This document is a project dissertation submitted by Ms. Nidhi Nayak on Chikankari, a traditional embroidery art from Lucknow, India. It provides an introduction to Chikankari and discusses its origins in Persia and development in Lucknow. The dissertation also examines the history of Chikankari, describes the various stitching techniques used, and outlines the traditional production process of block printing designs, embroidery, and washing the finished textiles.

2. PROJECT DESERTATION
Submitted by
MS. NIDHI NAYAK
M.SC-2nd
Yr. (Fashion Design)
Guided by
SIDDARTHA DANGALE
Date of submission
29 November 2017
Remark
International Institute of
Fashion Design, Nasik.

3. INDEX
1.INTRODUCTION
2.CULTURAL LIFE
3.CHIKANKARI OF LUCKNOW
4.ORIGIN OF CHIKANKARI
5.HISTORY OF CHIKANKARI
6.JOURNEY OF CHIKANKARI
7.CHIKANKARI-THE HERITAGE BEHIND THIS
VINTAGE NEEDLE WORK ART
8.DIFFERENT TYPES OF STITCHES USED IN
CHIKANKARI
9.TOOLS AND RAW MATERIALS
10. MAKING PROCESS OF CHIKANKARI
11. PRODUCTS
12. MANISH MALHOTRA`S DESIGNER
COLLECTION

4. INTRODUCTION

5. Lucknow
Uttar Pradesh is a land of overwhelming
contrasts, where extremes are normality. The
Ganges dominates the state, emerging from
the foothills of the Himalayas to the last
expanse of plains, passing though he holy city
of the Varanasi. Uttar Pradesh is famous for
its finely woven Brocades metal work and the
delicate chikan work also called white work.
Lucknow the capital of Uttar Pradesh is
famous for this work. Lucknow is an old city
with its earlier name as Avadh. In 1775 it
began to attract craftsmen, artists and
musicians, who were patronised by the court.
One of the crafts that developing during this
time was the Chikankari a kind of white work.
Lucknow is the capital of the Indian
state of Uttar Pradesh .
It is the largest city in
Uttar Pradesh,the eleventh most populous
city and the twelfth most populous urban
agglomeration of India.

8. The city stands at an elevation of
approximately 123 metres (404 ft) above sea
level. Lucknow district covers an area of 2,528
square kilometres (976 sq mi). Hindi is the
main language of the city and Urdu is also
widely spoken.

9. CULTURAL LIFE

10. CULTURAL LIFE
Lucknow has an interesting blend of
traditional and modern culture and
Values. What makes Lucknow even more
attractive is the genuine warmth of the
Lucknow people. That two contrasting and
contradictory
World can peacefully co-exist without any
collision and confrontation
Can only be understood and realized after a
trip to this Land of Nawabs.
It is Lucknow old world charm,fine arts and
royal splendor that attracts huge tourist footfall
in the city every year. Not many cities in India
have managed to restore the rich cultural
heritage as beautifully as Lucknow.Thanks to
the royals of 18th
and 19th
century who were
blessed with liberal and secular minds that
helped Lucknow evolve as city with distinct
cultural values complimented with modern

11. thinking.
For centuries art and music has dominated
the cultural life of Lucknow.
The famous Indian classical dance form,
Kathak, was born in this city.it

12. Was in the courts of Nawab Wajid Ali Shah,
this dance form took shape. The very popular
Paris Theatre owes its origin to the Urdu
theatres that were prevalent in the city. Even
instrumentals like table and sitar were first
heard in the courts and streets of Lucknow.
The cuisine of Lucknow also depicts the rich
culture of the city.
Lucknow,s cuisine has a distinct Awadhi flavor
and its Kakori kebab, Galawati kebad, Boti
kebab, Boti Kebab, Seekh Kebab is famous
all over the world.

13. CHIKANKARI OF
LUCKNOW

14. CHIKANKARI OF LUCKNOW
Chikankari is a very delicate and intricate
shadow work type of embroidery. Initially, the
embroidery was done using white yarn, on
colorless muslins known as tanzeb. However,
today, georgette, chiffon, cotton and other fine
fabrics are also being used. From being an
embellishment used primarily for decorating
clothes, Chikankari embroidery work of India
has now spread to cushion covers, pillow
covers, table linen and so on.

