The Living Threads of Awadhi Embroidery: An Ode to Chikankari, Zardozi, and Kaamdani
- Kaeshav S
- Aug 20
- 6 min read
Khaatir-e-shauq-e-kamaal-e-husn na kaisa kiya, Aaina-khaane mein uss ko laa ke hairan kar diya... What has the love for the perfection of beauty done? It has brought her into a hall of mirrors and left her astonished... - Amir Khusrau
Behind every House of Kotwara creation lies a story centuries in the making, a narrative whispered through threads of silk, cotton, and gold.
These are not mere fabrics; they are living chronicles of a rich cultural past, painstakingly revived to preserve the artisanal soul of Awadh.
To truly appreciate a Kotwara heirloom, one must understand the living threads from which it is born: the poetic grace of Chikankari, the regal splendor of Zardozi, and the understated luxury of Kaamdani.
These crafts are more than techniques; they are the pillars of our mission and the heartbeat of our heritage.
Chikankari: The Art of Affection and Grace
Chikankari, the delicate and famously intricate craft of embroidery, is the very heart of Awadh's artisanal identity. Its name is derived from the Persian word Chikeen or Chakeen, meaning a fine, embroidered cloth.
The cultural fabric of Lucknow and Awadh is deeply interwoven with this craft, with artisans passing down their exceptional skills through generations.
Chikankari: a Royal and Poetic Origin to Awadhi Embroidery
The origins of this art form are steeped in a beautiful and storied past, a blend of legend and royalty. It is widely believed that Chikankari was introduced to India in the 16th century by Empress Noor Jahan, the celebrated wife of the Emperor Jehangir.
History suggests she brought skilled embroiderers with her from Persia and entrusted them with teaching their craft to families in Awadh.
The legend, however, is more romantic. It is said that the art was born from a personal gesture of love: Noor Jahan meticulously embroidered a delicate piece of white-on-white fabric as a gift for Jehangir.
The intertwining threads were a metaphor for the depth of their relationship, establishing Chikankari not just as a craft, but as an art of affection, elegance, and profound expression.
This legacy of refinement and emotion is what the women of Kotwara carry forward in every piece we create today.
The Anatomy of a Stitch
The enduring beauty of Chikankari lies in its incredible variety and complexity. A single Chikankari garment can feature a symphony of different stitches.
Traditionally, the craft comprises of around thirty-two distinct stitches or techniques, which are themselves variations of six basic types:
Bakhiya
Often known as shadow-work, it is one of the most common stitches. It is created by embroidering a herringbone stitch on the reverse side of fine, translucent fabric like muslin. This unique technique produces a delicate shadow of the thread on the front, beautifully outlining motifs such as flowers and paisleys. The effect is an elegant, three-dimensional illusion, central to the art of Awadhi Chikankari, lending a subtle and graceful finish to the design.
Murri
Is a highly prized stitch in Chikankari embroidery, renowned for its intricate and delicate appearance. It is a minute, raised stitch that creates a delicate, pearl-like textured, embossed effect on the fabric.
Often described as a tiny, elongated knot shaped like a grain of rice (murri), it is a form of French knot. This stitch is typically used to fill the centers of flowers and other small motifs, adding a beautiful, granular detail. Requiring immense skill and precision, the Murri stitch is a hallmark of fine, artisanal Chikankari craftsmanship.
Tepchi
A simple darning stitch used for outlines and filling large areas. It is one of the most fundamental and widely used stitches in Chikankari embroidery. It is a simple, long running or darning stitch worked with a single thread on the right side of the fabric.
Primarily, Tepchi is used to create the delicate outlines of motifs like flowers, leaves, and stems, forming the framework that may later be filled with more intricate stitches. It can also be used as a filling stitch, where parallel rows are stitched closely together. Its elegance lies in its simplicity, creating a beautiful, linear pattern that is light and graceful.
Phanda
An intricate and highly regarded stitch in Chikankari embroidery, known for creating a raised, dot-like effect. It is essentially a form of French knot, often described as being shaped like a tiny grain of millet.
While very similar to the Murri stitch, Phanda is characteristically smaller and rounder. It is meticulously worked to adorn the centers of flowers, create patterns resembling bunches of grapes (angoor), or to add a delicate, embossed texture to motifs. The precision required makes the Phanda stitch a hallmark of superior craftsmanship.
Katav or Khanda
Is a sophisticated Chikankari technique rather than a single stitch type. It is a form of appliqué or cutwork that creates an opaque design on a sheer fabric base.
In this method, a separate piece of fabric is placed behind the main cloth. The artisan then cuts away the front fabric within the motif's outline and meticulously finishes the raw edges, often with a buttonhole stitch. This intricate process results in a beautiful, textured pattern with a striking contrast, adding depth and richness to the overall Chikankari design.
Jaali
An exquisite and highly intricate technique in Chikankari that emulates the look of latticework or a net. It is not a stitch in itself but a process where threads of the fabric are carefully manipulated to create an open, mesh-like effect.
To create a Jaali, the artisan painstakingly pushes aside the warp and weft threads with a needle without breaking them, then groups and secures them with tiny stitches. This creates a delicate, perforated pattern or 'window' within the fabric, lending an airy and ethereal quality to the embroidery.
The motifs are often inspired by the natural world and the intricate floral and jaali designs found in Mughal architecture. Floral patterns, in particular, are ubiquitous, and the paisley motif is among the most popular.
While traditionally performed on the finest cotton muslin, called Mulmul, Chikankari is now skillfully practiced on a wide variety of fabrics, adapting to the changing trends of a globalized market.
Zardozi: Weaving Regal Splendor
If Chikankari whispers elegance, Zardozi announces its presence with an unmistakable regal authority.
Originating in Persia and brought to India by the Mughals, Zardozi is the magnificent art of embellishing fabric with real gold and silver thread, one of the cornerstones of Awadhi Embroidery.
It quickly became synonymous with imperial opulence and was the chosen adornment for the royal attire of kings, queens, and courtiers.
At House of Kotwara, the revival of Zardozi is approached with reverence. It is not treated as mere ornamentation but as a cultural code—a way to express grandeur without excess, and celebration without spectacle.
Together with Chikankari, Zardozi has become a hallmark of the Kotwara aesthetic, celebrated for its elegance, subtlety, and incredibly labor-intensive artistry.
Kaamdani: The Understated Charm of Nobility
A lesser known, but equally exquisite, cousin of Zardozi is Kaamdani. This delicate and refined Awadhi embroidery technique utilizes flattened silver or gold wire to create shimmering, intricate floral and geometric motifs, which are often sewn onto fine muslin or silk.
Where the dense work of Zardozi commands a powerful presence, Kaamdani whispers luxury. It was the embroidery of choice for Lucknow’s sophisticated aristocracy, who appreciated its subtle and understated charm.
In Muzaffar Ali's iconic film Umrao Jaan, the ethereal white peshwaz worn by Rekha was a masterpiece of delicate Kaamdani and Zardozi work, a costume that became an inspirational visual blueprint for many of House of Kotwara’s subsequent designs.
Through House of Kotwara, this refined craft has been placed back into the skilled hands of rural women, restoring a forgotten elegance and allowing it to grace a new generation of connoisseurs.
Article Contributors:
Yogyata Dass, NIFT
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