New Delhi, India — When models sashayed down the ramp at Milan Fashion Week last week, Harish Kurade looked at them on his smartphone in awe, sitting in his village in southern Maharashtra state, more than 7,000km (4,350 miles) away.
Models were showcasing a new line of open-toe leather sandals, designed by Prada, the iconic luxury fashion house. However, in India, the visuals raised a furore among artisans and politicians after the Italian giant failed to credit the ancient Maharashtra roots of its latest design.
“They [Prada] stole and replicated our crafty work, but we are really happy,” said Kurade in a chirpy tone. “Today, the world’s eyes are on our Kolhapuri ‘chappals’ [Hindi for sandals].” Kolhapur is a city in Maharashtra after which the sandals are named.
After facing backlash, Prada acknowledged that its new sandal designs “are inspired by traditional Indian handcrafted footwear, with a centuries-old heritage”, in a letter to the Maharashtra Chamber of Commerce.
While Kurade is chuffed about the centuries-old sandal-making craft from his village potentially gaining global exposure, other artisans, politicians and activists are wary of cultural appropriation and financial exploitation by Prada.
So, what is the controversy about? And what are artisans in Kolhapur saying about Prada? Can it change anything for the workers behind the original sandals?
What did Prada step into?
Prada showcased the classic T-strapped leather flats at the Spring/Summer 2026 menswear collection at Milan Fashion Week.
In its show notes, the Italian brand described the new range of footwear only as “leather sandals”. The notes made no mention of any Indian connection, despite its uncanny resemblance to Kolhapuri sandals, which are wildly popular across India and often worn on special occasions, such as weddings and festivals, along with traditional Indian clothing.
Outraged, a delegation of Kolhapuri sandals manufacturers met Maharashtra Chief Minister Devendra Fadnavis on Thursday last week to register their protest.
Showing his support for the delegation is Dhananjay Mahadik, a member of parliament from the state’s Kolhapur district, belonging to the governing Bharatiya Janata Party (BJP). Mahadik told reporters that the sandal makers and their supporters are in the process of filing a lawsuit in the Bombay High Court against Prada.
Mahadik also wrote to Fadnavis, drawing “urgent attention to a serious infringement on Maharashtra’s cultural identity and artisan rights”, and called on him to “protect the cultural heritage of Maharashtra”.
In his letter, he noted that the sandals are reportedly priced at approximately $1,400 a pair. By contrast, the authentic Kolhapuri sandals can be found in local markets for about $12.
How has Prada responded?
The Maharashtra Chamber of Commerce, Industry and Agriculture (MACCIA) also wrote to Patrizio Bertelli, the chairperson of Prada’s Board of Directors, about the concerns of sandal makers.
Two days later, the company responded, acknowledging that the design was inspired by the centuries-old Indian sandals. “We deeply recognise the cultural significance of such Indian craftsmanship. 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,” Prada said.
The company added that it remains “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.
“Prada strives to pay homage and recognise the value of such specialised craftspeople that represent an unrivalled standard of excellence and heritage.”
Srihita Vanguri, a fashion entrepreneur from the city of Hyderabad, said that Prada’s actions were “disappointing but not surprising”.
“Luxury brands have a long history of borrowing design elements from traditional crafts without giving due credit – until there’s a backlash,” she told Al Jazeera. “This is cultural appropriation if it stops at inspiration without attribution or benefit-sharing.”
Kolhapuris, which the sandals are also known as, are not just a design, she insisted. They carry the legacy of centuries of craft communities in Maharashtra and the neighbouring state of Karnataka. “Ignoring that context erases real people and livelihoods,” she added.
What about artisans of Kolhapur?
Kolhapur, nestled in southwestern Maharashtra, is a city steeped in royal heritage, spiritual significance and artisanal pride. Beyond its crafts, Kolhapur is also home to several revered Hindu temples and a rich culinary legacy – its food is spicy.
