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Business Standard
4 hours ago
- Politics
- Business Standard
Prada admits Kolhapuri chappals inspired footwear collection after backlash
Days after featuring footwear inspired by Kolhapuri chappals in its Milan show, luxury brand Prada has acknowledged its source of inspiration. The brand has admitted that footwear showcased in its Spring/Summer 2026 menswear line was inspired by India's traditional Kolhapuri chappals. 'Kolhapuri chappals inspiration for footwear featured in our Milan show,' the Italian luxury label said, according to a report by the Press Trust of India. The admission comes amid growing backlash in India, where both officials and artisans accused Prada of cultural appropriation and overlooking the heritage behind the handmade leather sandals. The footwear, presented at Milan Fashion Week, closely resembled Kolhapuri chappals — traditional open-toe leather sandals made for generations by artisans in Maharashtra and Karnataka. Prada responds to online backlash In a letter addressed to Lalit Gandhi, President of the Maharashtra Chamber of Commerce, Industry and Agriculture (MACCIA), Lorenzo Bertelli, Prada Group's Head of Corporate Social Responsibility, wrote: '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.' Earlier this week, BJP MP Dhananjay Mahadik led a delegation of Kolhapuri chappal artisans to meet Maharashtra Chief Minister Devendra Fadnavis. The delegation submitted a letter calling for steps to protect the product's Geographical Indication (GI) rights and ensure the cultural significance of the footwear is upheld. 'Designs not finalised for production' In his reply, the brand also clarified that the designs are still under development: '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.' The brand added: 'We are committed to responsible design practices, fostering cultural engagement, and opening a dialogue for a meaningful exchange with local Indian artisan communities.' Meanwhile, Bertelli also expressed interest in further talks: 'We would welcome the opportunity for further discussion and will set a follow-up with the relevant Prada teams.' Prada commits to heritage recognition Bertelli closed his letter by stating: 'Prada strives to pay homage and recognize the value of such specialized craftspeople that represent an unrivalled standard of excellence and heritage.' He reaffirmed the brand's willingness to engage further: 'We would welcome the opportunity for further discussion and will set a follow-up with the relevant Prada teams.' Previously, on June 23, MACCIA had written to Prada after the Milan show, criticising the brand for showcasing sandals labelled only as 'leather sandals' with no reference to their Indian origins. It stated: 'It has come to public attention that the collection includes footwear designs that bear a close resemblance to Kolhapuri Chappals (Footwear), a traditional handcrafted leather sandal that has been awarded Geographical Indication (GI) status by the Government of India in 2019.' Symbol of cultural identity In his letter, Lalit Gandhi highlighted the cultural and economic significance of Kolhapuri chappals: '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 also urged Prada to acknowledge its source of inspiration and explore ways to support the artisans: 'While we appreciate global fashion houses drawing inspiration from diverse cultures, we are concerned that this particular design appears to have been commercialised without due acknowledgment, credit, or collaboration with the artisan communities who have preserved this heritage through generations.' He added: 'We kindly urge Prada to acknowledge the inspiration behind the design publicly, explore possibilities for collaboration or fair compensation that could benefit the artisan communities involved and consider supporting ethical fashion practices that respect traditional knowledge and cultural rights.'
