Cultural Appropriation: Piercing the Façade of Harmless Borrowing

1. Kolhapuri Chappals- The story in vogue from Maharashtra to Milan.

The Legacy of Kolhapuri Chappals

Kolhapuri Chappals, the symbol of artisanal skill and cultural heritage, the identity of artisans, and the pride of Indians, are traditional handcrafted sandals that originated from Kolhapur, Maharashtra, and in the present times form the major source of livelihood for artisans in Kolhapur, Athani (Karnataka), and a few nearby districts. Known for their exceptional durability, elegance, and cultural richness, these chappals are crafted from naturally tanned leather using eco-friendly vegetable dyes. The whole process highlights artisanal skill immersed in sustainability, beginning with the tanning of buffalo or cowhide using natural oils, salts, and plant extracts. Artisans soak the leather in water to soften it and then carefully cut the leather into required shapes for the sole, straps, and decorative pieces, each part being skillfully measured and shaped by hand. The sole is made of multiple leather layers stitched together using nylon or cotton threads using a special tool called an arii to make tiny holes for neat stitching. Thin leather strips are braided into intricate patterns that decorate the straps and then fixed onto the sole. Each design has its own strap placement, like Kapshi with toe-hold loops or Paytaan with flat straps, or Bakkalnali with narrower straps. Finally, the chappal is polished with natural oils for shine and flexibility. Vegetable colors may be used to impart a reddish or brown tint. This way, each pair can take 2-3 days to craft, depending on the complexity of the design. Once considered purely traditional, Kolhapuri chappals, in the present times, are known to elevate casual fashion looks and are being incorporated in contemporary collections as well, thereby increasing the vulnerability to originality. However, the most recent Prada Controversy has brought global attention not only to the footwear per se but also to its originality and the need for fair credit to artisans. A blessing in disguise! But what is the controversy about?

The Prada- Kolhapur Controversy

At Milan Fashion Week on June 22, 2025, Prada launched its 2026 Spring-Summer Menswear Collection. Among many other things, it presented open-toe leather sandals that exactly mirrored the Kolhapuri chappals. However, showcasing an utterly irresponsible business ethic, Prada didn’t bother to make any mention of the Indian origin of the chappals or the GI status that has been enforced by the Indian Government. Once the images went viral, social media erupted with criticism of Cultural Appropriation.

Prada’s Belated Response

In response to the mounting criticism and the trending hashtag #KolhapuriChappals, Prada officially admitted that the sandals showcased on the runway were inspired by traditional Indian handcrafted Kolhapuri footwear and emphasized that the cultural heritage deserves proper credit. To back its words with action, a team comprising six senior Prada representatives travelled to Kolhapur, where they engaged with local artisans, toured workshops, and assured to elevate the global recognition of the Kolhapuri chappals responsibly. Prada also engaged in formal communications and meetings with the Maharashtra Chamber of Commerce, Industry and Agriculture (MACCIA) to explore possible collaborations, like launching a limited-edition “Made in India” Kolhapuri-inspired collection. While these interventions were seen as a mere course correction amid criticism of cultural appropriation, on paper, Prada did commit to responsible practices and cultural engagement. But the question remains- Is this the end of the story? Given the fact that India is home to many such artisanal wonders, are those handicrafts safeguarded? Shouldn’t we take this as an opportunity to enhance our understanding of Geographical Indications and Intellectual Properties?

2. Vulnerability of India’s artisanal treasure amid appropriation threats.

Cultural Appropriation happens when elements of a culture (especially those of marginalized or indigenous communities) are borrowed, copied, or commercialized by outsiders without proper credit, respect, or benefit to the originators. In this backdrop, the Kolhapur-Prada controversy qualifies as a genuine case. However, it is not the first of its kind. It is noteworthy that such instances of appropriation have been a recurring issue in fashion, entertainment, beauty, and even the food of India in particular and South Asia in general. Several examples that may be mentioned, in the Indian context, are as under-.