Its famed sandals date back to the 12th century, with more than 20,000 local families still involved in this craft.
The family of Kurade, who was happy about Prada showcasing the sandals, lives on the outskirts of Kolhapur, and has been in this business for more than 100 years.
But he said the business has taken a beating in recent years. “In India, people don’t really understand this craft or want to put money in this any more. If an international brand comes, steals it and showcases it on global platforms, maybe that is good for us,” he told Al Jazeera.
He said that craftsmen like those in his family “still stand where they were years ago”.
“We have the craft and the capacity to move ahead, but the government has not supported us,” the 40-year-old said.
Rather, Kurade said, politics has made things worse.
Since 2014, when Prime Minister Narendra Modi’s Hindu majoritarian government came to power in New Delhi, cows have transformed from just symbols of reverence into a flashpoint for religious identity and social conflict. Cow protection, once largely cultural, has become violent, with vigilantes hunting down Dalits and Muslims, the communities that mostly transport cows and buffaloes to trading markets where they are bought for slaughter.
That has disrupted a reliable supply of cow and buffalo hides, which are then tanned with vegetables to make Kolhapuri chappals.
“The original hide we use for quality is restricted in several states because of politics around cows,” said Kurade. “The supply has touched new lows due to politics on cows – and we have been suffering because it has become really expensive for us to keep doing it with the same quality.”
Craftsmen like Kurade believe that if they can make the sandals cheaper and more accessible, “people will wear this because it is what people have loved for centuries”.
Still, Kurade said, while Prada can try and imitate Kolhapuri aesthetics, it cannot replicate the intricate hand-woven design patterns, mastered by the Dalit community in southern Maharashtra and some parts of bordering Karnataka. Dalits are traditionally the most marginalised segment of India’s complex caste hierarchy.
“The authentic design is something which is rare and unique,” he said. “Even shops in Kolhapur city may not have them.”
The real designs, Kurade said, are still made in villages by using centuries-old craft.
But because of the challenge of sourcing quality hides, and faced with an increasingly digital marketplace that artisans are unfamiliar with, Dalit sandal makers need help, he said.
“People who know markets, who can sell it ahead, are the ones cashing in on this. Poor villagers like us cannot run a website; we do not have the marketing knowledge,” he said.
“The government should look into this, to bridge this gap – it is their duty to look into this. The benefits never reached the real makers from the Dalit groups.”
Has it happened before?
Since 2019, after sustained advocacy by artisan groups, India has protected Kolhapuri sandals under its Geographical Indications of Goods Act (1999), preventing commercial use of the term “Kolhapuri Chappal” by unauthorised producers. But this protection is limited within national borders.
Prada has previously faced significant criticism over alleged cultural appropriation, most notably in 2018 when it released the “Pradamalia” collection – keychains and figurines that resembled racist caricatures with exaggerated red lips, drawing immediate comparisons with blackface imagery. After the backlash, Prada pulled the products from stores and issued a public apology.
Prada has also been criticised for store displays that have evoked racial stereotypes, as well as for its use of animal-based luxury materials like ostrich and exotic leathers, which have drawn criticism from environmental and labour rights groups.
But Prada is not alone.
In 2019, Christian Dior drew criticism for incorporating elements inspired by the traditional attire of Mexican horsewomen in its Cruise collection, without formal acknowledgement or collaboration.
In 2015, French designer Isabel Marant came under fire in Mexico for marketing a blouse that closely mirrored the traditional embroidery patterns of the Mixe community in Oaxaca, sparking accusations of cultural appropriation.
Rather than apologise, Vanguri, the fashion entrepreneur, said that the “real respect would be Prada co-creating a capsule collection with Kolhapuri artisan clusters – giving them fair design credit, profit share, and global visibility”.
“Structurally, they could commit to long-term partnerships with craft cooperatives or even fund capacity-building and design innovation for these communities,” she said.
