The intricate embroidery designs have always been among people's choice lists. They are not only eye-catching but also graceful. With time, embroidery designs have evolved, and a plethora of designs have surfaced. One of those embroidery varieties is the Chikankari, which has become a statement today.

It is one of the oldest designs that dates back to the 3rd century BC, there are numerous allusions to these earliest designs. The Greek traveller, Megasthenes, hints at the typical floral designs of spelling . However, it is crystal clear that its origin is credited to Lucknow.

According to one version, a traveller was on his journey when he stopped at a village in Lucknow. Exhausted by the trip, he asked a peasant for some water. He was impressed by the poor peasant's hospitality. In return, the traveller taught him the art of Chikankari. The peasant started the business in Lucknow, and since then, Lucknow has become famous for it.

Some people also claim that Empress Noor Jahan brought Chikankari to India. She invited artisans from Persia to create aesthetic Indo-Persian designs. Finally, when the Chikankari was created, it became the favourite of the Mughals.

The word Chikankari comes from a Persian word, "chikin," or "chikeen," which means silk embroidery. It was knitted and stitched together by hand to create elegant designs for the royals. It was traditionally a white-on-white design made on a muslin cloth called Tanzeb. It had a very superior status during the era and was considered an elite symbol in the royal court of the Nawab.

Even during the British era, Chikankari was a symbol of richness. Women had to wear chikan–embroidered sarees to portray themselves as eligible to tie a knot with a man of a higher class.

There are three main types of stitching: flat stitches (fine, tight stitches), embossed stitches (grainy textured), and embroidered stitches ( subtle net effect). The art of chikankari undergoes a series of procedures like cutting, stitching, printing, embroidery, washing, and finishing. The complete process takes around 12 days. The designs include floral designs of jasmine, roses and lotus that are adorned all over the cloth or in the corners.

Nowadays, Chikankari is also found on bedsheets, cushions, dresses, etc. Its style has also evolved with time, depending on materials and regions. Different variations, including Kundan's work and Khussab, have shaken the markets. The tanzeb is replaced with chiffon, cotton and georgette. However, the essence and value of Chikankari are still the same. It has been ruling Indian hearts and will continue to do so.

Banarasi Saree is a Saree particularly made in Varanasi (Banaras), a very ancient and sacred city located in Uttar Pradesh. The Sarees are made of fine silk and decorated with gold or silver or zari embroidery making them quite heavy than a usual Saree. Banarasi Silk Sarees are one of the finest and most sophisticated Sarees in India. The legends of Banarasi Silk Sarees adorned with gold and silver and zari were popular all across the nation usually narrated by traders in order to promote the complex yet beautiful work of weavers and artisans. Earlier, migration for trading and other business aspects was very common. It started a new wave of innovations by all the weavers and artisans which led to many innovations in the 19th century.

The Banarasi silk Sarees are a mixture of two different cultures – Mughal and Indian.

Zari and Brocade were known as the Royal Fabrics and their first ever mention can be found in the 19th century literature. Gujarati silk weavers and other artisans migrated to the city in the 17th century after the famine of the 16th century. Banarasi silk was introduced by the Mughals with its beautiful way of weaving and ultimate designs. Zari and Brocade's work started developing during the Mughal Period, especially during the era of Emperor Akbar in around the 14th century. This was the time when Panara craftsmen started showcasing their creativity in developing fine fabrics.

Originally, they were decorated with real gold and silver as it was only worn by the royal families but now, in order to make it for every type of crowd, the real gold and silver is replaced with gold and silver color threads. This makes it affordable and light in weight. These Sarees are ideal, appropriate, and sophisticated for any function, be it a Pooja or a Party. It is originally made in four varieties name Shatir Saree, Georgette Saree, Pure silk (Katan), and Organza (Kara). All these fine materials have varieties of fascinating designs that will leave you awestruck.

Well, it mostly depends on the complexity of all the designs and embroidery but usually, it takes approximately 15-30 days in order to finish the making of a Banarasi Saree. Normally, 3 weavers work together in the making of one Saree – one weaves the Saree, one focuses on the design and one handles the revolving ring. It is a complete team effort. The designs are the first prepared on graph paper and punch cards are created to make sure that the knitting is done in a particular manner.

