Modernizing the traditional phulkari

MODERNIZING THE TRADITIONAL PHULKARI
BY
MOMINA
DEPARTMENT OF TEXTILE DESIGN,
INSTITUTE OF VISUAL ARTS AND DESIGN
LAHORE COLLEGE FOR WOMEN UNIVERSITY,
LAHORE
2019

A THESIS SUBMITTED TO LAHORE COLLEGE FOR WOMEN UNIVERSITY
IN PARTIAL FULFILMENT OF THE REQUREMENT FOR THE DEGREE OF
BFA (TEXTILE DESIGN)
BY
MOMINA
SUPERVISOR
Mahrukh Khan
LECTURER TEXTILE DESIGN DEPT. LCWU
CO- SUPERVISOR
Ali Qamber
LECTURER TEXTILE DESIGN DEPT. LCWU
DEPARTMENT OF TEXTILE DESIGN
INSTITUTE OF VISUAL ART AND DESIGN
LAHORE COLLEGE FOR WOMEN UNIVERSITY, LAHORE
2019

Candidate Description:
Name: Momina
Session: 2015-2019
Place of Work:
Department of Textile Design,
Institute of Visual Art and Design.
Lahore College for Women University

CERTIFICATE
This is to certify that the research work describe in this thesis submitted by Ms. Momina to
Department of Textile Design, Institute of Design & Visual Arts, Lahore College for Women
University has been carried out under my direct supervision. I have personally gone through the
raw data and certify the correctness and authenticity of all results reported herein. I further
certify that thesis data have not been used in part or full, in a manuscript already submitted or in
the process of submission in partial fulfillment of the award of ant other degree from any other
institute or home or abroad. I also certify that the enclosed manuscript has been prepared under
my supervision and I endorse its evolution for the award of BFA degree through the official
procedure of University.
Ms. Mahrukh Khan Mr. Ali Qamber
Supervisor Co-Supervisor
Date: Date:
Verified by
Dr. Samina Nasim
Head ofTextile Design Department,Institute ofVisual Arts and Design.
Lahore College for Women University, Lahore.

DEDICATION
First of all, I humbly dedicate this to my parents Mr. and Mrs. Tariq with deepest gratitude and
respect whose prayers and support have always been strength for me. Their selfless and tireless
efforts allowed me to improve myself and achieve my goals. I also dedicate this to my siblings
who believe in my abilities, presented me with opportunities to grow and succeed and were
always there for my support and help.

ACKNOWLEDGEMENTS
Thanks to ALLAH Almighty for giving me strength and ability to understand and learn their
course.
I would like to express deep gratitude to HOD, Dr. Samina Nasim and to my guide Supervisor
Ms. Mahrukh Khan and Co- Supervisor Mr. Ali Qamber for their guidance, encouragement and
gracious support throughout the course of my work, for their expertise in the field that motivated
me to work in this area and for their faith in me at every stage of this course. Their advice,
valuable knowledge, and encouragement have been priceless which helped me in completion of
this course.
I am highly indebted to LAHORE COLLEGE FOR WOMEN UNIVERSITY, for their guidance
and constant supervision as well as for providing necessary information regarding this course
and also for their support in completing this endeavor.

Contents
“Modernizing the TraditionalPhulkari’’
List of Figures.
Abstract.
Chapter 1- Introduction ......................................................................................................1
Chapter 2 –Literature revie w.............................................................................................10
Chapter 3 – Design development and research methodology......................................... 13
Design: 1 (Gold glory)...........................................................................................................13
Design: 2 (Mor bagh)........................................................................................................... 14
Design: 3 (Fusion of color). ..................................................................................................14
Design: 4 (Sunflowe r charm) ...............................................................................................15
Design: 5 (Mystic)… .............................................................................................................15
Design: 6 (Black elegancy)…................................................................................................ 16
Design: 7 (Silver grace)......................................................................................................... 16
Chapter 4 – Surve y ...............................................................................................................18
Chapter 5 – Product Developme nt......................................................................................23
Chapter 6 – Conclusion ........................................................................................................25
Bibliography.

