India’s Artisans Are Powering Global Fashion — But Getting None of the Credit

Over two decades ago in New York, supermodel Ujjwala Raut was backstage at a Michael Kors fitting when the American designer paused, pointed at a skirt, and said, “Ujjwala, look at this skirt. This is the beautiful embroidery that’s come from India.” She wasn’t surprised. From Gucci to Hermès, couture houses have long used Indian techniques — but rarely said so out loud.

“It was only through magazines — many of which weren’t available here — and FTV [that Indians became aware about the international fashion space],” she recalls, explaining how limited access was in the early 2000s.

Today, Indian craftsmanship is more visible than ever — not just on runways, but on Pinterest boards and in luxury campaigns. A Kolhapuri chappal shows up at Prada. A dupatta gets rebranded as a “Scandinavian scarf.” But behind the viral designs, the artisans remain invisible.

'Toe-ring' sandals at Prada's spring-summer 2026 collection, earlier this year.Getty Images

This raises another question: Do the Indian celebrities endorsing these brands even care about the artisans they claim to champion?

Where Credit is Due

This isn’t just about aesthetics — it’s about economics. Luxury fashion is built on exclusivity, but it also thrives on undervalued labour. As mentioned in a May 2024 article by The Voice of Fashion, “Even if the most hyped garment with 3,000 hours in its making hits an Instagram high, the artisan takes back the same money each month... it’s a no brainer that the amount earned by the artisan may not be even one-tenth of the price of a couture piece that begins at several lakhs.”

“People that are making the deals with the [fashion] houses sell the artisans for very cheap,” says Raut. “Now, the prices have shot up, and we know the prices at which things are sold. But somebody is pocketing it, let’s not forget that.”

Gayatri Khanna Sabharwal, founder of Milaaya Embroideries, breaks down how the supply chain works: “Fashion houses send us a mood board, then our in-house artisans come in. The house will choose the swatch and tell us how to lay it out on their pattern of a jacket.”

Gal Gadot and Leighton Meester sporting “Scandinavian scarves”.Getty Images

The final panels — hours or even days of hand embroidery — are shipped back to Europe, stitched, and labelled “Made in France” or “Made in Italy.” Khanna says, “The correct way is to say, ‘Made in France, embroidered in India.’”

She adds that groups like LVMH and Kering are beginning to take ethics more seriously, with compliance programs like Uthaan (since 2018) and annual audits for suppliers to ensure fair labour, hygiene, and healthcare. However, in an article by Forbes India, Pankaj Attarde, an embroidery consultant in Mumbai, argued about the need for transparency and fairness. “If compliance is about improving the lives of workers, why is Utthan secretive?” he asked.

On the Sidelines

But in a world where “craft” is a marketing buzzword and “heritage” sells clothes, actual artisans remain sidelined. Meanwhile, some celebrities attend fashion shows that feature knockoffs of Indian crafts, while also tweeting about preserving handlooms the same week. Others wear embroidery-rich couture clearly inspired by Indian silhouettes but never ask who made it.

Masoom Minawala, fashion entrepreneur and influencer, isn’t surprised. “Fashion has always reflected culture, but when that reflection omits the source, it becomes a distortion,” she says.

She points to techniques like mirror work, zardozi, and chikankari appearing from Paris to Milan, and to controversies like Prada’s Kolhapuri sandals.

“There’s a line between appreciation and appropriation. Referencing our culture should never come at the cost of excluding its origin story.”

Actor Neena Gupta echoed the sentiment with a post on Instagram: “Real toh real hota hai (real is real)” she said, showcasing her handmade Kolhapuris, a gift from the late Laxmikant Berde — a dig at Prada’s designer version.

Minawala is clear that Indian fashion isn’t a trend. “Our crafts are not ‘emerging’, our legacy isn’t ‘trending’. Indian fashion has always stood at the intersection of tradition and innovation, it’s just that the world is finally catching up.” She acknowledges that some luxury houses do the work respectfully. “But visibility without credit, and scale without fair compensation, can never be sustainable or ethical.”

