Balanagar custard apple inches closer to GI tag
HYDERABAD: Farmers and officials on Monday submitted an application seeking the Geographical Indication (GI) tag for the world-famous Balanagar custard apple, marking the 19th GI application from Telangana.
The application was filed by GI practitioner Subhajit Saha of Resolute4IP on behalf of three key farmer-based organisations — Pomal Farmer Producer Company Ltd, Balanagar Farmer Producer Company Ltd, and Primary Agricultural Cooperative Society — with support from the National Bank for Agriculture and Rural Development (NABARD).
The Balanagar custard apple is renowned for its thick rind, high pulp content, minimal seeds, naturally sweet flavour, and extended shelf life — characteristics that set it apart from other varieties and make it ideal for both fresh consumption and industrial use.
This move places the Balanagar variety as the fourth custard apple in India to seek or obtain a GI tag, alongside Beed custard apple (Maharashtra), Seoni sitaphal (Madhya Pradesh), and Kanker custard apple (Chhattisgarh).
'This GI initiative underscores how formal recognition can create value at the grassroots level while reinforcing Telangana's position as a hub for high-quality, origin-linked produce,' said Subhajit Saha, expressing gratitude for the support extended by Sri Konda Laxman Telangana Horticultural University (SKLTGHU).
He added that the state is preparing to file six to eight additional GI applications for products in the handicrafts and horticulture sectors in the coming days.
SKLTGHU V-C Danda Raji Reddy, said the university is committed to preserving Telangana's heritage horticultural crops and that further GI applications will be filed after thorough field investigations and consultations with farmers.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
4 hours ago
- Time of India
Can TN raise a toast with local wines?
Amid the raging debate over toddy tapping in Tamil Nadu, a business idea that remains untapped is the state's potential to manufacture alcoholic beverages on the lines of Goa's feni as well as native varieties of wine. The state is among the frontrunners in the cultivation of grapes (third largest in India) and cashew (fifth largest), the raw material required for the production of such alcoholic beverages. Take for instance, the Muscat Hamburg, popularly known as 'Cumbum Panneer Thratchai'. Grown in Theni, Dindigul and Coimbatore districts, the grapes record a minimum yield of 2.5 lakh tonnes per annum. While Theni dominates with 70% of total production, Dindigul and Coimbatore share 20% and 10% of the yield, respectively. K Mukundan, president, Surulipatti Grapes Growers Association said Tamil Nadu's lone winery at Cumbum relies significantly on the output of vineyards. "We cater to this winery which procures our locally grown grapes to make wine. One of the largest wine manufacturers in Maharashtra also sources our Muscat Hamburg grapes. What we are eyeing is production at scale in our state to target markets outside Tamil Nadu, domestic and overseas," he said. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Ukraine: New Container Houses (Prices May Surprise You) Container House | Search Ads Search Now Undo Mukundan emphasises that the Cumbum Panneer Thratchai, a Geographical Indication (GI) tagged agricultural product, is a one of its kind grape variety that contains 50% of water. About 500 ml of juice can be extracted from one kilogram of the grape variety. "Its export potential for winemaking is substantial in view of the international demand. In the long run, we could test the overseas market for vintage wines (made through fermentation and aging)," he added. You Can Also Check: Chennai AQI | Weather in Chennai | Bank Holidays in Chennai | Public Holidays in Chennai So, where can the govt help? Initiating farmers into producing value added products and establishing quality control centres could be a start point. "Theni is home to Sipcot's food park and a dedicated space can be earmarked for wineries on the lines of Maharashtra. Farmer producer companies can be trained and assisted to set up manufacturing units. Licenses must be given for new wineries targeting markets outside Tamil Nadu. This will be a win-win situation for farmers and wineries as the latter procure grapes locally at competitive prices, which will in turn benefit farmers. As scope for wine production booms, it will prompt more farmers to enhance area under grape cultivation," he added. There's another opportunity waiting to be leveraged in the northern districts of TN. Cashew apples, when separated from cashew nuts are usually discarded in fields or repurposed as cattle feed. But the greater incentive might be in turning these apples into raw materials to make a feni-like alcoholic beverage. By virtue of the GI tag certification, only liquor made using cashew apples within Goa can be called 'feni'. Data from the TN agriculture department shows cashew was grown in 83,556 hectares during 2023-24. Of this, the cashew hub of Cuddalore (29,342 Ha) and its neighbours Ariyalur (30,537 Ha) and Villupuram (3,214 Ha) account for 75% of its total production. Cuddalore has an average yield of 470 kg of cashew nuts per hectare, but, five times of its volume of cashew apple goes waste. Approximately 69,000 tonnes of cashew apple gets discarded in the district itself every year. Around 300 ml of juice can be extracted from one kilogram of cashew apple, according to cashew industry sources. All India Cashew Association general secretary Ramakrishnan M said, cashew apples can be used to make feni-like drinks. "The challenge is obtaining a license to manufacture alcoholic products. The demand is considerable and Puducherry can be a launchpad for sale," he added. N Chandramouli, CEO, TRA Research said, India's wine industry, while still small in overall volume, is growing steadily. Wine currently accounts for 2% of India's alcoholic beverage consumption. In 2023, India exported around $2.9 million worth of still wine and an additional $1.6 million of sparkling wine, translating to approximately 3,30,777 litres. "This upward trend in production and exports signals both increased domestic interest and emerging international demand. The success of pioneers such as Sula has shown that Indian viticulture, with sufficient investment and branding, can create products of both quality and global appeal. With creative branding and state backing, a distinctive TN cashew spirit could become a regional signature," he said. The tailwinds from neighbouring states are encouraging. Three years ago, the amended Kerala Small Scale Winery Rules 2022 facilitated the production of low-strength liquor from selected agricultural items like fruits. A year later, Goa's excise department said it was writing to other states to make feni available there for sale, and also make it available at all duty-free shops. When contacted, a senior official with the state agriculture department said that the demand for manufacturing wines and feni-like beverages involves policy decisions. However, demands of the stakeholders in the farming sector will be examined, the official added.
