
Prada: Why Indian footwear artisans are upset with the luxury Italian label
The backlash was swift. Social media was flooded with accusations of cultural appropriation, prompting Prada to issue a statement acknowledging the sandals' roots.Now local politicians and industry associations have thrown their weight behind the artisans who want better recognition of the craft and its cultural legacy. Mr Sanake was not aware of Prada's show until the BBC showed him a video of it. When told that that the sandals could retail for hundreds of pounds in luxury markets, he scoffed. "Do they have gold in them?" he asked.Prada hasn't revealed the price tag but its other sandals retail at between £600 to £1,000 in the UK as per its website.
The earliest records of Kolhapur sandals date back to the 12th Century."These sandals were originally crafted by members of the marginalised Charmakar (cobbler) community, also known as chamars," said Kavita Gagrani, a history professor at the New College in Kolhapur.Chamar is a pejorative caste term used to describe Dalits (formerly known as untouchables) who work with animal hides."But in the early 20th Century, the craft flourished when the then ruler of Kolhapur, Chhatrapati Shahu Maharaj granted royal patronage to this community," Ms Gagrani said.Today, nearly 100,000 artisans across India are engaged in the trade with an industry worth over $200m, according to the Maharashtra Chamber of Commerce, Industry & Agriculture (MACCIA), a prominent industry trade group.Yet, most of them continue to work in unorganised setups under dismal conditions."I was never educated. This is all I know, and I earn about $4-5 a day, depending on the number of orders," said 60-year-old Sunita Satpute.Women like her play a critical role, particularly in engraving fine patterns by hand, but are not compensated fairly for their long hours of labour, she said.That's why Sunita's children don't want to continue the craft.A short distance away from her workshop lies Kolhapur's famous chappal gully, or sandal lane, a cluster of storefronts - many of them struggling to stay afloat."Leather has become very expensive and has pushed up our costs," said Anil Doipode, one of the first sellers to open a shop here. Traditionally, artisans would use cow and buffalo hide to make these sandals. But since 2014, when the Hindu nationalist Bharatiya Janata Party (BJP) came to power, there have been several reports of vigilantes - self-appointed protesters or activists - cracking down on alleged cow slaughter, sometimes with physical violence. The cow is considered sacred by Hindus.In 2015, Maharashtra state banned the slaughter of cows and the sale and consumption of beef, forcing artisans to rely on buffalo leather sourced from neighbouring states, pushing up their production costs.Traditional sellers are also struggling to compete with synthetic copies flooding the market."Customers want cheaper sandals and can't always tell the difference," said Rohit Balkrishna Gavali, a second-generation Kolhapuri sandal seller.
Industry experts say the controversy highlights the need for a better institutional framework to protect the rights of artisans.In 2019, the Indian government had awarded Kolhapuri sandals the Geographical Indication (GI) - a mark of authenticity which protects its name and design within India, preventing unauthorised use by outsiders.Globally, however, there is no binding law that stops other countries or brands from aesthetic imitation.Aishwarya Sandeep, a Mumbai-based advocate, says that India could raise the issue at the World Trade Organization under its TRIPS (Trade-Related Aspects of Intellectual Property Rights) agreement, of which it is a signatory.But the system is cumbersome, expensive and often lacks enforceability, both in India and abroad, she adds.Lalit Gandhi, the president of MCCIA, says his organisation is planning to patent the Kolhapuri sandal design, hoping to create a legal precedent for future cases.But some say real change can only happen when India starts seeing its traditional heritage in a different light. "It's about ethical recognition. India must push for royalty-sharing and co-branding," says Ritu Beri, a renowned designer. "The more we take pride in our culture, the less we will be exploited."