Yahoo
5 hours ago
- Entertainment
- Yahoo
Emporio Armani Men's Spring 2026: All Aboard the Marrakech Express
Out of an abundance of caution, Giorgio Armani's PR team preempted shock and wanton speculation and indicated Friday that the designer was recovering at home from an ailment and would not take the bow at his Emporio Armani and Giorgio Armani shows during men's fashion week in Milan. Leo Dell'Orco, head of menswear design, did the honors Saturday night, wearing a navy T-shirt and pants, just like the maestro. 'Mr. Armani has worked with his usual dedication on the collections that will be presented. Although he cannot be there in person, he will closely follow every phase of the shows,' the company assured. More from WWD Giorgio Armani Won't Take a Final Bow After His Shows at Milan Men's Fashion Week Addison Rae Dons Winged Eyeliner and Punk-inspired Shadow Makeup in her 'Times Like These' Music Video EssilorLuxottica Expands Med-tech Strategy With Acquisition of Ophthalmology Platform Optegra So what a surprise to see that Armani had thrown caution to the wind with a transporting and daring Emporio collection of flowing tunics, harem pants, gauzy tailoring, ponchos and carpet bags, evoking seminal campaigns from the '90s shot in Morocco by Aldo Fallai. The designer opened his display with a blink-and-you-missed-it parade of EA7 Emporio Armani performance wear that gave off 'Dune' vibes with its vaguely futuristic/dystopian layers, and a soundtrack of howling winds. And then suddenly we were thrust into the bustling markets of Marrakech, this one peopled with handsome men whisking by in wide-legged trousers, fringed suede bombers, scarf-like tops and boxy, flowing suits in printed pajama silks. In a Milan season when most designers are playing it safe, Armani stuck out his neck with lustrous, gold-flecked fabrics, mosaic prints, dense embroideries, tassels, passementerie trim, feathers and beading. The collection could be costume-y at times, and there was precious little one could wear to the office, but it delivered a jolt of wanderlust. Not so long ago, designers avoided referencing faraway places, fearing accusations of cultural appropriation — and many still do. Armani titled his collection 'Origins,' and said it 'returned to a founding principle of his aesthetic: a genuine interest in other cultures.' We are all richer for it. Get well soon, Mr. Armani! Launch Gallery: Emporio Armani Men's Spring 2026 Ready-To-Wear Collection Best of WWD Windowsen RTW Spring 2022 Louis Shengtao Chen RTW Spring 2022 Vegan Fashion Week Returns to L.A. With Nous Etudions, Vegan Tiger on the Runway
Yahoo
5 hours ago
- Entertainment
- Yahoo
Setchu Spring 2026: Snaps and Crafts
After his first runway show at Pitti Uomo in January, Japanese designer Satoshi Kuwata was excited by the format and so he staged his Milan runway debut on Friday. His transformative, functional fashions — largely relying on tailoring and utilitarian pieces morphing shape and fit via a profuse use of zippers, snap buttons and buttons — was refreshed with crafty flourishes for the occasion. Some charming, some too gimmicky, sculpted bodices and skirts, as well as wide-brimmed hats and baskets, accessorized Kuwata's looks. More from WWD Naomi Campbell to Join Third Black Carpet Awards as Godmother in September Mitchells Hosts Top Italian CEOs for Celebratory Dinner in Milan Prada Goes Viral With Toe-ring Sandals Resembling India's Traditional Kolhapuri Chappals The wavy, palm-weaving technique that informed these pieces was a central theme, as it both expressed Kuwata's penchant for building bridges between cultures and nodded to the starting point of his creative process — a recent trip to Victoria Falls in Zimbabwe. An avid fisherman, the 2023 LVMH Prize for Young Designers winner might originally have planned his journey to chase tiger fish, but he ended up catching much more. Kuwata had the opportunity to collaborate with local tribes, discovering their craft and creating the woven pieces, also thanks to a little help from LVMH Métiers d'Art, which supports local craftsmanship through initiatives such as the Jafuta Foudation and Batoka Creatives. '[The technique] is based on how the weaver feels in that second, not an order you follow, so they make a unique organic shape,' said Kuwata, underscoring the affinity with a practice in his homeland, too. Overall, he said that observing Zimbabwe's natural landscape and local culture 'especially the way people instinctively mold and wrap clothing around the body, sparked new ideas about primal dressing. The pureness of intent and the timelessness of these gestures are what tie Africa and Japan together.' He channeled that instinctive approach in the lineup via tops and shirts with sleeves wrapped around the neckline to create a draped effect or way-too-oversize denim and cargo pants held only by a thin strap in hanging low on the hips. He addressed the colors and misty mood of the falls and nature with transparencies, lightweight dresses and flimsy little frocks, and these looks — mainly women's — were seen alongside his take on utility and sartorial constructions. A series of field jackets featuring handles in the collar and enabling wearers to carry them as totes was among the highlights of the collection. 