15. There are different explanations behind the
evolution of the term Chikankari. As per one
version, the word Chikankari has been
derived from a Persian word Chakin or
Chakeen, which means creating delicate
patterns on a fabric. According to others, it
may be a distorted version of Chikeen or
Siquin, a coin valuing Rs 4 for which the work
was sold. Yet another explanation ascribes
the term to the East Bengal language, in
which Chikan meant fine.
Chikan work is otherwise called as 'shadow
work', white work or white embroidery.The
charm of this type of embroidery is very
attractive and delicate style enhanced through
the use of single color with simplicity miniature
pattern and unbelievable eveness. This
embroidery is basically down with white
thread muslin background. Hence the name
'white embroidery'. On narrow strips of cloth,
this embroidery gives fine and delicate lacy
effect.

20. ORIGIN OF
CHIKANKARI

21. ORIGIN OF CHIKANKARI
The origins of chikan are shrouded in mystery
and legend. According to few historians
chikan is a Persian craft that evolved in the
Mughal Court of the Emperor Jahangirby his
beautiful and talented consort Nur Jahan.
The queen was a talented embroiderer. The
king was pleased with this ethereal, white
floral embroidery that it was soon given
recognition and royal patronage. Workshops
were established wherein this embroidery was
practiced.

22. HISTORY OF
CHIKANKARI

23. History of chikankari
Chikankari work is thought to have organized
in Bengal and practiced in Dhaka and
Calcutta. The Jamdani weaving and European

24. white work must have been influential in
giving rise to this work.
From 1850 onwards a very fine, white on
white on Jamdani was produced in Tanda,
near Faizabad, to the East of the Lucknow. It
is said that this marked the beginning of
Chikankari work in Lucknow.
„Chikan‟ means “to raise” and „kari‟ means
“work The name „chikan‟ seems to have been
derived from the Persian word, either
„Chikan‟, „Chikin‟ or „Chikan‟. It means a kind
of cloth wrought with needle–work. Although it
originated as a court craft, today it is a
practiced tradition and an important
commercial activity.
Chikan work has a very light, gossamer – like
quality. This makes it very suitable for the
seemingly hot climate of the northern plain
region. It can be assumed that Chikankari, using
sheer fabrics evolved as a logical answer to the
problem of keeping cool and also providing
adornment and beauty to one‟s person or in the
surroundings. it is thought that Noor Jehan got

25. inspired by the Turkish Architecture (seen in Taj
Mahal) and produced this raised effect on white
fabric with white threads to show the carvings
and trellis on the marbel. Chikankari is thought to
be her personal creation..

26. JOURNEY OF
CHIKANKARI

27. JOURNEY OF CHIKANKARI
 Persia:-
Straight lines rather than curves.
Pattems tend to be geometric and not
floral.
Persian white work of the nineteenth
century is of crosses,
Squares and diagonals.
 Bengal:-
There is some confusion over what chikan
was made in Calcutta and what traded
there from dacca.
By the mid of nineteenth century intricately
worked handkerchiefs attributed to
Calcutta.
They show a strong European influence
both in technique and in use of pictorial
motifs.

28. Lucknow:-
By 1904, it was one of the most important
industries of lucknow.
One, established in 1890 and stil active
today, offered in 1901 over one thousand
different designs of chikan.

29. Chikankari – The
Heritage Behind This
Vintage Needlework
Art

30. Chikankari – The Heritage
Behind This Vintage
Needlework Art
Chikankari is an ancient from of white floral
embroidery, intricately worked with needle
and raw thread. Its delicacy is mesmeric. For
centuries, this fine white tracery on
transparent white fabric has delighted the
heart of king and commoner alike. It is
centered mainly in the northern heartland
ofindia, namely Lucknow, the capital of a large
state,called Uttar Pradesh. It has survived the
loss of royal patronage, suffered deeply at the
hands of commercialization, lost its way
sometimes in mediocrity and yet stayed alive,
is a tribute to the skill and will of the crafts
persons who have handed down this
technique from one generation to another.
Chikankari has been practiced in Lucknow for
almost more than two hundred years. But it
did not originate in Lucknow. It flourished in

