Dolce & Gabbana
"Trevi" Bag · 2025
Dolce & Gabbana
- Item
- "Trevi" Bag
- Year
- 2025
- Retail
- ₹20 L≈ $24,096
- Spin
- "Roman craftsmanship of the Trevi Fountain"
Dolce & Gabbana's "Trevi" bag, launched in 2025, features elaborate wood carving on one side. While the brand explicitly highlights Roman craftsmanship in its marketing, the distinct Kashmiri walnut wood carving technique used for the other half of the bag receives no acknowledgement. This omission allows the luxury brand to present a globally sourced product while attributing only a portion of its intricate artistry, effectively obscuring the origins of a significant component of its design.
अखरोट की नक्काशी
Kashmiri Walnut Wood Carving
- Region
- Kashmir
- True Value
- Uncredited
- Category
- 06 · 2025–26 Breakthroughs
Kashmiri walnut wood carving, known as 'akhrot ki nakashi', is a centuries-old craft from the Kashmir Valley. Skilled artisans meticulously hand-carve intricate patterns, often inspired by local flora like chinar leaves and grapevines, into the rich, dark walnut wood. This art form is deeply embedded in Kashmiri culture, adorning furniture, decorative items, and architectural elements, reflecting the region's artistic heritage and the carvers' profound connection to their natural surroundings.
FX reference: 1 USD ≈ ₹83 — for comparison only
The Story
Dolce & Gabbana launched its "Trevi" Bag in 2025, retailing for over ₹20 Lakh. The luxury item was marketed as a celebration of Roman craftsmanship, specifically referencing the iconic Trevi Fountain. However, the bag prominently featured intricate walnut wood carving that bore a striking resemblance to a distinct Indian craft, with no acknowledgment of its true origin.
Kashmiri Walnut Wood Carving, known as Akhrot ki Nakkashi, is a revered art form from the Kashmir region of India. This intricate craft involves skilled artisans meticulously carving detailed patterns, often inspired by nature, onto walnut wood. The tradition has been passed down through generations, with each piece reflecting the rich cultural heritage and artistic prowess of the Kashmiri people. It is a significant part of the region's identity and economy.
The appropriation was called out by various craft enthusiasts and cultural commentators who noted the blatant disparity between the marketing narrative and the visible craftsmanship. Objections centered on the complete lack of credit given to Kashmiri artisans, effectively erasing the origin of a significant design element. The public response highlighted concerns about cultural appropriation and the exploitation of traditional knowledge without fair recognition or compensation.
One side openly credits Roman craft. The other half — intricate Kashmiri walnut wood carving — receives absolutely zero acknowledgement.
Reporting forthcoming