The traditional Banarasi Silk Sarees are famous all around the world because of their beauty. These Sarees are very unique and versatile in nature, making them appropriate for everyone.

A woman steadily makes her way into a royal forest. Her streamlined body is draped with a single sheet with beautiful paisley prints and embroidery on it. She has run away from home and the only means of paying for her travels is the shawl draped around her sweaty body. Little did she know that she was nestled into luxury, carrying a single piece of garment that would provide not only for her passage to a strange land but also for a sufficient home and security for months. It was the era of the Mughals and the shawl was no ordinary shawl but a Kashmiri Shawl. A piece of wool that had the fortune of being titled the ‘Fiber of the Kings’.

Soft as silk and delicate as Fur but not as yet either, in both finery and rarity. When it comes to being the most precious and pure of all elements of the Indian textile, the etiquettes and grace of a Kashmiri Shawl leave every material behind, as it lightly steps into its elegant podium of being called a masterpiece.

It is marked as a symbol of prosperity and luxury in the contemporary world, often passed from one generation to another as a family heirloom until it becomes threadbare. It is gifted as a prize and a symbol of respect to famous personalities along with bouquets and trophies. Its finery is not flimsy, its light-weightiness should not be confused with cheapness, that’s the mystery and quality of a richly crafted Kashmiri Shawl, also known as the Cashmere shawl.

The history of the Kashmiri shawl and its origins are more interesting to know than its making process. As the rich properties required in the making of a Kashmiri shawl are attained frugally and in minority, its making is a task of utmost patience and care. The first ever Kashmiri Shawl is said to have originated in 1526, during the reign of Akbar. It was gifted to the Mughal Emperor as a mark of respect and greatness.

It is said that the Emperor, not aware of its significance, gifted the shawl to his Begums who adored the fine shawl in the safe space of their harems. Till the 18th century, these shawls were mostly worn by men, with kings gifting them to their favorite courtiers in the Durbar, as a symbol of elevation of their status. It was in the 19th century that women popularly start draping the shawl in public, hence accepting the shawl and making it a unisex garment.

The Kashmiri Shawl’s charm was not unknown and unfelt by the foreign lands as well. It is said that Ceaser adored his Kashmiri Shawl and loved to drape it almost all the time. Queen Victoria, who for a significant time was ‘The Empress of India’, felt a profound love for her beautiful Pashmina and Cashmere Shawls along with the Afghani carpets. Shawls used to be specially designed and dispatched to her Royal highness at her behest. Further deep into Europe, Marie Antoinette and Empress Josephine also became immense admirers of the fineness of the choicest Cashmere shawl.

But is it the inescapable allure in this fabric? Just because it is from Kashmir and everything from ‘the Heaven on earth’ ought to be distinguishing and brilliant? Well, it might be true, but Kashmiri Shawl is much more than that. Kashmiri Shawl is of two types, the commonly known Pashmina Shawl is made with the inner lining of the hair of Changthangi goats. The other is the Shahtoosh Shawls, which are banned in the country because they require the hair of the Tibetan antelope which has become an endangered species.

Hence, most of the Kashmiri shawls found are Pashmina. The word Pashmina is made from the word, ‘Pashm’, which is the inner lining of the hair of a mountain goat, which inhabits the hills of Nepal, between India and Tibet. It is considered that for the wool to be of the finest quality, it should be from the highest altitudes. The Changthangi goats live at the height of 15000 ft and provide the choicest quality of warm and light wool required for the craft of making a splendid Pashmina shawl. The thickness determines the fineness of the Pashmina which rounds off to be 12-16 microns.

It takes a skilled weaver to complete seven shawls a day. Nonetheless, time is of the essence to nurture every art, and so on average, it takes around 200 hours to make one Kashmiri shawl. Slow yet splendid, would be anyone’s words when one beholds the richness and sheer luxury a Kashmiri shawl holds on the beholder. Kashmiri shawl is another of the jewels embedded which makes India a culturally rich country in both art and economics. The traditional Kashmir weavers earn their bread and butter through the flair of their art. Their melting art is the fine piece of fabric which is the Kashmiri shawl, when embroidered alongside silk, enhances both the beauty and value of the fabric.