31. the Mughal Court at Delhi in the 16th
and 17th
centuries. When the Mughal Court
disintegrated the artisans scattered across the
country. Some of them came and settled in
Awadh. They brought this craft with them and
gave it roots. In the current world, Lucknow
has rapidly grown into an international market
of its renowned Chikankari work. The word
“Chikan” derives its meaning from the Persian
word “Chakin” also pronounced as “Chikeen”.
This means, cloth wrought with needlework.
The process creates delicate designer
patterns on a fabric. This is done 100% by
hand. The designer patterns are mostly
inspired by Mughal architecture and the cloth
used can be cotton, muslin, chiffon, georgette,
organza etc. People use the terms like,
lucknawi kurtis and lucknawi Chikan
whenever they are referring to Chikankari
dresses for men and women. The most
striking and visual appeal of Chikankari work
is it’s design.

32. Different Types Of
Stitches Used In
Chikankari

33. Different Types Of Stitches
Used In Chikankari
 Tepchi: This is one of the simplest form of
designing a Chikankari dress. It’s a linear,
long running or darning stitch on a fabric. Six
strands on the right side of the ground fabric
taken over four threads and one of them is
picked up. This particular style is mostly
chosen to outline the design motif.




34. 
 Bakhiya: This type of stitch is known for its
double back and shadow work. It’s mostly
done from the wrong side of the fabric and
the actual design on the front end is
rendered in herringbone style. The shadow
of the thread is seen on the cloth from the
right side. In industry, it is also known as
“Ulti” and “Seedhi” Bakhiya.





35.  Hool: This one is a fine detached eyelet
stitch. It is made with the help of six threads
and forms the heart of the flower. A hole is
very delicately punched into the fabric and
the threads are then separated from each
other. It is then held by miniscule stitches all
around with a single thread on the right side
of the fabric.


 Zanzeera: This is a very small delicately
handcrafted chain stitch worked with one

36. thread being on the right side of the fabric.
It’s is mostly used for enhancing the outline
of a shape like flower or a petal once basic
outlines have already been made.
 Rahet: An offshoot of the Bakhiya stitch, it is
rarely used in its simplest form. Popularly
known as “Dohra Bakhiya”, it forms a solid
line of back stitch on the right side of the
fabric. Mostly used to create outline stitches.

37.  Phanda: This is one of the most commonly
used and amongst the well known stitches
along with Murri. It’s mostly used in making
the center of the flowers in simple
Chikankari design motifs. The basic
difference between a Phanda and Murri is
that Murri is a rice shaped design while a
Phanda is millet shaped.

38. 

 Jali: These stitches require great level of
meticulous expertise. The beauty of this
design is that the threads are never drawn
through the fabric making the back of the
fabric as impeccable as the front. The
threads are very carefully drawn apart and
very small buttonhole stitches are inserted
into the cloth.

39. 

 Turpai and Darzdari: These two types of
stitches are integral part of Chikankari.
Turpai is recognised by think thread design
while Darzdari comes in various forms like
“Singbhada Darz”, “kohidarz”, Kamal darz”,
“Shankarpara Darz” etc.
 There are many other types of Chikankari
stitches which are: Banjkali, Makra, Kauri,
Sazi, Karan, Kapkapi, Madrazi, Bulbul-

40. Chasm, Taj Mahal, Chanapatti, Keel
Kangan, Sidhaul etc.






41. Tools and Raw
Materials

42. TOOLS AND RAW MATERIALS
Highly elaborated work is done using simple
tools to embellish beautiful motifs/ designs on
plain cloth. Traditionally, the Chikan work has
been done only on white cotton cloth. Later, it
has been done using various types of clothes
to meet the market trend.
Raw Materials:
• Types of fabrics like cotton, silk, chiffon,
crepe, georgette, wool, orange chiffon are
used to do the embroidery work.
• Cotton thread is traditionally used to create
the design patterns over the cloth.
• Golden zari, silver zari, wool are the types of
threads also used to do the Chikankari
embroidery.
• Indigo color used in printing process.
• River water used to wash the clothes to
clear the printing marks.
• Starch is used to obtain the stiffness for
cotton clothes.