'I like the idea of something timeless, yet you can enjoy every time you transform into something,' Kuwata said. 'I'm not famous, I think I can do whatever I want. Not many people know exactly what I am, so I'm just trying to be who I am.' Launch Gallery: Setchu Spring 2026 Ready-to-Wear Collection Best of WWD Windowsen RTW Spring 2022 Louis Shengtao Chen RTW Spring 2022 Vegan Fashion Week Returns to L.A. With Nous Etudions, Vegan Tiger on the Runway
Mint
6 hours ago
- Entertainment
- Mint
Milan Fashion Week: Designers offer luxury PJs, softly tailored suits
The spring-summer menswear collections showcased at the recently concluded Milan Fashion Week rooted for statement-making clothing that combined playfulness with functionality. Dolce & Gabbana, for instance, paved the way for pyjama dressing, with models wearing PJ sets. The brand proposed tailoring mixed with innerwear and sleepwear separates. A panoply of flamboyant embellished blazers were the other key highlights at the show. Brioni's closing look, meanwhile, was a gold jacket embroidered with 24-karat gold beadings in the same shape as the house's Penne, Italy, factory. Here are some of the key trends that emerged at the Milan Fashion Week: Soft suiting It's been a season of broken tailoring, lightweight textiles and languid silhouettes, all offering ease, movement and freedom. Canali offered a decidedly contemporary take on formalwear—proposing matching tops and trousers reimagined in outerwear and overshirt shapes. The house's signature Nuvola trench made its presence felt in ultra-light suede with a soft knit lining. The overarching inspiration came from vintage cars (Grand Turismo racing cars from the 1960s and 1970s, paying homage to Monza as part of the Brianza region of Italy) and their visually sumptuous interiors which informed the stitching and tailoring. Emporio Armani, too, softened up its core tailoring rendered in densely fashioned fabrics that embodied nomadic chic. Also read: Bollywood and India inspire me: French designer Mossi Traoré Travel inspo The Paul Smith collection referenced a book of souvenir photographs of Egyptian landmarks. The designer, Paul Smith, had acquired the tome in a street bazaar while vacationing with his wife, Pauline, around 25 years ago. The book rediscovered at work informed a range of motifs in the collection, from fish to bloom prints. Designer Matteo Tamburini at Tod's, too, reimagined easy tailoring employing soft yet structured fabrics, including wool, suede and silk. The Emporio Armani show saw an array of supple, piped, nylon track jackets and shorts printed with the same geometric patterns drawn from the rich textile heritage of the Taznakht region in Morocco. Playful layering From Prada to Dolce & Gabbana, designers mixed high with the low, formal with informal, polished with bohemian, creating a visual disturbance of sorts. At Dunhill, Simon Holloway explored English duality—classic elegance with rock n' roll icons like Charlie Watts and Bryan Ferry. One of the key highlights were the linen blazers paired with regency stripes and floral printed waistcoats worn with Japanese denims. Prada presented a crisp cotton poplin shirt styled with elastic-hemmed bloomer short-shorts, featuring popper pockets. An interesting array of bob and bucket hats finished off the looks. Vivienne Westwood's vibrant, evocative and playful line-up, too, saw a mash-up of womenswear with menswear. A floral print dress was styled with a pair of Roman boots and a rose embroidered tabard was paired with a mid-calf redsatin boot. It was punk and provocative. Also read: Floral prints in the office: Tips from experts to refresh your work wardrobe
Mint
6 hours ago
- Entertainment
- Mint
Designer Dhruv Kapoor wants to make spirituality part of pop culture
Pooja Singh Designer Dhruv Kapoor has two big launches this year—his new Gen Z brand K 2.0 and his first flagship store in Delhi Dhruv Kapoor in his office Gift this article Designer Dhruv Kapoor's office in Gurugram looks like a laboratory. Everything is off-white, from the bare walls and flooring to the furniture and cutlery. No fabric samples, files, cuttings, mannequins—the things that usually take up space in a fashion house—are in sight. There's colour though, most of the staff, including Kapoor, are dressed in shades of green. He's the designer behind the independent eponymous ready-to-wear brand that in a span of 11 years has created a global name for itself, sitting comfortably between streetwear, casualwear and high fashion. Designer Dhruv Kapoor's office in Gurugram looks like a laboratory. Everything is off-white, from the bare walls and flooring to the furniture and cutlery. No fabric samples, files, cuttings, mannequins—the things that usually take up space in a fashion house—are in sight. There's colour though, most of the staff, including Kapoor, are dressed in shades of green. He's the designer behind the independent eponymous ready-to-wear brand that in a span of 11 years has created a global name for itself, sitting comfortably between streetwear, casualwear and high fashion. As I enter his cabin on one of the four floors of the 40,000 sq. ft building, which includes the factory, I ask if it's a coincidence that most people are dressed in green? 