Of course, this isn't the first time a global fashion brand has been accused of appropriating Indian handicrafts.Many big labels have featured Indian fabrics and embroidery work with little to no artist collaboration. "Take Chikankari (a delicate hand-embroidery style from the northern Indian city of Lucknow), Ikat (a cloth-dyeing technique), mirror work; they've all been used repeatedly. The artisans remain invisible while brands profit from their inspiration," Ms Beri says.Mr Gandhi, however, says that Prada's endorsement of Kolhapuri sandals could also be beneficial for artisans."Under their label, the value [of Kolhapuri sandals] is going to increase manifold," he says. "But we want some share of that profit to be passed on to artisans for their betterment."Rohit Balkrishna Gavali, a sandal-seller in Kolhapur, agrees - he has already begun to see the difference."The design Prada used wasn't even very popular, but now people are asking for it, with clients from Dubai, the US and Qatar" placing orders, he says."Sometimes, controversy can help," he adds. "But it would be nice if it also brought respect and better prices for those keeping this tradition alive."The issue is unlikely to die down soon.For now, a plea has been filed in a high court, demanding Prada pay damages and compensation to artisans, along with a court-supervised collaboration between the luxury label and artisan associations. Prada has told BBC in a statement that it is in talks with the MCCIA on this matter. Mr Gandhi, its chief, says a meeting between the two sides is going to take place next week.Follow BBC News India on Instagram, YouTube, Twitter and Facebook.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


BBC News
4 hours ago
- BBC News
Himesh Reshammiya: Indian singer loved for his nasal twang makes a comeback
At the beginning of his first show in years, Indian musician Himesh Reshammiya - known for his distinct nasal voice - poses a question: "Should I sing from my mouth or through my nose?""Through the nose!" the crowd responds, their euphoric chants drowning in a blast of orchestral music.A splash of synth and drums follows, as red lights strobe over the fans gathered at Delhi's Indira Gandhi Arena stadium. And then comes the unmistakable crooning: "Aashiq banaya aap ne (You have turned me into a lover)," Reshammiya whispers, his signature twang ringing from every corner. The crowd erupts into screams the end of the night, legions of fans hailed it as the best concert of their one of Bollywood's leading composers and singers, has long been a polarising figure in Indian pop culture - mocked for his nasal vocals yet loved for that very uniqueness. Even at the peak of his career, when his songs blared from every city, street and gathering of the country, his singing would get associated with poor taste and "cringe" sensibilities. But it's this contradiction - along with his ever-evolving persona, unabashed personality, and unapologetic approach to music - that has cemented his cult status. A few years ago, he was written off after shifting focus from music to acting - but those career obituaries proved he is back, singing the same songs in the same style - and yet managing to attract tens of thousands of fans, both old and new. In Delhi, during two back-to-back shows, his nasal voice stayed sharp, hitting every note flawlessly without missing a beat. Everything was intended to evoke nostalgia - the set list was drawn from the late 2000s, during which he released some of his most memorable songs. Fans received replicas of his iconic red cap - glittering with HR initials - worn by Reshammiya along with his signature black leather robes that inspired a fashion him, the production took care of everything else: the energetic dance troupes, sophisticated light and sound backdrops and a full-fledged backing orchestra. "Are you ready to turn this stadium into a nightclub?" he seemed to be on a whole other level of euphoria, jumping out of their seats and breaking into little dances. Some came dressed like him - black cap, black jacket and a cropped beard - and carried banners: "Love you, Lord Himesh"."This feels like time travel - these songs were the sound of my teenage life," a woman screamed in between the sonic booms of the bass. With each song, even Himesh seemed more unrestrained. At