ABSTRACT
The title selected for BFA textile design thesis is “Modernizing the Traditional Phulkari”. It is
the famous and essential handicraft of Punjab, associated with Juts community. It was originated
in 15th century AD in Punjab, a north state in subcontinent. Most of the women in small towns
and villages are busy creating amazing Phulkari shawls, dupattas and other garments. Phulkari is
basically created on shawls that cover head whereas Bagh is created on the garment that covers
the whole body.1 Today Phulkari has lost its original identity most of people are unaware of this
traditional craft.
This embroidery is very simple but the color combination, stitches and the pattern makes it look
spectacular and gorgeous. It is created on khaddar and cotton which was traditionally hand
woven whereas the thread for embroidery is silk.2
The main reason behind choosing this topic is to modernize the traditional phulkari patterns and
motifs. Nowadays, we see different types of phulkari items in markets but they do not belong to
the authentic phulkari tradition. The objective is to bring back and document the traditional
motifs with different embellishment materials. These patterns can be applied in apparel as well
as upholstery.
1
Hemant kala,”the brand wagon,”utsavpedia fashion,2019, https://www.utsavpedia.com/motifs-embroideries/the-
culture-and-future-of-phulkari-embroidery/
2
Ibid.

1
Chapter no.1
INTRODUCTION
Phulkari embroidery which literally translates into ‘flower work’ is a vibrant traditional
embroidery made with colored floss silk thread on the wrong side of coarse cotton to
form dazzling motifs that spreads across the length of the cloth .This embroidery style
was more of a domestic affair in rural areas and was carried out by the women of Punjab
during the 19th century. The ladies would gather during the day to work on the cloth over
some gossip and would sew anything that inspired them into the piece of cloth. The
seemingly simple designs required a lot of work, so that a small shawl could take up to 12
months to finish. The final product could be made into a brilliant odhni or shawl for a
daughter, granddaughter or even the future daughter-in-law1. The love and affection that
is associated with making a phulkari is so much that there is even a folk song that
celebrates this craft (Fig no.1).
“Ih phulkari meri maan ne kadhi, iss noo ghut ghut japhiyan paawan”
(My dear mother has embroidered this phulkari, I embrace it again and again with
affection)2
There are many theories about the origin of this art in Subcontinent. According to the
most popular theory this craft was brought to India by the JATTS tribe from the Central
1
Introduction,”strand ofsilk,”malti trading limited,, 2011,https://strandofsilk.com/journey-map/phulkari-
embroidery/introduction..
2
Introduction,”strand ofsilk,”malti trading limited,2011,https://strandofsilk.com/journey-map/phulkari-
embroidery/introduction..

2
Asia and the technique was passed down the generations just through word of mouth. In
20th century this traditional art form met with a tragedy, the India and Pakistan partition.3
Phulkari is an embroidery technique originating from the Punjab – its direct
translation Phul – flower, Kari – craft means flower working and was once the word
used for the term embroidery. Popular since the 15th century, over time the word
Phulkari became restricted to embroidered shawls and head scarves. The ceremonial
garments that cover the entire body are known as Baghs (garden), and scattered work on
the fabric is called adha bagh – half garden(Fig no.2).
This embroidery is traditionally created using silks on a cotton fabric. Today a wide
range of synthetic materials are also used. These beautiful, colourful garments are worn
by women across the Punjab during marriage festivals, and other special occasions.
Traditionally they were embroidered by women for their own use or as gifts to other
family members, a purely domestic art passed down from one generation to another.
Brides are given Phulkaris and barghs at the time of their marriage which almost brought
an end to it. 70 years later, this art is now alive in the form of mass manufactured clothing
and has lost the personal charm it once held. However, it is the commercialization that
has given phulkari embroidery a new lease of life4(Fig no.3).
The bright colors are always preferred when it comes to Phulkari because it refers to
flowers and garden. The main colors used are Yellow, red, green, orange, pink, white,
golden and blue. The most interesting part of phulkari is that, no different shades are used
3
introduction,”strand ofsilk,”malti trading limited,2011,https://strandofsilk.com/journey-map/phulkari-
embroidery/introduction.
4
Vivek Agarwal,”strand of silk,”malti trading limited,2011,https://strandofsilk.com/journey-
map/phulkari-embroidery/introduction..

