't really changed, the audience has. We asked Assomull what she thinks of this move, or lack of move by Prada, and she reminds us: 'India has always been a source of inspiration for global fashion — and proudly so. At one point, British shopkeepers would label garments 'Made in India' as a mark of craft excellence. But history also reminds us how that shifted in the 1800s when Indian textile imports were banned under colonial rule. Today, brands from Dior and Hermès to Elie Saab and Zuhair Murad regularly turn to India's rich textile traditions — and most Indians take pride in this.'
'The problem arises when that inspiration isn't acknowledged,' she adds.
The debate online has left people from all over the world, feeling the same way. Fashion influencer and local crafts enthusiast Masoom Minawala took to her social media platform to point out: 'Here's the thing, referencing is easy. Respecting the roots takes more intention. Let's remember, inspiration must come with credit.'
The Lesson
Luxury brands have had their fair share of messing up — and learning from their mistakes. They've seen highs like no other industry, and lows like every other one. Over the years, each of these brands has built a loyal base of clientele, and as they continue to reshape themselves, a new generation of young consumers keeps joining the fanbase. However, the legacy of an entire brand can be washed away if mistakes like these happen one too many times.
Today's consumers are smart — they're listening, watching, and making choices that are politically and morally conscious. And rightfully so. After all these years of chiselling their craft and honing their creative direction, a luxury brand should be focusing on giving back to society — not just through CSR strategies, but by acknowledging the cultures they've borrowed from, and sharing traceability over the paths they've walked.
Host of the podcast Fashion Your Seatbelt and a regular on the front row at fashion weeks, Jessica Michault says: 'In today's social media age, there's no excuse for brands not to credit the craft or culture they draw from — especially when the inspiration is so clearly rooted in a specific style and region. Whether through a press release, at the event, or in post-show communication, acknowledging the origin is the least that should be done.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Khaleej Times
14 hours ago
- Khaleej Times
'Dhurandhar' first look: Ranveer Singh looks ready to pack a heavy punch
Bollywood star Ranveer Singh shared the first look of his upcoming film Dhurandhar on his birthday on July 6. The actor also said the movie will release on December 5. Taking to Instagram, Singh shared the first look of his upcoming action-thriller Dhurandhar . The film is produced jointly by Jio Studios and B62 Studios. Recommended For You Dhurandhar is helmed by Uri: The Surgical Strike director Aditya Dhar. The movies, as per the first look, boasts a cast headlined by Singh along with Sanjay Dutt, Akshaye Khanna, R Madhavan and Arjun Rampal. The two minutes and thirty-nine seconds of the movie's first look showcases Singh in an action avatar, which is expected to face resistance from Arjun Rampal, Akshaye Khanna and Sanjay Dutt. The first look also boasts a powerful composition created by Shashwat, with vocals by Jasmine Sandlas and a special collaboration by Hanumankind. Singh captioned the first look, "An Inferno will rise. Uncover the true story of The Unknown Men." The movie is jointly produced by Aditya Dhar, Jyoti Deshpande and Lokesh Dhar. Ahead of releasing the first look, the actor deleted all his Instagram posts, hinting at a huge announcement. Singh is known for his films such as Gully Boy , Padmaavat , Band Baaja Baaraat , among others.
Khaleej Times
15 hours ago
- Khaleej Times
The Indian connection to Brad Pitt's ‘F1: The Movie' that everyone's talking about
In his latest film, F1: The Movie, Hollywood superstar Brad Pitt introduced car racing at the highest level to a wider audience, and something else equally distinct. A style of Indian weaving that's now grabbing more attention: the Tangaliya. At a behind-the-scenes shoot , Pitt sported an indigo-coloured Tangaliya shirt, by the fashion label 11.11/ The organic cotton shirt was chosen by the costume designer Julian Day to lend authenticity to Pitt's character of Sonny Hayes, an F1 racer past his prime who leads a struggling team back to the podium. The Fight Club actor paired the shirt with denims and the look is absolutely droolworthy. Frankly, we can't have enough of it, either! View this post on Instagram A post shared by 11.11 / eleven eleven (@1111clothing) Julian Day, in an interview to the Indian media outlet News18, explained that the selection of the 11.11/eleven eleven piece was deliberate and driven by the narrative of the film. 'Its soft indigo tones helped create the right palette for him," Day was quoted as saying by News18. 'Indian brands are so hot at the moment. Their use of natural fabrics and dyes and how they are handcrafted play so well in this current environment." That cool quotient, however, comes with a lot of effort. The Tangaliya weave, native to Surendranagar, in the Saurashtra region of the west Indian state of Gujarat, is labour-intensive and is at least seven centuries old. It involves twisting threads of contrasting hues around the fabric's yarn that gives it a distinct look of raised dots. Garments made with it, including shirts, shawls and skirts, are sturdy and are traditionally used to depict a variety of motifs. The Indian government has granted the weave a geographical indicator, or GI tag, implying that products from originating from a particular region possess a superior quality. 11.11/eleven eleven piece is founded by Mia Morikawa, a graphic design graduate from Central Saint Martin's University of the Arts, London, and Shani Himanshu, Master's in Fashion Design from Domus Academy, Milan. F1: The Movie, led by a stellar cast comprising Javier Bardem, Kerry Condon and Damson Idris, roared to the top of the global box office over its release weekend, minting around $150 million (Dh550.9 million).
