What can we do to support India’s independent designers?
What can we do to support India’s independent designers?
Fashion has long exploited the rich resources of India, from handwoven textiles to the exceptional craftsmanship of its artisans. The textile industry contributes around 2% to India’s GDP and employs over 45 million people, playing a significant role in the economy. For decades, the industry has relied on low wages and substandard working conditions to maintain the pace of fast fashion in the West. According to a 2021 report by the Clean Clothes Campaign, garment workers in India are paid, on average, less than half of a living wage. Thus, India has become the backbone of production, with the narrative shaped more by extraction and commodification than by appreciation or respect for the cultural heritage embedded in every thread.
It is only within the past couple of years that this narrative has begun to shift. Instead of only using India as a low-cost manufacturing hub, the global fashion industry has started to recognise the country’s cultural and economic value. Unfortunately, this recognition seems to be driven less by an appreciation of craftsmanship and more by the economic emergence of India itself. A burgeoning middle class with increasing buying power has reframed India from being just a source of affordable labour to a promising market brimming with potential consumers. As a result, Western luxury brands and even fast fashion giants are now eager to court this growing demographic, highlighting a transition from exploitation to economic seduction.
Dior’s recent show in Mumbai serves as a prime example of this shift in perception. By choosing Mumbai as the backdrop for their collection in March 2023, Dior not only highlighted the cultural richness of India but also sought to capitalise on the growing luxury market. The show was celebrated for its homage to Indian craftsmanship, featuring collaborations with local artisans and showcasing traditional techniques. However, the impact of such an event is complex; while it brings visibility and potential economic benefits to the artisans involved, it also raises questions about whether these gestures translate into lasting support for India’s craftspeople or merely serve as a momentary spectacle for global audiences.
With Diwali just passed, it feels like an opportune moment to reflect on how we, as consumers, can contribute to this lasting impact—without relying solely on large fashion houses. Promoting, buying, and using the work of artisans, designers, and craftspeople helps build a sustainable fashion ecosystem where cultural heritage is preserved, and artisans’ contributions are recognised.
Brands like Kartik Research, Ahluwalia, and House of Masaba are instrumental in shaping fashion, emphasising traditional textiles and contemporary design. Kartik Kumra, founder of Kartik Research, is helping redefine what traditional wear looks like for the modern Indian man. House of Masaba, led by Masaba Gupta, brings a youthful and eclectic take on traditional motifs. These brands celebrate India’s textile heritage while catering to modern tastes, balancing nostalgia with innovation.
Platforms like By Rotation make luxury and designer wear accessible while promoting sustainability—a growing priority among younger consumers. During holiday seasons like Diwali or special occasions such as weddings, using platforms like By Rotation, founded by Indian entrepreneur Eshita Kabra-Davies can combat superficial sustainability efforts by encouraging the rental and reuse of garments.
The global fashion industry’s relationship with India is evolving, but complexities remain. Until the industry moves beyond economic motives and addresses deeper inequities, India risks being perceived merely as a resource—albeit one whose market power is finally acknowledged. The industry’s newfound enthusiasm for “celebrating” Indian heritage—through collaborations, curated collections, and storytelling campaigns—coincides with this market dynamic, raising questions about authenticity and intent: are we witnessing genuine cultural appreciation, or is this simply another chapter of economic opportunism… and what can we do to make that change?