Celebration of traditional craft does not need a viral moment

Mint

27-07-2025

Isha Ambani was recently seen in a sari-inspired gown, made by Roberto Cavalli using the traditional bandhani technique from Gujarat. Her look instantly became a topic of conversation on social media, with many netizens calling it a global celebration of Indian artistry.
A similar reaction followed when actor Brad Pitt flaunted a shirt by homegrown label 11.11 in his new film, F1: The Movie. The shirt was crafted using Tangaliya, a 700-year-old weaving technique from Saurashtra, Gujarat, that requires artisans to hand-twist yarns, creating delicate bead-like patterns. While 11.11 had showcased the process in a detailed video earlier this year, the craft caught the attention of media outlets and digital platforms only after the American actor wore it on the big screen.
Last month, the Prada and Kolhapuri chappal controversy took over the news cycle. During men's fashion week in Milan, Prada was called out by Indian media and government authorities for presenting 'sandals" that looked unmistakably inspired by, if not a direct copy of, the popular Kolhapuri chappal from Kolhapur in Maharashtra. Designers like Tarun Tahiliani and Malini Ramani have long used these traditional leather sandals in their runway shows, but it took a global fashion house to bring public attention to them.
n the above three instances, one thing was common: Indian people started celebrating and talking about their traditional crafts, even if on social media, after it was presented on an international stage. This isn't something new, though.
For decades, international brands have borrowed liberally from cultures of the Global South. Cultural appropriation is a serious issue, but it also raises a deeper, more uncomfortable question: Why do a lot of us continue to wait for the West's validation when it comes to celebrating our own traditional crafts?
'We need to rehab ourselves from this habit," says the founder of Diet Sabya, an independent Instagram account that criticises and celebrates Indian fashion, who prefers to stay anonymous.
It's a sentiment echoed by academics too. Phyllida Jay, a UK-based anthropologist and author of books on Indian fashion, explains: 'The adoption of an Indian craft by a big luxury brand can make people in India reappraise an unsung craft and see it in a shiny new light. I've even had Indian designers tell me that their customers in India perceive more value in their work back home if they've shown at Paris fashion week or are stocked in a cool Milanese boutique. Sadly, there's still considerable power in the idea of foreign validation and branding in India." To call this a colonial hangover, after 77 years of independence, would be too simplistic. India is no longer a passive participant in global conversations—it is a cultural, social and economic power. With that rise comes a responsibility: to protect and champion our creative legacies on our own terms.
The backlash around the Kolhapuri incident reflects this shift. The uproar prompted Prada to meet with the Maharashtra Chamber of Commerce, which represents 3,000 Kolhapuri sandal artisans, to explore possible collaborations. The issue, however, is far from resolved.
'The 2026 menswear show using direct, literal copies of Kolhapuris was a communications disaster. It was a massive, baffling oversight. Prada is now doing everything it can to counter the reputational damage. How they follow up with real engagement, true collaboration, and transparent communication in relation to the collections that result from their dialogue with Kolhapuri artisans will be key," says Jay. And India needs to keep a close eye and follow up on the matter, as it could become an important example of how international brands should ideally interact with Indian crafts.
But, at the same time, it's also our responsibility to constantly value our vast textile and craft traditions and talk about them loudly, whether online or offline, without waiting for reason, a controversy or a trend. As the Diet Sabya founder puts it: 'Let's not act like Prada did something groundbreaking. Influencers will latch on to anything buzzy. If not Prada, then Saint Laurent. If not Kolhapuris, then Nehru jackets. It's not homage—it's content. Their interest is seasonal, algorithm-fed, and frankly, as fickle as fashion."
In the book Inspired By India, Jay documents how Indian craft and design traditions have shaped European fashion for centuries. In the late 18th century, for instance, the Scottish town of Paisley became so successful at reproducing Kashmiri shawls at a lower cost that the buta motif from Kashmir is now globally famous as 'paisley". And it's not just in fashion.
If people want to change how India's contribution to global culture is valued and treated, they first need to celebrate and appreciate traditional knowledge, and not wait for someone else to do it. 'Indian designers have always been about craft. Craft isn't just a moment—it's the backbone of our fashion," says the Diet Sabya founder. 'But it's not just the designers' responsibility. It's everyone's."
Dress Sense is a monthly column on the clothes we wear every day.
Sujata Assomull is a journalist, author and mindful fashion advocate.