India's hand embroidery traditions are among the most diverse and refined in the world. From the shadow-like delicacy of Lucknowi Chikankari to the shimmering brilliance of Mukesh work, each technique tells the story of a region, a community, and centuries of artistic evolution. Understanding these embroidery forms deepens our appreciation of the craftsmanship behind every handcrafted garment.
Chikankari: The White-on-White Poetry of Lucknow
Chikankari is Lucknow's gift to the world of textiles. This delicate white-on-white embroidery — traditionally done on fine muslin — is believed to have been introduced to India by Nur Jahan, wife of Mughal Emperor Jahangir, in the 17th century. The word 'chikan' itself is derived from the Persian word chikin, meaning a type of embroidered fabric.
The craft involves over 30 distinct stitches, including taipchi (a running stitch), bakhiya (a shadow-work stitch visible from the reverse side), phanda (a grain-like knot stitch), and jaali (a pulled-thread technique that creates a net-like pattern). Master artisans — known as chikankars — specialise in particular stitches, and a single garment may pass through the hands of several artisans, each contributing their speciality.
Originally worked on white muslin with white thread, contemporary Chikankari now appears on coloured fabrics and uses coloured threads as well, though the white-on-white tradition remains the most prized.
Mukesh Work: Liquid Silver on Fabric
Mukesh work, also known as badla work, creates a distinctive metallic shimmer by wrapping fine metal strips — traditionally silver or gold — around threads that are then stitched into the fabric. The result is a surface that catches light with every movement, creating a liquid, luminous quality unlike any other embroidery.
This technique is often combined with Chikankari, where the delicate white embroidery provides the foundation and Mukesh work adds metallic highlights — a pairing that elevates both crafts to breathtaking effect.
At Rashika Mittal, Mukesh work features prominently in our anarkali collection. The BHAYLI & AHANA Anarkali, an ivory woven anarkali with exquisite Mukesh work and gold hand-embroidered motifs along the V-neckline and cuffs, showcases this craft beautifully. The NOOR & AHANA Anarkali features similar Mukesh work with intricate floral motifs and delicate sequin detailing throughout.
Aari Embroidery: The Hooked Needle Art of Kashmir
Aari embroidery — named after the hooked needle (aari) used in its execution — originated in the Kashmir Valley, where it has been practised for over 500 years. The technique involves using the aari needle to create chain stitches from below the fabric, working with a tambour frame that holds the material taut.
What makes Aari distinctive is its speed and versatility. A skilled artisan can create fine, uniform chain stitches rapidly, filling large areas with intricate floral and paisley designs. The technique is used to create everything from delicate vine patterns to dense, all-over embroidery that covers the entire surface of the fabric.
Aari work is the foundation of many elaborate embroidery styles, including bridal and occasion wear. The FEROZAAN & GULRAAZ Anarkali, crafted in premium Chanderi silk, features delicate Aari and Marodi vine patterns with Gota applique, Nakshi, sequins and Moti (pearl) work — a stunning example of how Aari embroidery creates mesmerising surface texture. Similarly, the GULMOHAR Saree, a black georgette saree, is crafted using aari, sequins, and resham thread work with embroidered floral bootis.
Gota Patti: Rajasthan's Applique Art
Gota Patti is a traditional applique embroidery from Rajasthan, where small pieces of gold or silver ribbon (gota) are cut into shapes — flowers, leaves, petals — and stitched onto fabric. The word patti refers to the strips of metallic ribbon, while gota describes the finished applique work.
The craft dates back to the 3rd century and was historically associated with Rajput and Mughal royalty. Gota Patti work adorned the garments of queens and princesses, and it remains an essential element of Rajasthani bridal wear. The technique involves cutting gota ribbon into specific shapes using patterns drawn on cardboard, then stitching these shapes onto the fabric with coloured thread, often combined with sequins and beads.
Our dupatta collection features beautiful gota patti work — the KAINAAT Dupatta, in sheer organza, is adorned with circular gota patti, sequin, resham and beadwork medallions inspired by archival festive motifs. The LEELA & SIFAT Kurta Set, in lightweight chanderi, features a bold leaf motif at the hem done in fine gota patti, sequins, resham and bead work inspired by traditional Rajasthani phool-patti patterns. And the ISHQ-e-GUL & INARA Lehenga features an elaborate gota-patti and marodi gold border on a stunning multi-hued tissue jacquard.
How Hand Embroidery Differs from Machine Embroidery
Understanding the distinction matters when investing in quality garments:
- Texture: Hand embroidery has natural variations — slightly uneven spacing, organic curves, subtle differences in stitch tension — that give it character. Machine embroidery is uniform and precise, lacking this organic quality.
- Reverse side: Hand embroidery often looks nearly as beautiful on the reverse side as the front. Machine embroidery typically shows a dense mass of threads on the back.
- Time: A single hand-embroidered garment may take weeks or months to complete. Machine embroidery can replicate a pattern in minutes.
- Value: Hand embroidery represents human skill, tradition, and artisanal livelihood. It is an investment in heritage, not just clothing.
Every piece at Rashika Mittal is handcrafted by skilled artisans, ensuring that you receive the authentic quality and character that only hand embroidery can offer. Explore our complete collection to experience these traditions firsthand.
Frequently Asked Questions
Which is the most expensive form of Indian hand embroidery?
Zardozi — heavy metallic embroidery using gold and silver threads, sequins, beads, and sometimes semi-precious stones — is among the most expensive. However, fine Chikankari with shadow work (bakhiya) and jaali can also command premium prices due to the extreme skill and time required.
How do I care for hand-embroidered garments?
Always dry clean hand-embroidered pieces. If hand washing is necessary, use cold water and a very mild detergent, and never wring or twist the fabric. Dry flat in shade. Store in breathable cotton or muslin bags — never in plastic, which can trap moisture and damage metallic threads.
Can hand embroidery be customised?
Yes, most hand embroidery can be customised. At Rashika Mittal, our made-to-order approach means each piece is crafted with attention to individual specifications, ensuring the embroidery complements the overall design perfectly.
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