'It's Wednesday, a day ruled by (planet) mercury and green is the colour associated with it (according to Vastu Shastra, the Hindu principles of architecture and design)," he says, while binaural beats in the beta frequency play in the background—supposed to improve concentration. 'Green is associated with creativity, communication. I believe in Vastu, yoga… spirituality in general… that has rubbed off on my team." Thursday is yellow, Friday, blue. That belief system extends to every aspect of his life—the off-white shades of the office, wearing colours to align with one's chakras, depicting the steps of pranayama breathing on the inside of shirts, incorporating yoga practices like jal neti into his life for over two decades. Even his first flagship store, to be launched in October in south Delhi's Dhan Mill Compound, has been designed to Vastu principles. 'Fashion is 80% intangible, 20% tangible," says Kapoor, 36, explaining why he incorporates elements related to Vedic traditions into everything he does. An exclusive first look at Dhruv Kapoor's new Gen-Z focused brand K 2.0 Kapoor is currently working on two major projects: his new, Gen Z-focused brand, K 2.0 (written in Devanagari script), which is to be launched in July, and his debut womenswear collection for Milan Fashion Week in September. He's the only ready-to-wear Indian designer who has been a regular at the Milan Fashion Week's menswear edition, which sees participation of ready-to-wear brands from across the world, since 2022. 'Whether it's a big red coat or a white shirt, it's going to make you feel a certain way—confident, pretty or aggressive. And that power—to provide people the shells they want to be in—is incredible to me. If I can't touch your core with what I do, then I'm not doing it right. I want to make spirituality part of pop culture," he says. Over a decade ago, when Kapoor, fresh from his internship at fashion brand Etro in Milan, had first presented his capsule collection at the Lakme fashion week in Mumbai, the ready-to-wear market was finding its feet. While the likes of Bodice, AM/PM and Arjun Saluja were offering clothing for the working professional at a premium price, there weren't many brands experimenting in the space of streetwear-meets-high fashion. The Delhi-based Kanika Goyal Label, known worldwide for merging minimalism with avant-garde aesthetics, was just getting started. From Kapoor's first Milan show in 2022 'Dhruv is of the moment right now," says Tina Tahiliani, the driving force behind the multi-designer house Ensemble, which stocks hundreds of ready-to-wear brands, including Kapoor. 'He has a unique voice that's struck a chord, his Milan outings have helped too, plus the way he's modified ready-to-wear clothes." His popularity is also telling of the general rise in interest in India-made ready-to-wear clothes. As Tahiliani says, 'In the past two decades, there's been an immense growth in the homegrown ready-to-wear space, also because more brands are experimenting. Customers realise that instead of spending dollars on expensive clothes made by foreign brands, they can instead buy quality garments from designers here who are experimenting with embroideries, designs and techniques like shibori and brocade." Also read: Lovebirds: The cut masters of Indian fashion Kapoor was clear about the statement he wanted to make with his clothes soon after completing his master's degree at Milan design school, Istituto Marangoni: create tailored yet voluminous clothes that broke the rules of gender while reimagining everyday India. At his last outing at Milan Fashion Week in January, for instance, models walked the ramp wearing woollen shackets covered with jasmine-like embroidery and skirts draped like saris and dhoti-style pants. Each piece was tailored yet fluid and edgy—depending on how it was styled, it could be worn by any gender. Looks from Kapoor's previous collections The same holds true for most of his creations. The brand's signature laced-up oversized shirts—their popularity is evident from the knock-offs available in Delhi's Karol Bagh and Mumbai's Colaba Causeway markets—have a mix of conflicting colours and prints. 'I used to hate prints, but at Etro my internship was in the womenswear department, and I worked with a lot of prints. I had to find a way to create prints that I liked," says Kapoor. 