Why luxury brands are wrong with India

The last dispute with an Italian luxury label, the focus of global fashion giants to deal with India – often suffered from the fact that the rich art traditions could not cash them.

Prada, after visiting the flight lane in Mulan, entered the problem in June A finger-braid sandal that looks like Kolhapuri ChappalA hand-driven leather shoe prepared in India. The sandals are named after Kolhapur – a city in the Western province of Maharashtra, which has prepared for centuries – But Prada collection did not remind this, asked for a decline.

As the disputes grow, Prada said that he admitted the origin of sandals and said that it was open to “dialogue to the meaningful exchange of local Indian artists.”

In the last few days, a team of Prada, the artists and businessmen who made sandals and selling sandals to understand the sandals.

Prada told BBC that Maharashtra said he had a “successful meeting” with trade, industrial and agriculture, prominent industrial trade group.

The statement also shows that Prada can potentially cooperate with Kolhapuri shoes in the future.

Although it is not clear what this cooperation can be, it is a unique example of a global fashion giant because there is no piggybacking of local artists and crafts.

Many large brands are regularly inspired by India and are charged with traditions to rediscover and rediscover the traditions of South Asia and to be related. But from lending to the source.

Spring designs in the beginning of this year from Reform and H & M caught fire on a fiery controversy in the cultural misappropriation After many, their outfits appeared to be inspired by the southern Asian clothes. Both brands have made statements – rejecting H & M allegations, reform said that his design is inspired by a model that has collaborated for the collection.

And only two weeks ago, a highly expected Paris collection, a gold and elephant bony houndstooth coat made of Mukish works of the north-old metal pattern in India, was criticized. The collection did not even remember the roots of the artistry or India.

BBC has reached Dior for comment.

Some experts invite every brand that every brand of every brand, which is inspired by a culture, is always in the world, invites aesthetics from various customs traditions.

Fashion claims that some brands do not have time to think about the cultural aspects of the brands.

However, critics should be associated with respect and recognition of any debts, especially when these views are not sold to sell strong global brands at incredibly high prices.

“Giving a loan, it is part of the design of the design, the design school is taught to you and the brands need to be educated themselves,” he said. He doesn’t do it, he adds, “It is a cultural indifference to one part of the world.

Calculations vary from India’s luxury market size, but the region is widely seen as an extensive growth opportunity.

Boston Consulting Group analysts say a luxury retail market in India expected to be up to about $ 14 billion By 2032. Equipped with an expanded and rich middle class, global luxury brands sees India as the main market for hoping to require more important demand for more important demand.

But everyone does not share optimism.

The chairman of the consultant company Arvind Singhal is a great reason to be indifferent, most brands do not consider the most important market for high-level luxury fashion.

In recent years, many high-level shopping centers in the flagship luxury stores have opened in large cities – but they are rarely see an important image.

“The names like Prada still mean nothing in the majority. Super rich, but hardly there are some requirements between any first customers,” he says.

“And it simply makes it not enough to build a job, it simplifies the region completely neglect.”

Anand Bhushan, a fashion designer from Delhi, is satisfied. He says that India is traditionally, India has always been the center of production than a potential market, in Milan, who is engaged in Indian craftsmen in Paris and Milan.

“However, this does not yet say that you can easily lift a culture without understanding history and context and without a brand of millions of dollars.

Disappointment, he is not aimed at any label, but has been built for years.

The most memorable misstep took place during the “Paris-Bombay” Métiers d’art collection displayed in 2011.

Many have called this a beautiful example of cultural cooperation, others claimed that this was very confident in Klichéd’s images and did not have the original representative office of India.

Others say no brand can write India as insignificant.

“China can be the fastest growing luxury market, but a smaller and more complex generation, which has different tastes and desires,” he said.

In the case of Prada, the “original control” seems to be “an original control” from the length he went to correct the brand’s mistake.

The problem for Mrs. Kalra is a wider – the western brands are controlled by a homogeneous group of brands and look at consumers through the foreign lens in other parts of the world.

“Lack of variety is the largest blind location in the fashion industry and the brands need brands to change people from different parts of the world,” he says.

“But the love and respect for the inheritance of India is genuine.”

The issue of cultural masterpiece is complicated and online spark debates can be both sad and eye opening.

In the absence of simple answers, many feels a great starting point to require better accountability of wraths, brands and designers around Prada, so far remained unchanged.

For India, it is an opportunity that reflects ways to support your own heritage and raise it.

Weavers are weeks or months to finish a masterpiece, but often work without any protection without adequate royalty and under international intellectual property laws.

“We are not proud enough and give you credit to our artists, and allow others to walk on each side,” he says MS Vasudev.

“The problem is that there are just a lot in India. Hundreds of different craft equipment and traditions – each of the chairman of the pasteurgy and craftsman, which is constantly developing a centuries for centuries Laila Tyabji.

“We have a pair of full-patterned juthis (shoes), but not every Juthi, every Cuthi, although there is no problem to buy a pair of nike coaches,” he said.

While this continued, he says foreign designers and goods will do the same.

The real change can only happen, says: “We respect ourselves, and there are tools that are evaluated and fighting them.”