Tag: Indian textiles

Human Interest

Budget 2026: A Look at Nirmala Sitharaman’s Iconic Budget Day Sarees Over the Years

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Union Finance Minister Nirmala Sitharaman has, over the years, turned Budget Day into more than just a fiscal milestone. Her carefully chosen sarees have emerged as meaningful cultural statements, spotlighting India’s diverse handloom traditions and regional craftsmanship.

Budget Day 2026

For the Union Budget 2026, Ms Sitharaman wore a deep plum Kanjeevaram silk saree, paying homage to Tamil Nadu’s centuries-old weaving legacy. Featuring traditional patterns and a rich contrasting border, the saree reflected the grandeur and discipline associated with South India’s iconic silk tradition. She paired the look with her trademark bahi-khata, reinforcing continuity and symbolism.

Budget Day 2025

In 2025, the Finance Minister chose an off-white handloom silk saree adorned with fish-themed embroidery and a golden border, inspired by Madhubani art. Paired with a red blouse and shawl, the ensemble celebrated Mithila’s folk artistry.

A Year-by-Year Look at Her Budget Sarees

  • 2019: Pink Mangalgiri silk saree with gold borders, marking the historic introduction of the traditional bahi-khata.
  • 2020: Yellow silk saree with green-lined borders, symbolising hope and prosperity.
  • 2021: Red and off-white Pochampally ikat silk saree from Telangana, highlighting intricate handwoven patterns.
  • 2022: Brown and maroon Bomkai saree from Odisha, showcasing regional craftsmanship.
  • 2023: Red silk saree with black Kasuti embroidery, a traditional craft from Karnataka.
  • 2024 (Interim Budget): Blue Tussar silk saree with Kantha embroidery from West Bengal.
  • 2024 (Union Budget): White silk saree with a magenta border and golden motifs.
  • 2025: Off-white handloom silk saree inspired by Madhubani art.
  • 2026: Deep plum Kanjeevaram silk saree celebrating Tamil Nadu’s weaving heritage.

Over the years, Ms Sitharaman’s Budget Day attire has evolved into a quiet yet powerful narrative—one that places Indian artisans, weavers, and traditional crafts at the heart of a nationally watched moment. Her sarees serve as reminders that cultural pride and policy leadership can walk hand in hand.

Fit & Fabulous

Wars Have Shaped Women’s Fashion Silhouettes Since World War I, Says Goan Designer Simran Dhond

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Written by Intern Rency Gomes || Team Allycaral 

Panaji, January 2026: Wars have played a significant role in shaping women’s fashion over the decades, influencing silhouettes, functionality and movement, according to multidisciplinary Goan fashion designer Simran Dhond.


Dhond was delivering a centenary lecture titled ‘Classic vs Contemporary – What Every Generation Can Learn About Style’ as part of the ongoing centenary celebrations at the iconic Clube Tennis de Gaspar Dias in Miramar.

Responding to a question on whether economic and social factors influence the length of women’s clothing, particularly skirts, Dhond explained that the shift began during World War I. “During World War I, skirts changed silhouettes and style. They became more functional. Earlier, women wore very long skirts, but later the hemline moved up to the knees to allow quicker movement and enable women to get more work done,” she said.

She added that fashion evolves differently across cultures. In the Indian context, where women wearing short skirts form a smaller demographic, the impact was reflected in subtler changes such as smarter draping of the saree.

During her lecture, Dhond — who holds a master’s degree in fashion and textiles from De Montfort University, England, and is a gold medallist in knitwear design from the National Institute of Fashion Technology (NIFT), Bengaluru — traced the evolution of contemporary fashion. She emphasised that personal style should prioritise comfort, individuality and longevity over blindly following trends.

“Even in contemporary styling, it needs to be about personality. While classic fashion is more structured, contemporary fashion is fluid and embodies who you are,” said Dhond, who currently heads Design & Brand Development at Carbon Tree, a conscious activewear label.

In an interactive session with the audience, Dhond spoke about the role of functionality in clothing, including uniforms. Addressing a question on colonial influence in armed forces attire, she explained that structure and practicality dictate uniform design rather than imitation of Western styles. “Uniforms are about ease of movement, structure and camouflage. Traditional Indian garments like kurtas, while elegant, are not functional in combat situations,” she noted.

On the subject of Indian textiles and crafts, Dhond highlighted their growing global recognition. She cited international luxury brands acknowledging the contribution of Indian artisans, including recent collaborations involving the Chanakya School of Craft in Mumbai. “For years, the role of Indian artisans was not openly acknowledged. Today, global fashion houses are finally showcasing the craftsmanship behind their creations, placing India firmly on the global fashion map,” she said.

International

Dior Faces Backlash for Not Crediting India’s Mukaish Embroidery in $200,000 Coat

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Written by Tanisha Cardozo

In the wake of Prada’s controversy over Kolhapuri chappals, another global fashion giant, Dior, is now facing heat for failing to credit India for a traditional embroidery technique featured in one of its newest couture pieces.

The luxury fashion house unveiled a $200,000 gold and ivory houndstooth coat at Paris Fashion Week as part of designer Jonathan Anderson’s debut collection for Dior. The event, attended by high-profile celebrities like Rihanna, Daniel Craig, and Robert Pattinson, was celebrated for its craftsmanship — but has since drawn criticism for cultural insensitivity.

The issue? The embroidery technique used in the opulent coat is believed to be Mukaish, an intricate hand embroidery style from Lucknow, India, known for using metallic threads to create shimmering motifs. Despite the garment reportedly taking 34 days to complete, no mention of “Mukaish” or its Indian roots was made in Dior’s promotional material or runway notes.

The oversight was highlighted by fashion analyst Hanan Besnovic, who runs the popular Instagram page @ideaservecouture. In a now-viral post, he broke down the craftsmanship behind the coat and stated:

“This is a traditional Indian hand embroidery technique… yet nowhere has Dior acknowledged its origin. This is about credit. This is about cultural respect.”

The backlash has reignited debates around cultural appropriation in fashion, where Western labels often incorporate traditional or indigenous art forms without proper acknowledgment or benefit to the original creators.

Fashion lovers, designers, and Indian artisans alike have taken to social media to express frustration, noting that such oversight erases cultural history and overlooks the skilled craftspeople keeping these traditions alive.

Critics argue that Dior missed an opportunity to spotlight India’s rich embroidery heritage — particularly Mukaish, which dates back centuries and has been passed down through generations of artisans in Uttar Pradesh.

The incident comes at a time when global conversations around ethical fashion, sustainability, and cultural sensitivity are louder than ever. As Indian textiles and techniques continue to inspire luxury fashion globally, many are calling for transparency, collaboration, and fair credit.

Whether Dior responds to the controversy remains to be seen, but the message from critics is loud and clear: Acknowledgement matters.