The dainty Lucknowi Mukaish Embroidery- Luxury fashion house Dior unveiled a striking gold and ivory coat during the Men’s Spring-Summer 2026 collection. The coat featured Lucknowi Mukaish embroidery, a traditional Indian hand embroidery technique known for its delicate metallic threadwork. However, Dior’s communications did not mention the origin of the craft or acknowledge the Indian artisans.
The eloquent Mehndi Art- Mehndi is a natural dye made from the powdered leaves of the henna plant (Lawsonia inermis). In South Asia, it is traditionally applied during weddings, Eid, Diwali, Karva Chauth, and several other festivals symbolizing luck, fertility, and protection. However, the art has been rebranded as the “Boho Tattoo Art” in the West.
The magical Haldi doodh- In South Asia, turmeric milk has been part of the culinary tradition for centuries. It is a home remedy for colds, coughs, inflammation, and nearly any health issue pestering a person. Whenever a person falls sick, the simplest solution is to add turmeric to a glass of lukewarm milk (with or without additives like ginger, black pepper, or honey), consume the magical potion, and rest assured. However, among the rebranding of many Indian legacies is the rebranding of Haldi doodh as “Turmeric latte” or “Golden milk” in the West. Marketed as a super food wellness drink, none of the promotions mention or give credit to its origin.
The chic Indian Dupatta- The iconic Dupatta, which is a long scarf draped in different styles and styled with different outfits. It forms the core of Indian wear, both Men’s and Women’s. For Indians, it is not just a style statement. It is a piece of cultural identity symbolizing modesty, respect, celebration, and religious sentiments. However, even the Dupatta is being appropriated and labelled as “Scandinavian Chic Scarf”.
The elegant Bindi- Traditionally worn across South Asia, Bindi (forehead adornment) symbolizes marital status, spirituality, and cultural identity. However, pop stars like Selena Gomez, Madonna, and Vanessa Hudgens wore Bindis in music videos and concerts merely as an exotic fashion accessory with no reference to its religious and cultural meaning.

3. Cultural Appropriation: Colonialism persists in the modern world.

Colonialism, something existing beyond books and deliberations, wasn’t only about political or military domination. It even involved taking land, labor, and culture from colonized people while devaluing and suppressing their traditions. Therefore, I find it utterly justified to call Cultural Appropriation the modern version of Colonialism. After all, Appropriation is also affected by adopting the clothing, food, language, rituals, art, etc. of marginalized communities without awarding a speck of respect, acknowledgement, or context. Another supporting argument that I would like to mention is the resulting Power Imbalance. Clearly, the dominant group often benefits, whereas the dominated group remains stigmatized. Moreover, erasure of the indigenous culture is also a worrisome outcome that too when the appropriators get praised as “innovators”. In my opinion, the only difference in the ancient and modern implications of colonialism is that of arms and ammunition. Cultural Appropriation doesn’t involve armies or governments, but does echo the colonial patterns of taking without consent and affecting inequality in the same symbolic and economic ways.

4. But shouldn’t we be proud of our crafts becoming world famous?

Of course, we should be. But when they are referred to as “ours”. When there is a clear mention of originality, the artisans are given one hundred percent credit. But nothing such is done. While this is the focal point of opposing Cultural Appropriation, there arise a series of other dimensions also arise.

Misrepresentation and Distortion- Sacred symbols, traditional clothing, rituals, and artwork are just used for fashion or entertainment purposes, stripping them of context and meaning, something that not only hurts the sentiments but also threatens the existence of host communities.
Stereotyping and Mockery- Reducing a culture or its elements to a few exotic traits reinforces stereotypes, failing to explain its depth and diversity, which in turn fuels racism.
Economic Exploitation- Designers, influencers, and corporations often profit from such crafts without having to acknowledge, let alone compensate, the communities that actually birthed them.
Erasure of origin communities- While the appropriators benefit lucratively, the originators live in poverty, often struggling to keep their identities alive. The originators are being erased from the narration.
Double standards and Discrimination- It is shameful to even mention that while indigenous people are punished and stereotyped for practicing their own culture forever, the outsiders get praised for adopting it.

