In May 2024, a TikTok video posted by a Western fashion rental company set off a cultural firestorm. In the video, models strutted down runways and posed for photoshoots wearing long, flowing scarves—styled strikingly like the traditional South Asian dupatta. The caption described the looks as “very European, very classy.” Within hours, outrage erupted across social media platforms. For many in South Asia, the statement was not just inaccurate—it was offensive. How had a garment that symbolized modesty, grace, and cultural identity for centuries suddenly been rebranded as European?

The Ancient Origin of the Dupatta
The dupatta, historically referred to as uttariya, has roots dating back to the Vedic period (c. 1500 BCE). In ancient texts and sculptures, both men and women are depicted wearing the uttariya—a long piece of unstitched cloth draped over the shoulders or head. It was not merely an accessory but a symbol of dignity, humility, and social decorum. Over time, the uttariya evolved into what we now recognize as the dupatta, seamlessly integrating itself into the sartorial traditions of India, Pakistan, Bangladesh, and Nepal.

Traditionally, the dupatta is worn with a salwar kameez, lehenga choli, or saree, and is particularly important in religious and ceremonial contexts. Whether used to cover the head during prayer, draped across the chest as a sign of modesty, or tied as a part of bridal attire, the dupatta serves both functional and symbolic purposes. It is a living thread of cultural continuity.

A Cultural Emblem, Not Just Fabric
The dupatta is more than fabric. It carries stories. It holds within its folds generations of values—respect, tradition, and identity. For Bharatiya women, wearing a dupatta is not merely about fashion; it's about embodying a heritage that reverberates with spiritual and social significance.

In many regions, girls are first introduced to the dupatta during puberty or a coming-of-age ceremony. Brides receive ornate dupattas as part of their wedding trousseau. Religious rituals often require the covering of the head, and the dupatta fulfills this role with grace. Thus, removing it from this context and labeling it "classy" only when stylized for Western runways is seen by many as a deliberate act of cultural dilution.

The May 2024 Controversy—Social Media BacklashThe fashion rental company's TikTok video featured white and racially ambiguous models wearing scarves wrapped over one shoulder, draped elegantly across the body—indistinguishable from a classic South Asian styling of the dupatta. The caption, "very European, very classy," triggered immediate backlash.

South Asian users responded with dueling emotions: anger at the misappropriation, sadness over erasure, and irony that something often criticized in the West as “too ethnic” was now being elevated in elite circles—without acknowledgment. Hashtags like #DupattaNotScarf, #MyCultureIsNotATrend, and #CulturalAppreciationNotAppropriation began trending.

Western Celebrities and the Repackaging of the Dupatta

The incident wasn't in isolation. In recent years, several Western celebrities have donned garments or accessories that resemble the dupatta.

• Sabrina Carpenter appeared in a music video wearing a sheer, embroidered scarf draped over one shoulder—a styling familiar to anyone from the subcontinent.
• Anne Hathaway, at a fashion gala, wore a hooded couture ensemble that bore striking resemblance to bridal dupattas from Punjab and Rajasthan.
• Zendaya, known for her experimental fashion, once wore a sari-inspired gown paired with a flowing shoulder wrap, again echoing the aesthetic of the dupatta.

These appearances were praised in the Western press as "exotic," "regal," or "futuristic." Yet, they were often framed with no mention of the garment’s South Asian origin. Such selective storytelling sanitizes the garment's history and separates it from the people who gave it meaning.

The Historical Pattern of Textile Appropriation
This is not the first time Indian fashion or textiles have been appropriated. During the 18th and 19th centuries, Indian cotton textiles such as muslin, chintz, and calico were so popular in Europe that they disrupted local industries. British colonial powers responded by banning Indian imports, only to mass-produce cheap imitations in English mills.

This set the stage for what we now call fast fashion. The exploitation of Indian weavers, the destruction of local textile economies, and the replication of Indian prints and motifs without credit laid a foundation for the global fashion system as we know it.

To now see the dupatta—a garment with roots in this complex history—used as a runway gimmick is, to many, a cruel twist of irony.

The Colonial Lens: From Mockery to High FashionIronically, what is now being sold as “chic” was once mocked under colonial rule. British and European observers often dismissed Indian clothing as “uncivilized” or “overly modest.” The dupatta, when worn by Indian women in public spaces during colonial times, was often associated with backwardness or suppression.

Today, when the same garment is worn by someone with Western privilege, it becomes haute couture. This shift speaks to a colonial hangover in which validation is granted only through a Western lens.

The Pain of Erasure—Voices from the Community
"When I wore a dupatta to school in the U.S., I was teased. Now I see girls wearing it at Coachella and getting praised for being edgy. It hurts," says Ayesha Khan, a second-generation Pakistani-American.

Social media has become a battleground for these sentiments. Many Desi users have started posting pictures of themselves and their families wearing dupattas, tagging them with stories of cultural pride, often juxtaposing them with Western versions.

"We’re not asking people to stop wearing beautiful things," says fashion blogger Meera Joshi. "We’re asking them to know—and say—where those beautiful things come from."

The Fine Line Between Appreciation and Appropriation

So where is the line between cultural appreciation and appropriation?

Appreciation involves acknowledgment, respect, and inclusion. It means crediting the culture of origin, supporting designers from that culture, and engaging with the community. Appropriation, by contrast, extracts an element of culture, removes its context, and profits from it without recognition.

The dupatta styled as a scarf isn't inherently problematic. What becomes problematic is when it's stripped of meaning, presented as novel, and used to reinforce Eurocentric standards of beauty and elegance.

The Commercialization of HeritageThe fashion industry, ever hungry for the next trend, often turns to "ethnic" cultures for inspiration. The result is a commodification of heritage.

High-end brands have released “head scarves” or “body veils” priced at thousands of dollars, their designs eerily similar to traditional dupattas available in South Asia for a fraction of the cost. Yet these high-fashion versions are often accompanied by branding that suggests innovation rather than homage.

The problem is not globalization—it is displacement without dialogue.

Educational Institutions and the Need for InclusionFashion schools, museums, and cultural institutions must take an active role in reversing this trend. Curricula should include global textile histories, with specific attention to colonized regions and indigenous clothing systems.

Exhibits that showcase the evolution of garments like the dupatta—from Vedic India to Mughal courts to contemporary fashion—can educate audiences and prevent misappropriation. Representation must also extend to the boardrooms, design tables, and editorial desks of fashion media.

Reviving the Dupatta—A Cultural ReclamationIn response to the growing discontent, South Asian designers and influencers are launching campaigns that celebrate the dupatta in its authentic form. They are spotlighting the artisans who weave, dye, and embroider these garments, many of whom belong to marginalized communities.

Online movements are encouraging young South Asians to wear the dupatta proudly—not just at weddings or festivals, but as part of everyday wear. It’s a reclamation of identity in an increasingly homogenized fashion world.

Beyond Fabric, A LegacyThe dupatta is not just a garment. It is a legacy—a bridge between past and present, sacred and everyday, regional and universal. To call it European is not just historically false; it is culturally disrespectful.

The issue isn't about who gets to wear the dupatta. It's about who gets to claim it.

In a globalized world, cultural exchange is inevitable—and often beautiful. But it must be rooted in respect, recognition, and reciprocity. Until then, the dupatta will remain a symbol not just of modesty and grace, but of the ongoing struggle for cultural dignity.