Why is cultural sensitivity missing in fashion?

livemint.com:

chikankari or phulkari from Punjab. Kashmir is one of the most militarised zones in the world with both political and economic instability. Its papier maché, wood carving, pashmina, carpet-weaving, and aari, sozni and kashida embroideries have long been coveted by art enthusiasts around the world but little has been done to ensure that the benefits reach the artisans.

Wajahat Rather, a Srinagar-based designer, acknowledges that more Indian designers are acknowledging the artisans they work with, but it’s just as important to reference political and cultural background. “Borrowing creative elements from different cultures is not inherently wrong, but it becomes problematic when it’s reduced to a marketing strategy to benefit from. Craft cannot be isolated from its context," he says.

"For us, art and craft are not just aesthetic expressions; they involve identity, history and self-representation. Art from any conflicted region carries profound political and social implications. Borrowing without proper acknowledgement or respect for their origin perpetuates stereotypes and diminishes the cultural significance.

Design is a responsibility, especially when working with the crafts of conflicted regions." Context is incredibly important to Jaipur-based Chinar Farooqi, too, the founder of the textile-driven brand Injiri. According to her, true appreciation of a certain craft and its practitioners comes from understanding complete context. “Appreciation is deeper when one cares for a craft, culture or tradition.