Today, as like the day when it first came into existence, to possess a Kashmiri shawl is to be prosperous, to hold luxury under one’s roof, to pass from one hand to another, blessing others with respect and a touch of finery.

The origin of the Chanderi saree is rather a very interesting story. The Koshti weavers who gave birth to this exquisite fabric were royal weavers to the family during the 13th Century. However, its evolution could have taken place over several events from our past. Those were the days of constant shifts in imperial authority, in Bundelkhand, Malwa, Delhi. Moreover, the Chanderi district was the seat of imperial trade in the medieval period for the kingdoms of Malwa, Medwa, Central India, South Gujarat, etc. With the ushering of the Mughals, this fabric gained enormous prominence for its beauty, and comfort.

It is very intriguing to note how Handloom designs, perhaps in their heyday, have all played a significant part in their journey. Today Chanderi fabrics and designs are used in every saree designer's house in the country and are popular in every saree shop. To keep up with the pace of modernisation, today the attempt is to include modern design elements as well. However, even today you can get traditional chanderi sarees woven by traditional chanderi weavers. Traditional handlooms have been slightly modernized, and with the support of state and central governments, new jacquards can be seen on traditional looms. Still, the knowledge of weaving has been passed down from generation to generation. The technique, design and weave are still classic chanderi as they have been preserved and kept alive. step.

Not only can you buy traditional sarees like this from Chanderi, but you can also see them up close and interact with the weavers. Once you've finished shopping for sarees in Chanderi, you can also explore the various historical sites of this once-bustling kingdom of merchants and merchants.

And as you know, these traditional weavers of Chanderi make not only sarees but also stoles, shawls, bed sheets, tablecloths, wall hangings and more. Chanderi art is a living history of thousands of people who weave their works day and night with immense toil and dexterity. In the wake of artificial intelligence creating art, it is important to remember this dying textile industry for it has always brought exquisiteness and comfort, beauty and grace with itself.

Kantha is an ancient form of hand-stitch embroidery originating in India. The word Kantha means “rags” in Sanskrit, reflecting a tradition of using discarded clothing or garments to remake old cloth into bed coverings and other household items. Kantha may be spelled and pronounced in various ways: kantha, kaentha, ketha, kheta. Far more beautiful than the original name inspires, Kantha quilts are a vibrant patchwork of layers upon layers of patterned fabrics, bold colours and of course a rich history which is woven together with each stitch, patch and stretch of beautiful fabric.

One of the oldest forms of embroidery originating from India, its origins can be traced back to the pre-Vedic age (prior to 1500 BCE).The ancient practice was first mentioned in a book by Kaviraj 500 years ago. The first factory in India was started at Patna during the year 1920. Dr. Stella Karamrisch writes, that kantha was first manufactured in 1875. Kanthas were produced in Hugli, Patna, Satagon, Jessore, Faridpur, Khulna and other parts of East and West Bengal.

Kantha refers to both the style of running stitch, as well as the finished cloth. It was a craft that was practiced by women of all rural classes, "the rich landlord’s wife making her own elaborate embroidered quilt in her leisure time and the tenant farmer’s wife making her own thrifty coverlet, equal in beauty and skill." It was never commissioned by kings, nor ordered by landed gentry, but passed down in learning and dowry from mother to daughter.

The ladies layer their old saris and hold them together by quilting. Then they embroider them with simple embroidery stitches with yarn un-raveled from the borders. It usually depicted some stories of daily life, folk stories, epics, mythological background, ritualistic motifs, luxurious vegetation with roaming animals etc.

Originally, Kantha was a simple backstitch embroidery used to hold cotton layers in quilts in Bihar and Bengal. The maker is believed to be the “soul” of Kantha as the individual could record their life story in cloth using the colors of everyday life. There are different kinds of Kanthas named according to its utility. Arshilata, Baygon, Durjani, Lep Kantha and Suhani to name a few.

