India is a melting pot of cultures and the statement has held true for as long as the country has existed. From clothes to spices and even festivals, there is nothing the country has not shared with others across the globe. But cultural exchange and appropriation are different. And what has been happening recently with India’s culture and the global fashion industry is an event that must not go unnoticed, not when the country’s heritage and fashion have been repeatedly used by high-fashion global brands without proper crediting.Currently, the case in point and viral online is Fendi’s new baguette. Launched on its website, the bag has 475 mirrors, bright embroidery and 39,500 beads scattered across the surface, completed with 138 hours of craftsmanship. All in all, it looks like something one would easily find in a market in Gujarat during or post Navratri.But what would probably cost no more than Rs 500 in India is being sold by the brand online for Rs 9.5 lakh or roughly $10,000. If the price hike does not raise eyebrows, the plain technical name will surely elevate the emotions. On Fendi’s website, the item is listed under the name: ‘Baguette 26424: Multicolour Re Edition bag with embroidery and mirrors.’While the bag may be complete in itself, what is missing is its source of origin or inspiration. Surely the brand’s history does not signify the design’s creation. And with one look at the bag, anyone would understand where it has truly been inspired from. But the brand makes no mention of India, Gujarat, Navratri or the artwork.
A war online
The bag has created a buzz online, and this time for all the right reasons. Netizens along with famous personalities have called out the brand for its appropriation.Harsh Goenka, chairman of RPG Enterprises, took to X to blame the brand for ‘colonising’ Indian crafts: “After the Prada Kolhapuri chappal scandal, here comes the Fendi “Navratri” bag. Charging ₹8.3 Lakhs for a design that looks exactly like a ₹500 bag available in the streets of Gujarat. And zero credit to Indian artisans. When will luxury brands stop colonising our crafts?”Soon, Biocon founder Kiran Mazumdar Shaw accused the Italian brand of cultural appropriation. “This is a case of cultural appropriation & not in good taste. Repackaging India’s traditional craft as luxury, without credit to the artisans who created and preserved it, undermines our authentic talent and heritage.” she tweeted. She added, “Indian craftsmanship deserves recognition, not imitation.”Others joined the brigade online; a content creator posted a video about the bag. She joked that Fendi seemed to be “preparing us for Navratri this year.” Her caption read: “Not Fendi offending our roots.”
Series of imitations
While Prada launched sandals similar to Kolhapuri chappals, Ralph Lauren showcased earrings akin to Indian jumkas
What Fendi did might have gone easily unnoticed had it not been an act in a series of such plays made by global brands akin to it.In 2025, Prada faced backlash for its sandals that closely resembled Kolhapuri chappals, traditional Maharashtrian slippers with roots going back centuries. Around the same time, a Scandinavian brand called a dupatta-style scarf a “Scandinavian scarf,” despite the drape and fabric style being peculiarly South Indian.In 2026, Ralph Lauren presented its Fall 2026 women’s collection at Paris Fashion Week. Along with long jackets, trendy boots and stylish pants, the models donned long silver earrings. Numerous viewers accused the brand of appropriating Indian culture by using Indian jewellery called ‘jhumka’, again without attribution.
What happened with Fendi?
But the uproar over Fendi’s actions might be uncalled for, slightly. The bag belongs to Fendi’s Fall/Winter 2026-27 collection. Maria Grazia Chiuri leads the creative direction of the brand now and has built a reputation for blending regional craft with high fashion.The bag does have an Indian connection as it was made by hand in Mumbai, at a workshop called Chanakya. Chanakya is one of India’s most respected embroidery and craft houses. For decades, it has produced hand-embroidered textiles for major European fashion labels. Its artisans use techniques passed down through generations: mirror inlay, thread work, and beading done entirely by hand.Chanakya also runs a school called The Chanakya School of Craft, which trains young women, many from low-income backgrounds, in embroidery skills that lead to steady work. Dior, Prada and Fendi have used Chanakya’s ateliers for years.Fendi has sourced the bag through a genuine, paid, long-term partnership with Indian artisans. Chanakya’s artisans were commissioned and paid for their work, the way any skilled workshop is paid for producing a luxury product.However, what might satisfy your outrage is the marketing and naming of the product. Fendi’s product page gives buyers no cultural context. No note about Navratri aesthetics. No credit to the region that inspired the colour palette and mirror technique. Also, no mention of Chanakya, despite the workshop’s long-standing ties to the brand.Luxury fashion has a history drawing from non-Western craft traditions. From Indian embroidery to Japanese dyeing techniques, all have made debuts in pieces launched by global brands. Sometimes the brands do the deed and mention the region, the artisans and the technique. Other times, they go vague just like this one. Industry members have often flagged this gap. Cultural inspiration without admission has never gone by without criticism and for now, Fendi’s colourful bag remains in a grey zone.