Therefore, we don’t want any of our crafts being showcased internationally without acknowledging the originators. This only exploits our culture, deepens inequality, erases histories, and disrespects identities. We say NO to any such trade whatsoever.

5. How can the Indian government help?

While Cultural Appropriation is a social issue, we cannot nullify the fact that governments do have tools to protect communities and traditions. Several tools that can be utilized are-

Legal Protections- The government must enforce stringent implementation of Intellectual Property Rights and Geographical Indications so that only authentic producers can use the trade name and outsiders can’t freely commercialize them. Copyrights and Trademarks can extend protection for indigenous art, music, and symbols beyond individuals to whole communities.
Economic Support- To uplift artisans and communities, the government needs to provide subsidies, training, and market access so the originators develop the resilience to face such challenges. Fair trade certification must be implemented to ensure traditional products are marketed with proper recognition and profit sharing with the source communities. Cultural tourism needs to be promoted, however, with strict checks and regulations to prevent outsiders from exploiting our heritage.
Accountability- The Government must ensure that the owners of their cultures, the communities, must be consulted before using any part of their tradition. Corporations and Fashion houses must be required to credit and compensate communities for using traditional designs. I am also desirous of prohibiting sacred symbols and motifs from being used in fashion as mere “props”.

While governments can protect, empower, and give sole ownership to the marginalized communities through law, economy, education, and heritage preservation, we need to analyze the situation in greater detail, and the question that arises here is- Even after being duly government-recognized and GI safeguarded, Kolhapuri Chappals couldn’t be safeguarded from the threat. What went wrong? Well, this query points to the grey zone that exists in the international market.

6. Grey Zones in the International Market

This is an utterly important angle of analysis because the products often cross borders and escape the ambit of national laws. Example- an Indian craft may be safeguarded under GI in India, but mass-produced in China or Europe! This is caused due to certain loopholes in the international market listed below.

Lack of Universal Laws- Intellectual Property Rights (IPR) are not global. The solution to this may be tricky, but not impossible. For introducing universal laws, we will first be required to strengthen the governing bodies, like the World Intellectual Property Organization (WIPO), the United Nations Educational, Scientific, and Cultural Organization (UNESCO), and the World Trade Organization (WTO). Additionally, creating a global framework for Cultural Heritage Rights could add meaning to the aspects of consent, attribution, and benefit sharing of international trade.
Limited scope of Modern Intellectual Property Rights- Modern IPR protects individuals and companies, but cultural heritage is collective. Since there is no “owner”, communities fail to claim exclusive rights internationally, making it quite easy for corporations and fashion houses to rebrand traditions without credit. For this, we may pitch for expanding and broadening the scope of modern IPR to incorporate categories like Collective Copyrights for Communities, Cross-Border GI Tags, and Heritage Patents.
Unequal Economic Power- Global luxury brands have marketing and legal muscle, so they commercialize culture at any scale, whereas local indigenous communities can’t even compete, even though they are the originators. In my opinion, mitigating this particular challenge is the biggest challenge!

7. India’s fast-growing luxury preferences- the paradigm shift towards decline.

India’s luxury market is expanding rapidly, driven by rising affluence, digital accessibility, and ever-changing consumer aspirations. Valued at around US $17 billion in 2025, the market is projected to grow nearly fourfold to US $85-90 billion by 2023. The boom is supported majorly by the emergence of a young consumer base that seeks luxury. Jewelry continues to dominate spending, while fashion, beauty, and wellness are also emerging as fast-growing categories. With digital retail, India is steadily positioning itself as the next big growth market for the global luxury industry.

This trend may seem progressive to many, but for me, it is an undesired shift from culture and tradition. I believe that the growth of luxury consumption in India does have downsides when it comes to our values as a nation:

Traditional crafts made by local artisans are increasingly sidelined by imported luxury goods.
Young consumers are associating “status” with foreign brands while, knowingly or unknowingly, devaluing indigenous crafts. This will erode pride in local traditions.
Profits are massed up by foreign brands while original makers remain marginalized.
Luxury culture promotes consumerism and the display of wealth, which clash with our values of simplicity, sustainability, and spirituality.
Centuries-old crafts are facing decline, and Indian culture is being diluted.