one point he indulged the audience a little: "They want me to end the show at 10. But don't you want me to sing for you the entire night?"The impact was disarming. With the success of his concert, Reshammiya had once again taken the tag of "cringe" and managed to make it subersively cool. He became not just a man, "but a lowercase god of post-ironic worship: Lord Himesh. In fact, the whole idea of calling someone 'Lord' is just ironic surrender," writes journalist Anurag Minus how did he do it? Born in Mumbai into a musical family - his father was a well-known composer and producer - Reshammiya started his career as a TV producer at the age of his free time, he would compose his own songs. "I would keep a repository of tunes ready with me, waiting for the right moment to unleash them on the world," he said in an interview earlier this moment arrived in 1998, when he made the music for Pyar Kiya To Darna Kya, starring Bollywood star Salman Khan. The film was a roaring success and earned Reshammiya mainstream his stature as a composer grew, Reshammaiya famously featured as one of the judges in Sa Re Ga Ma Pa, a hugely popular reality TV singing show. It was here that he coined the famous line, "Jai Mata Di Let's Rock" - an eclectic war cry that mashed devotion (by invoking a revered Hindu goddess) with rockstar energy, and has become emotional memorabilia for his seemed to be going a certain direction until 2005, when Reshammiya completely flipped the script with the film Ashiq Banaya Aapne.. Enter: the nasal era. Largely a composer until then, Reshammiya sang several songs on the album in a style that was unheard of in Bollywood, although he claimed he sounded nasal because he has a high-pitched voice. Whatever it was, the twangy sound flew with the masses. "Often the songs were lousily produced but the words were so emotional and the melodies so catchy that no one cared," says Uzair Iqbal, a Bengaluru-based even looked younger, swapping his clean-shaven exuberance for a moodier vibe, crooning ballads beneath a cap and shades that hid his face. Jokes followed him, along with scathing critics who dismissed him as a fleeting trend and his music as corny and with every hit - he had at least 30 in one year - he got closer to challenging these notions. His iconic partnership with actor Emran Hashmi, earned him the moniker "hit machine". In 2006, he became the first Indian to perform at London's Wembley Stadium."Seeing this man own his corniness, his 'nasal' critique felt freeing in a time where perfection is curated to obnoxious levels," says Mabel Ghosh, a Delhi-based at the peak of his stardom, Reshammiya opted for another grandiose reinvention - and turned to his own admission, it was a bold move, one that turned him into one of the most famously memed figure in India. His stoic stares on screen lent themselves to so many jokes that newspapers wrote articles about it. But he flipped that around too. Between extreme fandom and pouring scorn, Reshammiya took the best from both and turned it into something unique and inordinately when people made fun of him, he joined in. The most endearing moment happened during the pandemic when videos of him working out - poker-faced and staring right into your soul - sparked waves of jokes online. Instead of getting discouraged, he began to post more."People wondered what the hell was I doing? I was just vibing with my fans. Enjoy life man, don't take it so seriously," he famously films, most of them self-produced, have enjoyed limited success but he stays on course. "With the right film, I can do wonders. I know people would mock me for saying this, but I know what I am doing."It was this same unapologetic attitude that made his show a roaring success the ridicule, Reshammiya is not interested in chipping away bits of his personality - instead he embraces his quirks, turning them into a commercially successful signature."Reshammiya is one for the masses, one of the great cultural equalisers in India," Mr Ghosh says. "He's been proudly owning his style for years - now his fans are too, even the reluctant and ironic ones."Back at the concert, two friends were having a conversation. "Why do you think I like his songs this much? Is it nostalgia?" one of them asks."Bro, his songs still slap," the other responds. "What else do you need?"