News18
2 days ago
- News18
Prada Opens Up On Row Over 'Kolhapuri Chappals', Admits Indian Footwear's Inspiration
Last Updated: The Italian house said that sandals featured in the fashion show are still at the design stage and none of the pieces worn by models on the ramp are confirmed to be commercialised. After triggering a massive controversy and facing social media backlash over featuring slippers similar to Maharashtra's Kolhapuri chappals, Italian luxury fashion brand Prada has now acknowledged that its collection was inspired by Indian handmade footwear. The leather slipper with open toes presented by Prada showed striking similarities to the heritage leather footwear that artisans have crafted for generations in Maharashtra and Karnataka. 'We acknowledge that the sandals featured in the recent Prada Men's 2026 Fashion Show are inspired by traditional Indian handcrafted footwear, with a centuries-old heritage. We deeply recognise the cultural significance of such Indian craftsmanship," Lorenzo Bertelli, a representative from Prada said in a reply to Maharashtra Chamber of Commerce, Industry and Agriculture (MACCIA). The Italian house, however, said that sandals featured in the fashion show are still at the design stage and none of the pieces worn by models on the ramp are confirmed to be commercialised. 'Please note that, for now, the entire collection is currently at an early stage of design development and none of the pieces are confirmed to be produced or commercialised," Bertelli added in its response. He further said that Prada is committed to responsible design and respecting traditional Indian crafts. The brand wishes to engage with local Indian artisans and ensure they get proper credit for their work. 'We are committed to responsible design practices, fostering cultural engagement, and opening a dialogue for a meaningful exchange with local Indian artisan communities as we have done in the past in other collections to ensure the rightful recognition of their craft," he said in his reply. The response came after MACCIA president Lalit Gandhi objected to Prada's June 23 Milan show, where sandals resembling Kolhapuri chappals were labeled simply as 'leather sandals," with no mention of Indian influence. Gandhi, who raised the concern with the foreign brand after seeing the visuals, in the interest of the local artisans and the industry, had appreciated cultural exchange in fashion but criticised Prada for not crediting the original makers or working with local artisans. In a letter to Prada, Gandhi had urged the fashion house to publicly acknowledge the inspiration and also sought exploration collaborations and fair compensation to the artisans and also an adherence to ethical fashion practices that respect traditional knowledge and cultural rights. 'The Kolhapuri chappal is very distinct and we want our footwear to go to newer markets. But it has to get the rightful recognition," Gandhi told news agency PTI on Saturday. MACCIA also reminded Prada about the traditional handcrafted leather sandal being awarded Geographical Indication (GI) status by the Government of India in 2019. Prada's Response To Maharashtra Government In his reply, Bertelli clarified that the designs are still in the early stages and have not yet been approved for production. Bertelli added, 'We are committed to responsible design practices, fostering cultural engagement, and opening a dialogue for a meaningful exchange with local Indian artisan communities." What's The Controversy? In its Spring-Summer 2026 collection, the brand described the footwear as 'leather sandals", with no reference to an Indian connection, evoking outrage from many in India's fashion community as well as traditional makers of Kolhapuri chappals in western Maharashtra. 'Kolhapuri Chappals represent centuries-old craftsmanship rooted in the cultural fabric of Maharashtra, India. These products are not only symbolic of regional identity, but they also support the livelihoods of thousands of artisans and families in the Kolhapur region and surrounding districts," Gandhi's letter said. The controversy drew further attention after BJP MP Dhananjay Mahadik led a group of Kolhapuri chappal artisans to meet Maharashtra Chief Minister Devendra Fadnavis. They submitted a letter demanding action to protect the footwear's GI rights and cultural importance. According to the financial daily's report, the Sant Rohidas Leather Industries & Charmakar Development Corporation (LIDCOM), which shares geographical indication (GI) certification for Kolhapuri chappals with Karnataka's LIDKAR, is considering legal measures. Although registered proprietors (LIDCOM and LIDKAR) and authorised users have legal rights to initiate proceedings within India's borders, GI marks currently lack international legal safeguards. (With inputs from PTI) About the Author Shobhit Gupta Shobhit Gupta is a sub-editor at and covers India and International news. He is interested in day to day political affairs in India and geopolitics. He earned his BA Journalism (Hons) degree from More Get breaking news, in-depth analysis, and expert perspectives on everything from politics to crime and society. Stay informed with the latest India news only on News18. Download the News18 App to stay updated! First Published: June 28, 2025, 13:32 IST