Straight to the Source

Designer Kunal Rawal has seen it all before. “When something like a Kolhapuri chappal or a Gujarati Bandhini shows up on a runway in Milan or Paris without context, it loses half its magic,” he says. “If a craft is good enough to inspire, it’s good enough to be named.”

Rawal, whose couture business weaves in artisans’ stories, believes in naming the source on whatever medium possible. “Crediting who made it, where it was made, and how many hours went into it… that gets people asking questions about the technical side of the craft.”

He adds, “A single outfit can take hundreds of hours — that’s human artistry, not a production line. We need to make life more secure and convenient for them. That means insurance, paperwork, access to loans, and taking a real interest in their financial growth.”

Raut also notes the lack of protections. “In countries like France, there are laws that protect those in the couture industry, but due to a lack of unions in Indian fashion, there’s simply no one to protect them.”

The Cost of Silence

India’s design language — once seen as niche — is now fashion’s favourite aesthetic. From Dior’s India-themed runway show to Gucci’s mirror work jackets, Indian maximalism is in. But appreciation without attribution is still appropriation.

Designer Aisha Rao sees the shift as generational. “This past year, the amount of India-centric stuff we’ve seen — whether it was the LVMH show, the carpet, the runway, the Kolhapuris — the India rhetoric has constantly shaped up.”

She adds, “People are also being taught through Instagram, like the Madras checks and Brooks Brothers shirt. It could be wrong but it’s giving way to new perspectives.”

Following Prada’s Kolhapuri sandal controversy, actor Kareena Kapoor Khan posted: “Sorry not Prada… but my OG kolapuri.” A quiet nod — but not a callout.

And these are often the same celebrities who back #VocalForLocal campaigns, tag Indian weavers, and attend charity events for craft preservation. Many have endorsed brands accused of racist casting or cultural erasure.

Rawal, who has collaborated closely with Bollywood stars, puts it plainly. “When it comes to crediting artisans, it starts with the choices they make. When an actor talks about the karigar who embroidered their jacket or the weaving tradition behind their look, it sparks curiosity. People start googling, asking questions, even placing orders — and that brings the work right back to the community.”

A Future of Accountability

There are signs of change, thanks to renewed conversations on social media. Global consumers are demanding transparency. Designers such as Rawal are focusing on artisanship in their brand story. Dior credited Indian ateliers like Chanakya. Influencers like Minawala and designers like Rao are speaking louder than ever.

But to truly honour Indian craft, celebrities and influencers — especially those with the biggest platforms — need to go beyond aesthetics. They must demand credit. They must speak up. They must put their money, and their influence, where their mouth is.

As Minawala puts it, “True impact lies in equitable partnerships. That could look like direct collaborations, fair profit sharing, or even reinvesting a portion of international revenue into craft clusters or artisan education. We don’t need performative praise; we need systems that empower the creators behind the craft.”

Milaaya Embroideries is already trying to do that — setting up training camps, creating jobs, and paying artisans fairly. “It’s a dying trade within our country so protecting it is very important, it’s not something people can copy,” Sabharwal says.

Similar Controversies

1. Dior’s Mukaish Overcoat (2025): The luxury house launched a coat heavily featuring traditional Lucknowi mukaish embroidery. Reportedly, it cost over ₹1.67 crore, took 34 days, and involved 12 embroiderers. Still, no credit was given to the artisans or their craft heritage, prompting immediate backlash.

   

   The Mukaish over coat at Dior Homme Menswear spring-summer 2026 collection show at Paris Fashion Week in June 2025.Getty Images

2. Sabyasachi x H&M ‘Wanderlust’ Collection (2021): The collaboration showcased motifs inspired by GI‑tagged Sanganeri block prints, a craft of the Chhipa community in Rajasthan. The prints were mass‑produced digitally, and none of the artisans or their cooperatives were involved or credited — igniting widespread criticism.

3. Gucci’s “Organic Linen Kaftan” (2021): Gucci marketed a garment as an “organic linen kaftan” priced around $3,500, only for Indian consumers to point out it was a simple kurta, available locally for a smaller price.

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