Power in Every Stich Can India Weave Its Soft Power Through Fashion Diplomacy?

When Dior means France, Versace means Italy and Rolex means Switzerland, why are Kolahpuri chappals (sandals) more readily associated with Prada before they are connected to their roots in India? Why is it that India being the centre of textile artistry does not have a fashion brand associated with it?  This points to a larger reality, the global fashion industry is more than aesthetics, it is an art form and a powerful language that shapes perceptions and projects influence across borders.

Diplomacy extends well beyond the confines of treaties, summits, and embassies.  In today's globalized world, elements such as culture, cuisine, language, and notably fashion play an integral role in cultivating a nation’s soft power. Unlike  economic  or military power, which rely on coercion, soft power works through attraction and persuasion shaping how nations are produced. Fashion diplomacy, therefore, emerges as the deliberate utilization of a nation’s textile heritage, sartorial traditions, and symbolic iconography to subtly articulate its identity and values on the international stage. Iconic fashion houses such as Hermès, Louis Vuitton, Chanel, and Dior don’t merely sell clothing and accessories; they effectively market the French ethos and lifestyle, so that the purchase of a luxury piece becomes synonymous to France’s refined cultural identity. This is the influence of fashion on shaping global perspective.

India’s textile and fashion lineage spans millennia, encompassing the intricate handlooms of Banaras, Gujarati mirrorwork, Lucknow’s chikankari embroidery, and Maharashtra’s Kolhapuri leather craftsmanship. When converted into sarees, sherwanis, turbans, and sandals, these textiles do not simply form clothes; they are, rather, tangible pieces of history, carrying the shared memories and customs of various communities, and the very identities are imprinted directly into textiles. Indian artisans are uniquely trained in the intricacies of embroidery, dyeing, printing, and weaving—an expertise once held in high esteem by royalty and, today, highly valued by elite European fashion houses. But does Indian craft sufficiently compensate its artists? Despite its vast potential and enduring influence on global fashion, the Indian fashion industry has yet to assert a dominant presence in international markets. Global luxury fashion giants like Hermès, Louis Vuitton, and Dior have incorporated Indian textiles and human craftsmanship into their globally acclaimed lines, thus implanting the elements of Indian tradition into high fashion while not accrediting India.

How the World Benefits from Indian Fashion

It is a tragedy that while global brands mine India’s reservoir of art for inspiration and profit, most local artisans struggle to be fairly compensated and recognised, leaving behind styles and  art forms that have been passed down from generations.

In 2025, Prada, an Italian luxury house launched a pair of sandals nearly identical to Kolhapuri chappals. Kolhapuri sandals, handmade leather slippers with a long history tied to Maharashtra are staple daily wear in India. They range from ?300–?1500 in Kolhapur’s markets in India but were priced at a whopping ?1.2 lakh by Prada. The sandals were launched with little to no acknowledgement to its Indian roots. It wasn't until Prada faced massive public backlash and was accused of cultural appropriation that the brand agreed to launch a special ‘Made in India’ edition in collaboration with Kolhapuri artisans. Such cases reveal the vulnerability of India's heritage to appropriation when it is not actively safeguarded and projected as part of its soft power.  

In a similar manner, recent social media trends popularised the practice of tying scarves under chins, calling it Scandinavian chic. If this sounds familiar to you it is because this style is functionally and culturally identical to the dupatta worn by women across India. For centuries dupatta has been used to either shield from the sun, maintain privacy, or express style. Another case of unnoticed Indian influence is the ‘Bandana’. A brightly dyed square fabric covered in paisley or dotted motif. Now while it’s a piece of mainstream American country wear, biker and hip hop culture, the origins of bandana remain unknown to most who wear them. Bandana arising from the Sanskrit word  ‘bandhna’, meaning to tie originated from the ‘bandhani’ tie-dye art that is practiced in Rajasthan and Gujarat. After years of trade the pattern caught the eye of the foreign merchants due to its bright colours, eventually getting rebranded as the bandana we know today.

The Problem with Rebranding

The problem isn't that creators abroad are taking pieces from Indian fashion and culture and integrating them in their wardrobes but rebranding them to feel more western in aesthetic. When the west proclaims styles that are already popularised in India and proclaims them as fashionable rediscoveries they take away India’s opportunity to be seen as a cultural leader. The broader reality is that Western cultures often struggle to embrace others in their authentic form, feeling compelled instead to reshape and Westernize them to align with their own standards before deeming them acceptable. Rebranding opens a wide range of issues concerning cultural appropriation, misrepresentation and economic exploitation. When Indian fashion is packaged in a box of westernization it strips the original artisans of agency and credit, while also decontextualizing designs so that their historical, spiritual, or community significance is reduced to mere aesthetics or novelty. Moreover, the economic power remains concentrated in the hands of those who rebrand, as these products are sold at premium prices far removed from the local realities of the Indian artisans who developed and perfected them over generations.

Establishing a ‘design in india’ presence

India is missing out on a significant opportunity to harness soft power through its influence on the global fashion industry, due to several underlying reasons. Unlike France or Italy India hasn’t invested enough in showcasing its fashion creators on international runways or state ceremonies. The textile sector in India is also highly fragmented and lacks strong branding that prevents artisans from scaling their work. Furthermore intellectual property rights such as GI tags for crafts are poorly regulated globally which enables rampant copying which goes unpunished. Western fashion brands also like to lay claim to having “found” Indian crafts, eclipsing the cultural ownership and craftsmanship of Indian artisans. Such control of the narrative prevents India from taking leadership of global fashion diplomacy. Meanwhile, Indian designers compete for credibility locally and have to look abroad for opportunities, which also detracts from India’s cultural clout in the global fashion scene. To establish its presence as a cultural dominator India must move along the wave of ‘Made in India’ to ‘Design in India’.