Fashion Value Chain
2 days ago
- Fashion Value Chain
From Kolhapur to Couture: When Global Fashion Labels Ignore Their Roots
Exploring the fashion industry's habit of borrowing traditional crafts without acknowledging the communities that birthed them In the ever-evolving world of fashion, where trends travel faster than light and aesthetics blend across borders, inspiration is the beating heart of design. However, when that inspiration stems from deeply rooted cultural crafts and is then stripped of its context, history, and rightful credit, it becomes something else entirely—cultural appropriation dressed in luxury fabric. One of the most recent cases to ignite this conversation is the global luxury brand Prada releasing a collection of leather sandals that closely mirror the iconic Kolhapuri chappal from India. These sandals, with their braided leather, flat soles, and T-strap design, are nearly indistinguishable from the traditional handmade footwear that originated in Maharashtra centuries ago. Yet nowhere in Prada's promotional campaigns, product descriptions, or credits was the word Kolhapur mentioned. This glaring omission is part of a growing trend in the fashion industry—the silent borrowing of heritage. Kolhapuri Chappals: A Legacy Beyond Leather The Kolhapuri chappal is not just a sandal; it's a symbol of India's artisanal heritage. With over a thousand years of history, this handcrafted footwear is made using vegetable-tanned leather and intricate hand-braiding techniques passed down through generations. It is environmentally friendly, culturally significant, and legally protected by a Geographical Indication (GI) tag in India. The chappals were originally made by the cobbler community in Kolhapur and nearby regions such as Athani and Sangli. Traditionally worn by both royalty and rural populations, these sandals have adapted over centuries but have always remained rooted in their cultural and geographic identity. When a global brand recreates this design and presents it without any mention of its origin, it erases not only the artisans but the entire cultural legacy behind the product. The Pattern of Appropriation in Fashion Unfortunately, Prada's Kolhapuri-inspired sandals are not an isolated incident. Luxury fashion brands have long drawn from the visual and material cultures of various global communities—particularly those from the Global South—without acknowledgment or compensation. Here are just a few examples that demonstrate how widespread this issue is: Ikat (India, Indonesia, Guatemala) Ikat is a dyeing technique where the yarns are tie-dyed before weaving, producing a signature blurred pattern. It is found across several countries, with rich variations in India (Telangana, Odisha, Gujarat), Indonesia (especially Bali), and Latin America (notably Guatemala). Luxury brands have frequently featured Ikat-like patterns in collections described as 'bohemian' or 'abstract tribal,' rarely acknowledging the centuries-old traditions or the regions they originate from. Bandhani & Leheriya (India) These traditional Indian tie-dye methods, native to Rajasthan and Gujarat, are labor-intensive and passed down through family lineages. Their dotted and striped patterns often appear in Western collections as playful or exotic prints—usually with no mention of Bandhani or Leheriya, let alone the artisans who make them. Shibori (Japan) Shibori, a resist dyeing technique from Japan, is known for its striking indigo patterns. Yet, several Western designers have introduced 'modern tie-dye' pieces that closely resemble Shibori, reducing the technique to a seasonal aesthetic without cultural recognition. Otomi Embroidery (Mexico) The bold, colorful embroidery made by the Otomi people of Mexico is often replicated in home décor and fashion items under vague labels like 'folk art embroidery' or 'vibrant ethnic patterns.' The lack of attribution not only denies cultural credit but also devalues the original craft in global markets. Bogolanfini or Mud Cloth (Mali, Africa) This handwoven fabric dyed with fermented mud carries deep cultural symbolism in Mali. Its motifs are widely used in global streetwear and high fashion collections under broad labels like 'tribal print' or 'African-inspired,' often with no reference to the Bogolan craft or the meaning behind its symbols. The Consequences: Economic and Cultural Erasure When global fashion brands co-opt traditional crafts without acknowledgment, the damage is not merely symbolic—it is profoundly economic, cultural, and systemic. This form of erasure affects entire communities whose livelihoods and identities are tied to these crafts. Economic Injustice to Artisans Traditional artisans—many of whom come from marginalized or rural communities—rely on their craft not only as a creative outlet but as a means of survival. When a global brand mimics their work without collaboration or compensation, it undercuts the artisan's ability to compete in the market. The luxury version often carries a far higher price tag, marketed with