Kantha was invented out of basic necessity and was made of various sizes and layers as per the need, starting with small pieces of cloth for newborn babies, to the light covers for adults to use at night, and to wrap over the shoulders in winter mornings. Ancient Kantha quilts often had ceremonial symbols and animals printed and stitched in their patterns, and were used in births and wedding ceremonies. It is a treasured art of every door where in, the Bengali ladies irrespective of their castes, classes and socio-economic groups, are expertise.

Today, Kantha stitch design fabric is used to ornament different products like Sari, Stole, Dresses, and Jackets and so on. The bed cover and wall hanging of Kanthas were famous world-wide. They have gained a worldwide appreciation for their wonderfully eclectic and unique style of mixed fabric prints and patches combined with all-over hand-stitched. Kantha work is the result of innovative sustainable determination, philosophy, cultural sentiment and holiness.

There is a famous saying in Tamil “Kai Thozhil ondrai Katrukkol, Kavalai unakkilai otrukol” by a popular poet, Namakal V. Ramalingapillai. It means learning handcraft and you will never regret it as it always gives you happiness and also income, so that you do not need to worry or bother at anytime in your life.

Kalam means pen, kari means work. This ancient work emerged about 3000 years ago in India. Kalamkari is not an art using normal pencils and sketches. This pretty work is done using a bamboo stick or Date palm stick which has a sharp edge at one end to get a perfectly attractive, clear, and intricate design. Another end hooks up with a cotton cloth with thread to make further signature designs. The process is called Kasim which is a mixture of palm jaggery, sugar jaggery, rusted iron and water. The excess paint in the bamboo pen squeezes out gently. Of course, if there is an art, it definitely needs an eraser to alter it. So the craftsmen have cotton aside.

Apart from the art, it is worth noting that the paints that are used are completely organic. Instead of synthetic paints, the artists use vegetable and natural dyes like Alum water for red. Most of the Kalamkari works are bordered either in black or red, universally. This iconography depicts the epics using the tone of color that expresses the mood. For instance, rajas who are violent will be coloured in red. Similarly, there are standard colors for the respective moods and emotions.

Paintings of Kalamkari are found on the archeological sites of mohenjo daro. According to historians, those found fabrics were painted during the Mughal era. The Sultanate of Hyderabad was in love with the art and artists and addressed the kalamkari craftsmen as Qualamkars from which the word kalamkari was born. The Golconda sultanate promoted this art.

This handcrafted glory is also influenced by the surroundings. Chiktrakattas were the reason behind the adoration of the art as they were vagabonds, traveled far away places and showcased the art and their excellent skill in craftsmanship. The purpose of this painting was to spread Hindu mythology from village to village. Cotton cloth played the role of canvas paper. Later, it transformed into canvas painting as well as printing.

The trading in Kalamkari was high and was exported world wide. Development of the designs started then. They took inspiration from the Persians to adorn the motifs of beauty. Srikalahasti and Machilipatnam in Andhra Pradesh are the chief centers for Kalamkari trading. This vibrant art of South India amazingly exists even today after three millennia. The craft grows ultimately wide and still has the same demand for the talk with the art.

Printing is now universally recognized as a renowned art form. Evidence of printed clothes can be traced back to 2500 B.C, and various kinds of drawings were depicted on fabric. It is believed that India and China were the first countries to use the block-painting technique on clothes. Saganeri hand-block painting originated in the Sanganer Village located near Jaipur, Rajasthan. It has been in making for more than 5 centuries and holds a significant place in the world of artisans and craftsmen.

Several kinds of patterns and designs with vibrant colors are the factors that distinguish this hand-block painting technique from others.

Sanganer was not known as a printing center before the 17th century. Earlier, it was known for plain and dyed clothing. It was during the time when constant wars were going on between the Mughals and the Marathas which forced the craftsmen from Gujarat to move to Rajasthan. Here, this printing technique emerged, developed, and gained phenomenal significance.

The prominent dyes used in Sanganeri print are so unique that they became one of the most exported items of East India Company.