Daily Mirror
6 hours ago
- Daily Mirror
Mariah Carey halts Brighton Pride performance for iconic on-stage diva demand
EXCLUSIVE: Singing sensation Mariah Carey has made her long‑awaited UK return headlining Brighton Pride, but she halted the show mid-performance to invite some very unlikely guests on stage Mariah Carey has taken centre stage at Brighton Pride this weekend, headlining the Pride on the Park event at Preston Park on Saturday, August 2, in a performance fans have been waiting for since her originally planned appearance in 2020 was cancelled due to the pandemic. The global superstar, 56, famous for hits such as Fantasy, Hero and We Belong Together, has not performed in the UK since her Royal Albert Hall concerts in 2019. Her Brighton show marked her first UK performance in six years and one of only a handful of international dates confirmed for 2025. It comes after the US singer insisted that ageing 'just doesn't happen' to her in candid admission. As fans sang along in their thousands, they were surprised as Mariah suddenly halted her performance to ask some very unlikely people on stage. The American songstress told the crowd that she needed a 'touch up' before continuing with her performance. She then called for her glam squad and hair team to come out on stage do top up her makeup and bouncy curls. Speaking to The Mirror, a Mariah fan at Pride said: "What Mariah wants, Mariah must get. She called her makeup and hair team to the stage to touch up her hair and makeup. As she should, the queen that she is. "She was absolutely incredible and just goes to show that even though she's one of the biggest stars on the planet, she has no qualms about wanting to look her best - like all of us." Ahead of the event, Carey teased her arrival in a playful TikTok video, showing herself boarding a private jet in Paris wearing a sleek black Prada dress and Louboutin boots. She captioned the clip with: 'Nothing beats going to Brighton Pride!!', sending her fans into a frenzy online. Organisers hailed Carey's performance as a major moment for the festival. Brighton Pride's managing director described her as a 'global icon' whose appearance would be 'truly momentous' for the city's LGBTQ+ celebration. The setlist is a mix of timeless classics and tracks from her forthcoming album Here for It All, due for release in September. Crowd favourites include Fantasy, Emotions, We Belong Together and Always Be My Baby, alongside her new single Sugar Sweet. Fans have been ecstatic both online and in person. 'I booked my tickets months ago - it's the first time I've seen her live after 18 years of being a fan,' one attendee said. Another added: 'It's so important to see our legends while they're still performing. She was incredible.' This year's Pride event was expected to draw crowds of over 300,000, matching last year's record turnout. Carey headlines Saturday night, with support acts including Slayyyter, Loreen, Ashnikko, Bimini and Sister Sledge featuring Kathy Sledge. On Sunday, the main stage will be closed by the Sugababes following the band's incredible reunion. And Carey's appearance was more than just a headline performance. It was a long‑awaited reunion with her UK fans, a celebration of her enduring music career, and a major highlight for Brighton Pride. For many, tonight is a stark reminder of why she remains one of the most celebrated vocalists and performers in pop history.


The Guardian
2 days ago
- The Guardian
Kanpur: 1857 review – a British imperial atrocity retold down the barrel of a cannon
When it comes to cruel and unusual punishment, it is hard to think of anything more grizzly than that meted out by the British army in Kanpur (then anglicised as Cawnpore) in retribution for the 19th-century Indian uprising against colonial occupation. Having been rounded up, each ringleader was tied to the mouth of a cannon. Before the eyes of the public, the weapon was fired. To emphasise the point, a cannon sits on stage in Kanpur: 1857 – surely the largest prop at the fringe – positioned threateningly behind Niall Moorjani. He plays a storyteller facing his final hour, trying to come up with a narrative that makes sense of his awful predicament. How did a boy who grew up peacefully on the banks of the Ganges, who was captivated by poetry and the beauty of the spoken word, end up in this situation? Didn't his fellow rebel forces have the good grace to free their captured enemies and return their weapons? He sees himself as a good man caught up in the harsh tide of history. Moorjani, himself a storyteller, is a still and compelling narrator, his performance enhanced by the live tabla playing of Sodhi (Hardeep Deerhe), sitting meditatively by his side. They are joined by Jonathan Oldfield as the British army executioner, whose membership of a Scottish regiment (posh southern accent notwithstanding) serves as a reminder that Scotland was as gung-ho a part of the British empire as England. The soldier is intrigued by his captive's tale, but on too much of a power kick to be empathic. His presence in and out of the audience gives the performance a lively dynamic, although not quite enough to create a full-fledged play. The production sits in limbo between storytelling and drama, even as it remains a shameful and important reminder of a neglected period of British history. At the Pleasance Courtyard, Edinburgh, until 24 August. All our Edinburgh festival reviews