3
for shading purpose; rather it’s done with the horizontal, diagonal and vertical stitches.
The shiny thread reflects different shades in different directions.5
By 19th century, the demand for Phulkari in America and Europe saw an exponential
increase. Embroidery units in Punjab, especially Amritsar started getting bulk orders of
Phulkari fabrics for items such as bed linens and curtains, diluting the essence of the
craft. Soon, to cater to the burgeoning demand, phulkari work started being done using
machines which also dramatically brought down its price in the market. The stitches and
patterns were also modified to cater to the western taste and demands. As a result of all
these changes, Phulkari has emerged as a modernized version which is applicable to
apparel and upholstery textiles6 (Fig no.4).
The main characteristics of Phulkari embroidery are use of darn stitch on the wrong side
of coarse cotton cloth with coloured silken thread. Punjabi women created innumerable
alluring and interesting designs and patterns by their skilful manipulation of the darn
stitch. The base khaddar cloth used in Western Punjab is finer from those of Central
Punjab. Black/blue is not preferred in Western Punjab, whereas white is not used In East
Punjab, they are joined together first and then embroidered7 (Fig no.5).
In Phulkari embroidery ornaments the cloth, whereas in Bagh, it entirely covers the
garment so that the base cloth is not visible. The end portion of pallav of Phulkari have
separate panels of exquisite workmanship of striking design.
5
History of phulkari,“ancient house india,”World Press.com, March 5,2015,
https://ancienthouseindia.word press.com/2015/03/05/phulkari-the-traditional-embroidery-of-the-punjab/
6
map/phulkari-embroidery
7
map/phulkari-embroidery

4
The most favored color is red and its shades, because Bagh and Phulkari are used during
marriage and other festivals. Red is also considered auspicious by Punjabi Hindus and
Sikhs. Other colours are brown, blue, and black, white. White was used in Bagh by
elderly ladies. Silk thread in strands came from Kashmir, Afghanistan and Bengal. The
best quality silk came from China.
No religious subject or darbar scenes were embroidered. Phulkari encompassed life in the
villages. Creative ability of Punjabi women has produced innumerable and intricate
geometrical patterns. However, most motifs were taken from everyday
life. Wheat and barley stalk with ears are a common motif.8
Techniques of PHULKARI
Punjabi women made the traditional Phulkari of Punjab after completing their household
work. They sat together in a group called “Trijan” where all women engaged in
embroidery, as well as in dancing, laughing, gossiping and weaving. Traditional Phulkari
was made of hand-dyed and hand-woven spun cloth called “khaddar” using high quality
untwisted silk thread called “pat” with bright colors like red, green, golden, yellow, pink
and blue. It was done with an ordinary needle in the darn stitch, without the help of any
tracing, drawing, pattern or design.9 For embroidering a single Phulkari, an average of 50
to 100 gram of ‘Pat’ is needed and for Bagh 100 grams, to 150 grams are required. The
silk thread came from Kashmir, Afghanistan and Bengal and dyed in Amritsar and
8
History of phulkari,“ancient house india,”World Press.com, March 5,2015,
https://ancienthouseindia.word press.com/2015/03/05/phulkari-the-traditional-embroidery-of-the-punjab/
9
Vidushi Tandon,”techniques ofphulkari,”suttle side of phulkari brust,”Feburary 28,2017,
http://moderndayphulkari.blogspot.com/