8. Responsibility of Indian Brand Ambassadors

Indian brand ambassadors, especially celebrities and influencers, carry a huge responsibility as they endorse as well as shape our aspirations. While only promoting foreign luxury brands, they unintentionally sideline India’s own rich heritage of textiles, jewelry, and craftsmanship. Instead, their role should go beyond carrying forward international campaigns. They should come forward to champion Indian brands, showcase indigenous crafts, and give visibility to artisans who often struggle for recognition. They also have the responsibility of encouraging ethical consumerism, highlighting sustainability and authenticity rather than just material display. Indian ambassadors can thereby act not just as influencers of fashion, but as guardians of cultural pride in a rapidly globalizing world. After all, an ambassador’s real power lies in inspiring pride in what is ours while embracing what the world offers.

9. The inspiring influence of YouTuber Maroof Culmen

While scrolling through my feed on a fine day, I came across a YouTube Channel namely Maroof Culmen, and I instantly loved the content. Maroof Culmen is also the name of the person running the channel. I can emphatically say that is how responsible influencing is done. The YouTube Channel showcases short films and documentaries highlighting traditional arts, crafts, and culinary culture. Maroof Culmen exemplifies influence. He has mastered championing tradition, educational storytelling, cultural advocacy, and conscious consumption. I am sure there may be other influencers contributing their bit towards tradition endorsement, but I believe that these are far less than needed for creating some impact.

10. Case Study- Learning from Japan’s Proactive Strategizing

Japan has been really proactive in protecting its culture, traditions, and symbols from being diluted, misused, or appropriated. This unique trajectory has allowed it to further develop and strategize cultural preservation.

Isolation Policy (Sokaku; 1639-1853) – For over 200 years, Japan closed itself to most of the outside world. Foreign trade and influence were strictly controlled. The isolation helped Japanese culture evolve independently, viz-a-viz keeping its tradition intact.
Strong Cultural Identity and National Pride – Japan has always valued its heritage, rituals, and even the simplest of aesthetics, from tea ceremonies to kimono making to martial arts. Japanese people take deep pride in their culture, making it impossible for foreign influences to dominate or redefine their beloved traditions.
Law for Protection of Cultural Properties (1950) - Since the early 20th century, Japan has had strong legal frameworks to protect crafts and heritage. The Law, enacted in 1950, designates certain practices, crafts, and even performers as “Intangible Cultural Properties”. Masters of traditional arts are recognized as “Living National Treasures”. This not only preserves authenticity but also prevents misuse abroad.
Trademarks and Geographical Indications- Japan actively registers cultural symbols under GI protections so they cannot be cheaply reproduced or misbranded overseas. This makes it legally difficult for foreign companies to claim Japanese culture.
Selective Export- Japan is very strategic in how it shares its culture globally. Japan exports its culture on its own terms, controlling the narrative instead of letting outsiders define it. Example- when Sushi became global, Japan standardized quality to distinguish it from imitations.
Revitalization of traditional crafts- Japan constantly invests in reviving traditional crafts, ensuring they don’t die out or get appropriated. Local artisans are supported, and heritage villages are promoted for tourism- keeping traditions alive and tied to their origin.

Japan has skillfully protected itself by isolation, pride, legal safeguards, and limited cultural export, thereby dictating its culture to the world.

11. Conclusion

“Tradition is like the roots of a giant tree- it grounds us, gives us identity, and imparts a sense of belonging. It carries the wisdom of generations, preserving values, art, and customs that shape who we are. It is our collective responsibility to honor this wisdom and keep alive our ancestors’ practices. If we want the tree to thrive, we need to preserve the roots, and this can only be done collectively.”

. . .

Bibliography:

Discus