Usually, there are two sides to every story. In the recent stories about first Prada, and then Louis Vuitton — both of which put out India-inspired lines — there is a third one. The first side concerns cultural adventurism, sometimes misappropriation, and at other times, neo-colonialism, being positioned as benevolent co-option. The second is cultural nationalism, where fashion, alongside Bollywood, is now seen as an extension of our soft power. And the third is about finding a marketplace as consumption in Western economies slows down. This last aspect is the least discussed.
First, it was the Italian fashion house Prada that trotted out its menswear line with models wearing Kolhapuri chappal lookalikes. Perhaps, it was meant to test the waters rather than attempt cultural misappropriation. However, the response did force the label to give India credit for inspiration, besides extending a promise to work with artisans on any commercial line that may be planned. Then it was Louis Vuitton which, after years of borrowing from Indian royals and artists like Sudarshan Shetty, drew from Indian kitsch, truck art, wildlife, even the snakes-and-ladders board game. With a little help from AR Rahman’s music, its showstopper elevated the common man’s auto rickshaw into a Rs 35 lakh collectible bag. LV, however, has gone a step ahead of Prada — it not only credited but actually worked with Indian craftsmen.
The question is: Why the gaze on India?
Most Western luxury fashion houses are finding it difficult to push their margins amid stagnating consumer behaviour in Europe. LV’s own Q1 results saw a three per cent dip. Understandably, it is eyeing India’s luxury retail market, which is expected to reach $14 billion by 2032. The broader luxury sector, encompassing fashion, watches, automobiles and jewellery, is anticipated to reach $85-90 billion by 2030, a leap of three-and-a-half times, according to predictions by Bain & Company.
The comparative advantage lies with India, too. In 2022, India’s luxury goods sales grew by 32.8 per cent, outpacing major markets like the US and Europe, says Wright Research. McKinsey expects retail sales of luxury brands in India to rise by 15-20 per cent in 2025, faster than the US (3-5 per cent), Europe (1-3 per cent), and China (0 to -3 per cent), the last still battling sluggishness.
This is why Western labels are doing more than weaving a cultural and regional leitmotif. They are going directly to the artisanal talent pool to familiarise themselves with Indian designs and colours that will give them credence in the Indian market. Meanwhile, they are helping Indian craftspersons and weavers adapt their skills better for a global market and back-ending a robust production line. Most importantly, heritage and legacy crafts have many stories to tell, which Western fashion houses are using to layer their collections. And with thousands of weaver and crafts clusters spread across the country, this is a great opportunity to mine both history and inherited skill.
What the luxury fashion houses of the West did not bargain for was the increasing and determined footprint of Indian couture labels, which had given up pandering to Western sensibilities, stuck to their maximalism and had perfected the art of cleaner but individualistic silhouettes. Besides, the corporatisation of fashion labels meant that each couturist can now access resources and expertise that facilitate wider reach, better branding and increased sales in the fashion capitals of the world, not just the Middle East and Southeast Asia.
If designer Sabyasachi Mukherjee had to struggle for 25 years to finally make a robust brand presence in New York, his flagship store now has unprecedented footfall. Having collaborated with H&M, Christian Louboutin and Estée Lauder, Mukherjee is India’s biggest luxury brand with a turnover of a few hundred crores. He has now smartly moved into the accessories segment, with jewellery, bags, and shoes, too. Designer Rahul Mishra, who made his international debut at the Paris Haute Couture week, continues to be a permanent fixture there, has a studio in Paris and now retails his prêt line through Saks Fifth Avenue stores in New York. Hollywood celebrities endorse his couture at marquee events. Anita Dongre, too, has held her own by sticking to sustainable fashion.
All three have ushered in a quiet revolution among discerning consumers by becoming transparent about the environmental and social impact of their products. Be it Mukherjee’s sourcing from the remotest craftsperson, his endorsement of weaver clusters and commitment to slow fashion or Mishra’s community of over 1,500 artisans and embroiderers — for whom he ensures fair wages and sustainable livelihoods — sustainability and preservation of heritage crafts are the latest calling card.
It is here that luxury fashion houses of the West are often trapped, finding it difficult to match the ethics of a circular economy with scale. Indian couturists are playing with limited editions, high quality, intricate craftsmanship, and heavily banking on tradition. This boutique approach is precisely why they have nudged their way in. The question is whether the twain can meet to extract the best from each other.
rinku.ghosh@expressindia.com
It was Louis Vuitton which, after years of borrowing from Indian royals and artists like Sudarshan Shetty, drew from Indian kitsch, truck art, wildlife, even the snakes-and-ladders board game (Source: Instagram/@dietparatha) 
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