When European Commission President Ursula von der Leyen, during her recent visit to India, stepped out in a bright yellow Bandhani-inspired ensemble, readied by Indian designers, the image travelled far beyond fashion headlines. It marked a shift, where Indian textiles are no longer viewed as ceremonial or regional but as a part of the global fashion language.
For Pawan Mehta, founder-CEO of brand Nuvrah Luxury, when someone like Leyen wears Bandhani, it suggests that local textiles are becoming legible within contemporary power dressing. “That shift matters. It’s where long-term relevance is built. The craft stops being about geography; it’s about technique, time and intelligence of making,” Mehta says, adding that the challenge is ensuring evolution without flattening its nuance.
Designer Laxmi Krishna sees it through the lens of soft power with fashion being used as a form of non-verbal communication. “When a global figure wears a craft that involves intricate, labour-intensive hand-tying by artisans in Gujarat and Rajasthan, it shows intent. It moves beyond a generic ‘Indian look’ to a specific homage to regional heritage.”
Echoing a similar shift in perception, Kulsum Shadab Wahab, founder-creative director, Ara Pret, says such moments sit at the intersection of appreciation, diplomacy and evolving global respect for Indian craft. “When Indian craft enters the conversation, it signals a move from being seen as ethnic to culturally sophisticated and globally relevant.”
However, visibility alone does not guarantee impact. The experts caution against mistaking moment dressing for meaningful change. High-profile appearances may spark attention, but don’t automatically benefit artisan communities.
“There’s a burst of visibility,” Krishna notes, “But it rarely fixes the deeper vulnerabilities these communities face.” Wahab agrees, stressing
that real impact comes from fair sourcing, long-term partnerships and economic continuity. Mehta adds that consistency, like repeat orders, is what truly sustains craft ecosystems.
The global resonance of Indian crafts reflects a broader cultural shift. Krishna believes consumer values are finally aligning with artisanal traditions. “The fashion world is moving from what I am wearing to what I am supporting. Luxury buyers increasingly seek context alongside craftsmanship. They aren’t just buying a product, they’re buying the history, the process and the human hand,” she shares.
Mehta echoes this, pointing to fatigue with mass-produced perfection, as he says, “In a luxury industry rethinking its values, that authenticity feels contemporary, not nostalgic.”
With growing attention comes responsibility. “Reinterpretation should amplify the intelligence of the craft, not simplify it,” Wahab notes. Krishna highlights the role of designers in ensuring continuity over trend-driven appropriation. Adapting Bandhani on global settings, they suggest, is often about restraint. Clean silhouettes, structured fabrics and subtle applications like a blazer with micro-Bandhani details or a minimalist saree with a Bandhani palla, allow the textile to speak without spectacle.
At the 68th Grammy Awards, three-time Grammy-winning composer Ricky Kej brought Indian craftsmanship to the global spotlight. Wearing a black achkan featuring a hand-embroidered Asiatic lion, paired with a traditional gold dhoti, the composer’s look drew from symbols of Indian heritage and power. His jewellery, created with Priyanka Desai of De’Anma and inspired by Banjara tribal adornment, carried stories of nomadic craft and handmade legacy. By rewearing the ensemble, Kej proved that design is rooted in meaning and transcends trends.