Harpers Bazaar Arabia
15 hours ago
- Harpers Bazaar Arabia
24 Hours With Shoe Designer Jennifer Chamandi: The Sacred Shift From Entrepreneur To Mother
Her bridal shoes are the accessory du jour, worn by everyone from Gwyneth Paltrow to Queen Rania of Jordan. The British/Lebanese founder and creative director who is obsessed with Self-Portrait, hooked on Nescafé and swears by Rodial, shares her schedule… I usually wake up at 7am. I sleep best when cocooned with black-out curtains and a silk eye mask. I should start my day in stillness and meditation (I try every morning), but my hand goes straight to my phone! Some mornings, I pull a card from my Daily Reminders deck, which I created to inspire and align. It's a real anchor. Daily Reminder cards, POA, Jennifer Chamandi By 7.15am I'm in the kitchen with my twin girls, who are already bursting with energy. We have breakfast together; it's our bonding moment before the outside world begins. I drink the most delicious banana smoothing from WelleCo by Elle Macpherson. It's become a morning ritual I look forward to. 7.45am I keep things simple but sacred when it comes to my beauty routine. If I have a shoot or meeting, I go for light make-up. I love Charlotte Tilbury's Wonderglow and Victoria Beckham's Satin Kajal Liner. My skincare is by Rodial – its Bee Venom and Dragon's Blood lines are transformative. I alternate between the Bee Venom Cleansing Balm and Dragon's Blood Cleansing Water, followed by Sculpting Gel and either VIT C SPF30 or the Bee Venom Night Gel. The Bee Venom eye cream at night is magic. Wonderglow, Dhs125, Charlotte Tilbury Dragon's Blood Sculpting Gel, Dhs480, Rodial 8am My wardrobe is a balance of structure and flow, just like my life. I gravitate toward pieces that allow freedom of movement but make me feel powerful. For office wear, I turn to Max Mara and Anine Bing. For evenings, my latest obsession is Self-Portrait, feminine with a touch of sparkle. And, of course, always in my Jennifer Chamandi shoes. Dress, Dhs3,380, Max Mara at Net-a-Porter Mattia Shoes, Dhs3,210, Jennifer Chamandi At 9am I head to The Apartment, my atelier and creative sanctuary in Mayfair, London. It's a space filled with light, music and intention. I make my Nescafé (one Nescafé, two Coffeemate, one brown sugar – don't mess with the formula!), then check in with my team before diving into emails, strategy and connecting with my factory in Milan. How many emails do I get a day? Can I say a million? I back them into one to two-hour blocks, so I don't get swallowed by the screen all day – a discipline that transformed my productivity. Otherwise, the to-do list becomes the day. For lunch at 12.30pm I keep it simple, a salad or soup at my desk. Not ideal to eat in front of my screen but a bad habit I inherited from my banking days. 2pm The afternoons are a creative crescendo, reviewing samples, brainstorming designs, checking in with my factory, or nurturing partnerships. I put on high-frequency music to stay in the flow. I sneak in a few gummy bears (Jelly Tots are my new obsession) and a little wink to the old-school pick'n'mix from my banking floor. I aim to leave by 6pm to be fully present with my daughters. That sacred shift from entrepreneur to mother grounds me. Presence is the most generous gift you can offer anyone, especially your children. At 7.30pm it's phones down (at least I try, my husband may say otherwise!). Bedtime with my girls can take an hour, full of existential questions, giggles and infinite cuddles. They keep me mindful and inspired all at once. 8.30pm Once the girls are asleep, I spend time with my husband, debriefing on the day and usually attempting to watch a movie or a series after watching a billion trailers. Before bed, I might read a little. I've currently got two books on my nightstand: Grit by Angela Duckworth and Elle by Elle Macpherson. 10.30pm Sleep is sacred, and I need a minimum of seven hours to function but eight is my sweet spot. I always try to close the day with a short meditation and visualisation. It clears the noise and reconnects me to purpose. I usually need a few deep breaths to fall asleep as I lie in bed mind planning my next day and new inspiration flows. It's often where many of my best designs are born. All Imagery Supplied