The techniques of this art form were passed from generation to generation. There was no formal training available at that day, artisans learned this art by observing other artisans who were skilled in it. The Sanganeri print mainly focuses on prints from nature such as sunflowers, roses, and different fruits depicting the beautiful flora and fauna of Sanganer. Apart from nature, paintings of gods, geometrical patterns, and their folk culture were also seen in the art. Traditional dyes used for printing were made from different aspects of nature like insects were used for red or purple color. Several kinds of patterns and designs with vibrant colors are the elements that distinguish this technique from other.

The dyers originally belonged to Punjab and Sindh from a community named the ‘Chippa’ community. Their entire family including the children were involved in the process of dying the cloth.

In order to get the Sanganeri print on cloth, artisans used blocks with different paintings engraved on them. The blocks were mainly made of two kinds – Wooden and Metal. the wooden blocks are made from teak or Sheesham wood. They were divided into two types – Rekha used to print outlines and Datta used to print fillers. One gets the desired designs on the blocks as per their needs. On the blocks, they attach a handle to make the process easier for them. To get a more detailed and delicate pattern, metal blocks are used. The craftsmen hammer a metal strip engraved into the wooden block. The metal blocks are more time-consuming than the wooden blocks but have more long-lasting effects than the wooden blocks.

Kandangi sarees are descended from a wealthy community known as Nagarathar in the Tamil Nadu districts of Chettinad and Karaikudi. The origins of these sarees are said to be 250 years old.

Kandangi sarees are distinguished by their checkered pattern, broad borders with contrasting colours, and soft fabric. Traditional Kandangi saree colours like red, black, and mustard were synonymous with embracing nature's colours. They were undoubtedly influenced by the rustic palette of the soil.

Kandangi sarees, which are delicately woven in silk, are a smooth and comfortable material to wear. Their material becomes more comfortable after the first wash, which is ideal for dealing with Tamil Nadu's hot and humid climate. As the demand for sarees increased, weavers began using cotton to create Kandangi sarees for greater durability and comfort.

Kandangi sarees are well-known for their never-ending character. They adopt the tough spirit of hardworking weavers, so the sarees are never torn. In fact, after being used as sarees, they are typically recycled to make small cradles or tottils. Because they are woven on frame looms with fly shuttles, these sarees are extremely durable.

Furthermore, sarees from Chettinad are known for their shorter length. Kandangi sarees are only 5.1-5.2 metres long, as opposed to a traditional saree that is six metres long. This was done with the intention of allowing the wearer's ankles to be visible while donning these exquisitely curated sarees.

Kandangi sarees, with their vibrant colours and borders, are now potentially available in all of the major colour palettes. Thanks to a fully developed synthetic dye industry! The saree's wide borders give it a regal appearance and boost the confidence of anyone who wears it.

It is worth noting, however, that the community that began weaving Kandangi sarees in Chettinad was not from Tamil Nadu. They were the people who migrated from the former Saurashtra region.

Visalakshi Ramaswamy, founder of the M.Rm.Rm. Cultural Foundation, thoroughly researched Kandangi sarees and their history. She is from the Chettinad region, and handmade textiles are her passion. "I've seen Chettiar women own and wear these saris three generations before mine; I've seen them in other people's closets, and I've worn them for many years.I was also able to obtain proof of where it was woven in Chettinad," she says. Kandangi sarees, with their appealing use of contrasting and radiant colours, were awarded a GI tag, also known as a Geographical Indication tag, in 2019. The tag represents the specificity and individuality of these long-lasting sarees. In fact, the title was long overdue because it represents the weavers' perseverance in weaving their spirit and patience with those threads to create beautiful Kandangi sarees. The GI tag also honours India's rich culture and traditions, which have given birth to several such textiles.

Kandangi sarees may be an appropriate choice for someone who wishes to represent the rich culture of the land, which is full of uniqueness and creativity. These sarees with checkered prints and broad borders are adorned with threads of hardworking weavers and spirit of age old traditions. Pls add more lines to the history and origin to your story. Rest the info on the saree is apt.

