Adidas has drawn sharp criticism from officials in Mexico’s southern Oaxaca state over the launch of a sandal design they claim appropriates a traditional Indigenous craft. The sportswear giant’s “Oaxaca Slip-On” sandals, created by U.S.-based designer Willy Chavarria — who has Mexican roots — have sparked accusations of exploiting cultural heritage without permission.
Governor Salomón Jara Cruz condemned the design during a press conference this week, calling the footwear a “reinterpreted” version of the huarache sandal closely tied to the Yalalag community in Oaxaca, a region with one of Mexico’s largest Indigenous populations. Lawmaker Isaias Carranza, a legislator of Zapotec Indigenous descent, echoed the sentiment on social media, accusing Adidas and Chavarria of appropriating a “unique design” from Yalalag artisans. Jara vowed to collaborate with the community to pursue legal action against the designer, stating, “This huarache is from Yalalag…we must defend our traditions.”
Oaxaca’s Ministry of Cultures and Arts escalated the dispute, issuing a statement that condemned the use of Indigenous cultural elements for profit without consent as a violation of collective rights. The agency demanded Adidas halt sales, publicly recognize the design’s origin, and initiate reparations talks with Yalalag leaders.
The backlash adds to growing scrutiny of global brands accused of capitalizing on Indigenous craftsmanship. In recent years, Mexican authorities have called out companies like Shein, Zara, and Carolina Herrera for allegedly replicating traditional textiles and patterns without credit or compensation. Advocates argue such cases underscore the need for stricter protections for Indigenous intellectual property, particularly as traditional designs gain international popularity.
Adidas has not yet responded to requests for comment, nor has Chavarria addressed the claims publicly. The sandals remain listed on the brand’s website, described as a “bold reimagination of the huarache.”
Oaxaca, renowned for its vibrant Indigenous artistry, has long grappled with balancing cultural preservation and commercialization. Local artisans often face economic pressures to sell their work at low costs, while mass-produced replicas flood global markets. The dispute highlights ongoing tensions between Indigenous communities seeking autonomy over their heritage and corporations tapping into cultural aesthetics for profit.