5
Jammu. The best quality of silk thread came from China. Handling this kind of thread
needed more expertise and experience. The cloth Khaddar could be of four colors white,
red, black and blue. White was used by the mature women and widows, while red was for
young married women. Black and blue colors were for daily use by women. A Phulkari
takes anywhere from a month to a year to complete, and the special types of “Vari Da
Bagh” took a year. The time it takes to make a Phulkari also depends upon the design,
pattern, and the expertise of the embroiderer. For example, a “vari da bagh”, where the
embroidery covers the entire surface of the cloth and the base is not visible, takes ten
years to complete. It has a complicated design of golden colored silk thread. The Bagh
and Phulkari are embroidered on an undyed fabric called a “Thirma”. The women of the
eastern Punjab embroidered Phulkaris with patterns of human, animal, and plant forms,
as well as other jewelry patterns. With this type of Phulkari, women trace the outline of
the design with black ink, and then fill them with the darning stitch. The satin stitch,
herringbone stitch, cross stitch, chain stitch, blanket stitch, backstitch, stem stitch, and
running stitch were also used in phulkari embroidery.10
Types of traditional phulkari
BAGH
With time Phulkari became increasingly elaborate and decorative which led to the
evolution of a special ceremonial, Bagh Phulkari. Bagh literally means “garden of
flowers”, and the term distinguishes the flowered Phulkari is that the embroidery is so
10
Vidushi Tandon,”techniques ofphulkari,”suttle side of phulkari brust,”Feburary 28,2017,

6
profuse that the ground color is no longer visible thus the embroidery becomes the fabric
itself.
Unlike Phulkari, Bagh demands more time and patience and more material, thereby
increasing the expense. Thus bagh set out to be a status symbol.11
CHOPE
Chope is usually embroidered on the borders. It is gifted to the bride by her grandmother
during some ceremony before wedding.The “Chope” is embroidered straight with two
sided line stitch which appears same on both the side. Unlike Phulkari and Bagh where a
variety of colours are used, Chope is generally embroidered with one colour (Golden or
yellowish golden mostly).12
Thirma
If the Phulkari was embroidered on a white colored base cloth, it was called “Thirma”. It
was a symbol of purity. Older women and widows wore it. Bright colors were used on
this type of phulkari and the white base color looked like the outline of the pattern 13(Fig
no.6).
11
Phulkari Embroidery,”types of phulkari,”Wor Press.com,February 24,2017,
https://phulkariembroidery.wordpress.com/2017/02/24/types-of-phulkari/
12
Ibid.
13
Ibid.

7
DarshanDwar
Darashan Dwar literally means ‘a gate from where one can see the god’. A person
embroidered this kind of Bagh for presenting oneself at a religious place to thank god
after a wish has been fulfilled. It was always embroidered on a red colored base cloth.
Human figures, plants, animals, birds and flower motifs were commonly used for this
Phulkari14 (Fig no.7).
BawanBagh
Bawan means fifty-two in Punjabi. In this kind of bagh, the base cloth was divided into
fifty-two boxes with embroidery. Each of these boxes was embroidered with a different
design made with bright colors. Professionals show their skill and patience with an
embroidered Bawan Bagh. It shows the versatile talent and creativity of women15 (Fig
no.8).
Vari da Bagh
This kind of Bagh was a gift to the bride by the mother-in-law when she entered their
house, her new home after her marriage. It was always made on an orange and red
colored khaddar with a single golden and orange colored pat. Vari means the clothes and
jewelry presented to the bride by her groom’s family. This kind of Bagh was given to the
14
Vidushi Tandon,”types ofphulkari,”suttle side of phulkari brust,”Feburary 28,2017,
15
Ibid.

8
girl before marriage by her mother-in-law, the love showered on her by her groom’s
family 16(Fig no.9).
Chope
These were wedding Phulkaris embroidered by the maternal grandmother (Nani) when
her granddaughter was born. They would be a gift for her wedding. The chope was made
to wrap the bride after her last bath before her marriage. The bride wore suber at a
particular stage of marriage ceremony known as “phera”. These were slightly larger than
other types of Phulkari. They were a symbol of love, care, passion and happiness, were
embroidered with red and orange color with bright golden yellow colored thread. The
Chope was also used to cover the bride’s dowry 17(Fig no.10).
Surajmukhi Bagh
Suraj Mukhi means ‘Sun Flower’. In this Phulkari, the field was embroidered with large
sized boxes that were divided into nine small parts embroidered with different colors. In
the centre of every small box, another small box was embroidered with a white thread
and a black or red colored outline. It looked like a geometrical pattern 18(Fig no.11).
Nilak
The Nilak Phulkari was made with a black and navy blue base cloth of khaddar, and
16
17
Ibid.
18
Ibid.