the sheen of exclusivity, while the original makers struggle to find buyers or gain visibility beyond local bazaars. Moreover, these brands profit exponentially from designs that are part of an artisan's inherited knowledge system. The imbalance of economic benefit—where the creators remain in poverty and the imitators profit—is a clear case of exploitation disguised as innovation. Loss of Authenticity and Dilution of Technique Traditional crafts are often rooted in specific processes, materials, and philosophies. For example, Kolhapuri chappals use vegetable-tanned leather, which is eco-friendly and part of a slow, skill-intensive process. When global brands replicate the form using synthetic materials or factory-made shortcuts, the result may visually resemble the original, but it lacks the integrity, symbolism, and sustainability that define the craft. This mass-market reinterpretation flattens the complexity of traditional knowledge. Centuries-old weaving techniques, dyeing rituals, or embroidery styles become hollowed out and simplified, eventually altering public perception of what these crafts are and reducing them to 'exotic designs' or passing fads. Cultural Distortion and Misrepresentation Cultural crafts are expressions of history, faith, identity, and regional pride. When brands strip these designs from their context and repackage them for commercial consumption, it leads to distorted cultural narratives. The symbolic meanings—whether religious, social, or spiritual—are lost or, worse, misrepresented. Over time, this distortion can weaken cultural memory. Younger generations may begin to associate their heritage crafts with foreign brands rather than their own culture, leading to disengagement, loss of transmission, and eventual decline in the craft itself. Widening the Global Inequality Gap At a systemic level, this practice deepens global inequalities. The fashion industry already suffers from an imbalance where design credit, visibility, and capital are concentrated in the West, while labor and creativity in the Global South are undervalued. When cultural crafts are extracted and commodified without a fair value exchange, it widens the gap between those who create and those who profit. Even when artisans are aware their work has been 'inspired,' they often lack the legal means or international platforms to demand justice or intellectual property rights. This dynamic mirrors the colonial extraction of resources, now in the form of intangible heritage. The Ethics of Fashion in a Globalized World Fashion does not exist in a vacuum—it is a product of people, places, and politics. In a world where global exchange is inevitable and often beautiful, it becomes even more critical to ensure that cultural inspiration does not become cultural exploitation. Design thrives on exploration, but with exploration must come accountability. When designers tap into indigenous or regional crafts, they bear the responsibility to ask: Who created this? What does it mean? Who benefits from this design? True ethical design goes beyond surface-level homage. It involves: Collaborative development with craft communities Fair compensation and royalties Storytelling that honors origins, not erases them Education for consumers and creative professionals about heritage and its significance Far from limiting creativity, such an approach adds richness, authenticity, and integrity to design. In fact, brands that choose ethical practices stand to gain consumer trust, cultural respect, and long-term sustainability in an increasingly conscious marketplace. Today's consumers are no longer satisfied with 'inspired by' as an excuse. They demand to know the how, the why, and most importantly, the who behind what they wear. The fashion industry must evolve to meet that demand—not with appropriation, but with appreciation backed by action. What the Fashion Industry Must Do Practice Transparent Attribution If a product is inspired by a regional craft or community, say it openly. A simple acknowledgment goes a long way in preserving cultural identity. Collaborate With Craftspeople Instead of imitating, work alongside traditional artisans. Co-design initiatives and partnerships can uplift communities, offer fair wages, and create sustainable ecosystems. Educate Designers and Consumers Institutes, brands, and media must educate new designers and buyers about the cultural significance of regional crafts. This builds respect, curiosity, and informed appreciation. Protect and Promote Indigenous Knowledge Support for GI tags, local artisan cooperatives, and funding for craft documentation projects is vital in preserving these heritages for future generations. Conclusion: Fashion Must Tell the Whole Story From the sunbaked lanes of Kolhapur to the catwalks of Milan, the journey of a craft should not be one of silence and invisibility. When fashion borrows, it must also acknowledge, compensate, and protect. Because behind every braided sandal, resist-dyed textile, or hand-stitched motif, there is a human story—of knowledge, struggle, pride, and identity. Let fashion not be just about what we wear, but also about who we honor when we wear it.