'Now, when we do conflicting floral prints and colours, we sift through several iterations of shades and print sizes to find the ones that we believe will work. Making things that you think are ugly into something beautiful is a different kind of challenge." Also read: Meet Ritu Beri, the 'selfish' designer This design philosophy seems to have served him well. Kapoor, who started his brand with the help of his family (his father has a business, while mother was a homemaker at the time), now has 125 employees, including his mother, who takes care of operations. He started with nine workers. Revenue wise, they have grown annually by an average of 40%, Kapoor claims. Besides a strong presence in Indian multi-designer stores, the brand is available in the US, UAE, Japan, Korea, Hong Kong, Europe and Australia, and through stores such as Harvey Nichols, Anthropologie, Zalando and Hypebeast. There have been hiccups. When Kapoor started working towards establishing his brand, the multi-designer store Ogaan refused to take his clothes, asking him to make kurtas instead. 'I said no. Instead, I did longer shirts and they took them but initially, they didn't really work. So I refined them until they did," says Kapoor. 'Over the years, I have been told to do lehnga-choli if I want to be successful. But I didn't because I can't. One thing you need to be successful is to stick to what you know, and, more importantly, what you like. Why give people what they want? You should give people what they don't know they want yet." Nothing reflects a brand's self-confidence and the story they want to narrate better than a logo—a concept many designers seem to have forgotten. Kapoor created his—the surname Kapoor in Hindi—soon after the covid-19 pandemic. 'I wanted to have a logo in my own language because I want to put India above everything. I want the world to never forget that this is the place where artisanship and craftsmanship are still celebrated and practised," he says. The pandemic clarified his thinking about what his brand and its offerings should reflect, he says. 'Covid was a time of decluttering for a lot of people, including me, and it made me think hard about the brand's direction. Like, there was this frilly dress I had made earlier and I thought, 'What was I thinking!' I have wiped it off the internet; you can't find it anywhere," he laughs. While talking about his branding strategy, he offers couturier Sabyasachi Mukherjee as an example. 'Each aspect of that brand, from the Bengal tiger logo, to the way images are shot, the Instagram caption, the clothes, the storytelling, it's a singular voice that comes across," says Kapoor, who looks to Miuccia Prada, who 'has the ability to make even the most ugliest things beautiful", as his inspiration. While Kapoor has been participating in the official calendar of Milan Fashion Week for the past three years, why did it take him so long to present womenswear in the same city? 'Menswear has fewer brands compared to womenswear fashion week. You have to establish yourself enough times for the fashion council to consider you for womenswear and ensure that you will have a strong presence," he says. The decision to launch a new sub-brand is also part of a strategy to reach more people. Some of the brand's agents in other countries suggested the need for clothes that carried the Dhruv Kapoor philosophy at a more accessible price. Kapoor, too, much like other design labels, both national and international, was keen on tapping India's younger shoppers. 'About 60% of India's population is of Gen Zers, so definitely there's immense opportunity, and there's interest in the brand among the youngsters," says Kapoor. The K 2.0 brand will offer pared-down versions of the main line at a price range of ₹ 3,000-15,000; the main collection starts over ₹ 10,000. 'The main line is for the mature consumer, it's more embroidered, tailored, prints-heavy. The new brand has a more easy and casual vibe—the waists are elasticated, more prints, less embroidery. We have been able to cut the price by toning down embellishments, and keeping everything, from sourcing to manufacturing, within India, and it's been a discovery. Even as a design house, we weren't aware of the kind of fabrics that could be engineered here." 'The whole Dhruv Kapoor ecosystem needs to use fashion to challenge traditional beliefs and make spirituality cooler," he says of his aim, adding that the idea is to 'create a lifestyle brand that offers something for home, pets, everything". It's an answer that's common to many Indian designers, until he tosses a googly: 'I want to open spiritual centres in the middle of the city so people can enter and exit them whenever they want to shut the noise from their life. I think that's when the circle of what I have created will be complete." Also read: Designer Anamika Khanna is hitting refresh Topics You May Be Interested In