44. List of Tools:
• Sui- needle is the important tool which plays
a major role in Chikankari work.
• A circular shaped frame is used to hold the
cloth as it obtains tautness. These frames are
made with cloth as well as wood as per the
need.
• Wooden blocks are used to print the design
on plain cloth.
• A rectangular wooden table used as support
during printing process.
• Containers are used while washing the cloth
after completion of stitching work.

45. ZZ

49. MAKING PROCESS OF
CHIKANKARI

50. MAKING PROCESS OF
CHIKANKARI
There are three stages involved in making
chikankari namely block printing, embroidery
work and washing. Initially, the design to be
worked is printed on the plain fabric. The
wooden block is dipped in the colour solution.
Then it is printed on the fabric. There will be
different blocks for butis, floral patterns and
borders. The printed fabric is now ready for
the embroidery work. The embroidery is done
over the printed design pattern using needle
and thread. Different types of stitches can be
made in one product. Washing is the final
stage of production process. The fabric after
embroidery work is first soaked in water and
then washed to remove the block printed blue
color. Then it is starched and ironed to obtain
stiffness. The final product is now ready for
the market.

51. Stages involved in making process are:
1. Block printing
2. Embroidery work
3. Washing
Block Printing: Initially, the design to be
worked is printed on the plain fabric. The
wooden block is dipped in the color solution
which is made by mixing glue and indigo.
Then it is printed on the fabric. There will be
different blocks for butis, floral patterns and
borders. In Lucknow, the printing process is
done by separate group of artisans who
mainly concentrate in printing.
Embroidery work: The embroidery is done
over the printed design pattern using needle
and thread. The artisan creates traditional
patterns using different techniques. Different
types of stitches can be made in one product
Washing: Washing is the final stage of
production process. The fabric after
embroidery work is first soaked in water and
then washed to remove the block printed blue
color. Then it is starched and ironed to obtain
stiffness.

57. PRODUCTS

58. PRODUCTS
Beautiful and intricate designs are created
with great artistic skill. The design patterns
range from small butis to elaborate floral
motifs. Chikankari embroidery basically done
on saris, suits, dress materials, tops, lahenga,
dupattas, sherwanis, chudidaars, salwars and
skirts. Now-a-days, Chikankari work is not
only restricted to Kurtas and saris it is also
done on sofa covers, dining covers, bed
sheets. Sherwani (top that looks similar to
men's Sherwani) for ladies is a recent
innovation in the craft. Most of the design
motifs are inspired by flowers, leafs, buds,
fruits and stems of trees. The Jaali work is
mainly influenced by Mughal architectures.

65. INNOVATION

66. INNOVATION
Innovation is basically defined as adding
value or new feature to a already existing
product. It should give the product an edge
over competitors.
INNOVATION IN REFFERENCE TO
CHIKANKARI Market Need is for garments
which are not only comfortable but also stylish
in addition to it the garments needed are more
of today’s trends. Chikankari done on Suites,
Saries and Kurta Paijamas have less
consumer demand than Kurtis, shot shirts,
Formal shirts, Palazzos, Anarkalies etc.
Similarly more than cotton and muslin,
georgette, crape, silk,tussars and chiffon are
in demand more as they are easy to wear and
maintain. Seeing the need manufactures
developed the garments accordingly as well
as on textiles in demand in public. We can
easily find chikankari on georgette,
chiffons,tussars etc. which was not so
common around 20 years back. More
detailing been done on basic chikanwork in

67. the form of ZARDOZI and CRYSTAL WORK.
Items as tablecloth napkins bedspreads are
also being made which were traditionally were
not made. Chikan primarily being a summer
collection has also become winter couture
Famous designers like Sabyasachi, Ritu
Kumar, Manish Malhotra etc have given
chikankari important place in their assembles
and shows so it is much more highlighted now
a days.

68. CONCLUSION

69. CONCLUSION
Therefore it is evident clearly that chikankari
has not only sustained its originality, Nazakat
and Naphasat with time but also innovated
according to market need in terms of
garments and textiles to not only sustain but
grow and flourish as well.

70. MANISH MALHOTRA’S
DESIGNER
COLLECTION

81. sss