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Indian Baddies and the Fine Line Between Representation and Appropriation
- LINE Fashion & Arts Society
- 2 hours ago
- 3 min read
Over the course of the past few months, social media has been flooded with the concept of “Indian Baddies”. A “Baddie” is typically a woman who is confident, stylish, and attractive. So why has the term Indian Baddie suddenly circulated on the internet?
This trend gained momentum following Tyla’s recent concert in Mumbai in December. Clips from the concert quickly went viral, featuring Indian women confidently showcasing their fashion and self-expression, giving rise to the label “Indian Baddies”. In particular, TikToks posted by influencers Subiksha Shivakumar, Shubhra Vaity, Asfa Sinha, and Shachi drove the internet wild, gaining over 5.5 million views and millions of shares across many different social media outlets. Their concert looks and unapologetic confidence sparked widespread attention, with many online users only just recognising that Indian women fit seamlessly into the global “baddie” aesthetic.
This cultural moment coincided with another significant milestone: the first time an Indian model opened a Chanel show. Bhavitha Mandava from Hyderabad was discovered in a subway station in New York, the very place where her modelling journey began. Ironically, the Chanel show itself was staged in an abandoned New York subway station, bringing Mandava’s story full circle. While Mandava’s journey symbolises progress in representation, it also raises questions about the fashion industry’s relationship with Indian culture. Luxury brands have long borrowed heavily from Indian aesthetics, often without proper credit or ownership, making moments of genuine representation feel both overdue and conditional.
For instance, in June 2025 Prada’s Spring Summer 2026 show featured an open-toed braided leather sandal resembling Indian Kolhapuri chappals (sandals) made in Mahrashtra and Karnataka. Prada described these sandals as leather footwear but did not mention their Indian origins, prompting major backlash and allegations of cultural appropriation. The brand later acknowledged the footwear design’s Indian roots, renaming the collection “PRADA Made in India X Inspired by Kolhapuri Chappals”.
Similarly, Oh Polly faced backlash for cultural appropriation after marketing dresses with scarf details, dubbed as “Scandinavian scarves”. Which in fact closely represents the traditional South Asian dupatta, with users pointing out the brand profited from the style without crediting its origins. The controversy escalated on Tik Tok, with South Asian creators calling out the brand for rebranding cultural heritage as a new trend, stripping away its meaning and context.
Additionally, this month, Prada has teased a sleek couture perfume inspired by chai. Further illustrating how Indian culture continues to be repackaged within luxury spaces. The perfume has gained mixed traction, with some audiences being extremely excited to see chai notes being put forward in this way. Whilst others remain skeptical, questioning why familiar cultural elements are repeatedly reframed.
Ultimately, the rise of the “Indian Baddie” reflects more than a fleeting social media trend. It signals a growing demand for authentic representation and recognition. While moments like Mandava opening a Chanel show and Indian women dominating viral fashion spaces mark undeniable progress, they exist alongside an industry that continues to profit from Indian culture without fully acknowledging its origin. As Indian aesthetics increasingly shape global fashion and beauty, the conversation must shift from visibility alone to ownership, credit, and respect. The “Indian Baddie” is not a new phenomenon; the world is just simply beginning to catch up.
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