“Scandinavian” Scarves and More: The Erasure of South Asian Influence on Western Fashion

From the flowing drapes of the sari to the intricate embroidery of lehengas and kurtas, Indian aesthetics have inspired designers and captivated runways across the world. India’s influence on global fashion is both profound and enduring, rooted in centuries of rich textile traditions, ornate craftsmanship, and distinctive silhouettes. This cross-cultural exchange has not only brought vibrant new life to contemporary fashion, but it has also raised important questions about authenticity, respect, and cultural appropriation. As Indian styles are adapted and reimagined abroad, it becomes essential to explore the line between appreciation and exploitation.

 Indian textile and embroidery techniques have long been used as “inspiration” for Western designers. Textiles such as chiffon and silk are widely used across the globe, but initially got their start in South Asia. In India, these are created through delicate craftsmanship, which allows for stunning, intricate designs as well as high-quality pieces. For example, Varanasi silk is a type of Indian silk fabric known for its intricate designs, fine threading, and the use of gold and silver brocade (zari). It is a highly sought-after fabric used in saris (traditional Indian attire), home furnishings, and other garments as a symbol of grandeur and nobility. Embroideries such as zardozi (metallic thread embroidery), mirror work, and chikankari (delicate floral hand embroidery from Lucknow) are used to adorn these fabrics. South Asian embroidery and beading styles have frequently appeared in couture styles, being labeled as “Ibiza style” summer tops, or simply “sequin tops.” These brands fail to acknowledge the culture that this style comes from, and in doing so, they erase evidence of Indian influences on the Western world.

Furthermore, the “Boho-chic” aesthetic, known for its relaxed, eclectic, and free-spirited sensibility, owes a significant part of its identity to Indian fashion. Originating during the cultural movements of the 1960s and ‘70s, Boho-chic became a visual rebellion against conformity and took inspiration from various cultures, especially Indian culture, for its vibrant textiles, flowing garments, and artisanal details. India’s traditional garments, such as the sari and kurta, naturally align with Boho fashion’s love for unstructured, breathable silhouettes. Long, billowing tunics, palazzo-style pants, and wrap skirts echo the elegance of Indian draping. Additionally, South Asian jewelry has deeply influenced Boho accessories. Layered bangles and bell-shaped (jhumka) earrings have become “eclectic” additions to an outfit. These pieces are iconic elements of the bohemian wardrobe; however, like the issue with Indian textiles in Western clothing, these pieces are not called “Indian inspired”—rather, they are simply called “Bohemian.” Boho-chic often incorporates spiritual and mystical symbols, many of which are borrowed from Indian culture, sometimes problematically. Mandalas, chakras, bindis, and the Om symbol have appeared on clothing and accessories, often stripped of their spiritual significance. This leads to a key tension. While “Boho” fashion may claim to celebrate global inspiration, it also treads dangerously close to cultural appropriation. 

In 2023, the Danish fashion brand Munthe faced significant backlash for marketing a scarf clearly modeled on the traditional Indian dupatta or chunni—a long, decorative scarf worn across the shoulders in South Asian cultures—as a “Scarf Inspired by Scandinavian Heritage.” The scarf’s fine cotton weave, delicate border detailing, and styling unmistakably referenced Indian aesthetics, yet it was stripped of any mention of its cultural origin. Instead, the brand claimed it reflected “Scandinavian design,” prompting widespread criticism and accusations of cultural appropriation and erasure. Since then, the issue of the appropriation of South Asian fashion has increased exponentially, with fast-fashion brands creating cheap renditions of traditional Indian clothing and failing to acknowledge their roots. Brands like Oh Polly, Reformation, and H&M are repeat offenders and have failed to make any statements regarding the issue. To add insult to injury, these garments are presented in fashion-forward marketing campaigns featuring predominantly white models and European aesthetics, with no recognition of their South Asian background.

This controversy of South Asian appropriation in fashion touches on a deeper issue: the global fashion industry's tendency to extract the “exotic” beauty of traditional garments while discarding their context and meaning. These acts reduce centuries of meaning into passing trends. Of course, culture is meant to be shared, and fashion has the power to bring communities together. Many South Asians agree that it is perfectly okay for non-South Asians to wear South Asian clothing or be inspired by that culture. The issue is instead the lack of simple appreciation. There is a long-standing imbalance between South Asian and Western cultures due to centuries of colonization. Thus, it is deeply upsetting to see things that were deemed uncivilized become trending fashion pieces, with no credit given to the culture that designed them. Especially at a time when racism against South Asians is so normalized online, acknowledging the true origins of garments like the dupatta, crediting South Asian artisans, and involving their communities meaningfully in the creative process are essential steps toward ethical fashion. True appreciation begins not with reinvention, but with recognition.