India is well known since ancient times for its handloom and cloth weaving industry. The Paithani, originating from Paithan, is one such handloom treasure purely woven in silk and zari (thread made of gold or silver). Royal Paithani saree dates back to over 2000 years ago; it was an integral part of women's attires in the Maratha, Satavahana, Mughal and Nizam eras. Every woman dreams of having at least one Paithani saree. No Maharashtrian wedding is complete without Paithani.

The name pathani comes from its birthplace- Paithan, a town in Maharashtra. Trade records from the 2nd century BCE maintain mentions of the silks and cotton of Pratishthana (Paithan) being exchanged for Roman wines and olive oil. It is a symbol of the state’s history; the love affair with Paithani began with the royals of the 18th century.

Paithani saree results from a careful, complex and delicate process of hand weaving and dyeing. The main raw material used for paithani is Silk yarn, Zari and colors. Preferably, filature silk is used as warp and charkha silk is used as weft. Another major raw material is pure gold and silver ‘Zari. Tapestry weaving is the base of Paithani craftsmanship. The weaving of a Paithani saree could take from 7-15 days to 18-24 months, depending upon the complexity of the design, making it one of the most expensive sarees.

The oldest traditional Paithani designs are the Vine and Flowers (Asavali) and Squarish floral motifs (the akruti). Some oth%r traditional designs are the petal form (kalas Pakli), the Fan (Pankha), Cocount (Narali) and cotton bud (Rui phul). Begum Niloufer, from Nizam family, is attributed for her contribution of the motif Parinda (Pheasant bird). No two Paithani sarees are exactly the same as each saree is woven individually and has different and unique motifs. The splendour of the saree comes from this intricate zari that forms the border and the pallu.

Now-a-days one can easily find many fake or duplicate Paithani sarees in the market available at a very low cost. However, no machine-made fabric can be compared with the hand-made paithani sarees by the master craftsmen of Maharashtra. It is the combination of simplicity and grandeur that makes the saree one of a kind. A heavy weight bright coloured silk saree with zari designing work in body, border and pallu.

The weaver’s community is shrinking as the younger community does not prefer doing the traditional jobs and are migrating towards the cities. This has caused loss of traditional knowledge systems of weaving. However, due to the dedication and faith of certain groups of weavers this tradition has been kept alive for the past 2000 years.

One of the traditional textiles of India is Bhagalpuri silk, that comes from the historical town of Bhagalpur in the southern bank of River Ganga in Bihar. This town is also known as the “Silk City” of India, because of the production of its world-famous silk known as Tussar Silk or Bhagalpuri silk, from which the immensely popular Bhagalpuri sarees are made.

The origin of the Bhagalpuri sarees can be traced back to the Vedic age, but it was during the Mauryan age, that this craft truly flourished and caught the attention of everyone. The skills to manufacture the Bhagalpuri Silk was handed down to subsequent generations, progressively increasing the demand for this artwork.

Bhagalpuri silk is made from cocoons of Antheraea paphia silkworms. This species, also known as Vanya silkworm is native to India. The finest texture of Silk springing out from the essence of nature and known as the ‘Queen of all fabrics’, Bhagalpuri Silk is very well known for its unique and striking resilience and superior quality.

they have beautiful embroideries and motifs all over them such as Kantha embroidery, Shibori embroidery, floral patterns, designs of temples etc.

One of the most remarkable qualities of Bhagalpuri silk is its eco-friendly process. Thus it is also referred to as “peace silk” because its production style is very different from the production of all other varieties of silk. The production of Bhagalpuri silk or Tussar silk does not promote animal cruelty since only a finite number of worms are used for silk production.

Due to the fabric being more porous than other silk types, it proves to be an excellent choice for the summer season. It gives its wearer a rich and royal outlook and retains the enchanting designs and motifs imprinted in them. Bhagalpur is home to almost 35 thousand skilled and experienced craftsmen and to about 25 thousand looms, competing to the attention and high demand of these sarees. Cities such as Paris and London, known as fashion capitals, have also shown an interest in this fabric, increasing global demand for this embroidered fabric. Generations of people have recognized the magical spirit of this artwork, which managed to entice and fascinate most people for hundreds of years.