9
yellow and crimson-red silk thread, with attractive floral patterns. This type of Phulkari
was also embroidered for daily use 19(Fig no.12).
19

10
CHAPTER:2
LITERATURE REVIEW
In my thesis topic, I am using to modernize the Traditional handicraft of Punjab. Phulkari were
very famous of their bright colors and detailed work. This work is delicately done with hands on
khaddar with different geometrical motifs and designs.
Thread by thread, each motif was created in a geometric grid, which was a peculiar technique for
coming up with a curvilinear final output. Long and short darn stitch was put to clever use for
creating horizontal, vertical and diagonal thread work, inspired by routine of the artists, flowers,
and animals.20
Indian designer Manish Malhotra showcased their collection based on phulkari in 2013 and the
same collection also showcased in paris at Philadelphia Museum of Art. Manish Malhotra
reviewed that phulkari is deeply entrenched in the cultural fabric of the Punjab; the details that
define make it a versatile craft. From the flown dupattas to saris and modern silhouettes phulkari
can be translated and transposed into the modern wardrobe with great case with such a profuse
vocabulary 21(Fig no.13).
Kanika goyal is another designer who designed their western wear collection based on phulkari
at Lakme Fashion Week. Famous for her sporty, clean silhouettes, she is responsible for
20
Duleep singh,“ancient house india,”World Press.com, March 5,2015, https://ancienthouseindia.word
press.com/2015/03/05/phulkari-the-traditional-embroidery-of-the-punjab
21
Manish Malhotra,” Phulkari in Philadelphia” the tribune trust, April 30, 2017,
https://www .tribuneindia.com/news/spectrum/arts/phulkari-in-philadelphia/398460.html.

11
reinterpreting Punjab's traditional phulkari form of embroidery, and using it in her very western
outfits22 (fig no.14).
Philadelphia museum show cased phulkari collection in march 12, 2017 – july 9, 2017 .They
showcased the beauty and cultural significance of phulkari, ornately embroidered textiles from
Punjab, a region straddling Pakistan and India. In addition to stunning examples from the Jill and
Sheldon Bonovitz Collection, this exhibition features traditional phulkaris from the Museum’s
collection and high-fashion ensembles by one of India’s leading designer, Manish Malhotra23
(Fig no.15).
Mela Phulkari, the ongoing exhibition at India Habitat Centre, is an attempt to showcase the art
form in all its hues. Artist Jagdeesh Singh is showcasing the magic of Phulkari through two
installations. “Phulkari is a treasure trove for us since time immemorial. Rather than display my
mastery in Phulkari, I have taken a different and difficult trajectory to showcase it on my canvas.
Delineating this ancient embroidery in a four feet by seven feet long painting was time
consuming yet creatively an extremely gratifying task. It took me an entire month but I managed
to showcase embroidery, design appeal and aesthetics of this centuries-old tradition. The
uniqueness of my painting is that the look is exactly the same as the fabric in which women
unleash their creative spark 24(Fig no.16).
22
StutiBhattacharya,”vagabomb,” ScoopWhoop Media Pvt. Ltd, December 15, 2016,
https://www .vagabomb.com/Phulkari-for-a-Cause-Meet-Kanika-Goyal-the-Designer-W ho-Uses-Phulkari-in-
Wes(Bhattacharya 2016)(Bhattacharya 2016)tern-Wear/#.
23
Jill and Sheldon Bonovitz ,” Phulkari: The Embroidered Textiles of Punjab from the Jill and Sheldon Bonovitz
Collection,” The Coby Foundation,Ltd, March,2017, https://www.philamuseum.org/exhibitions/857.html.
24
Madhurtankha,” In full bloom,”THG PUBLISHING Pvt LTD,February 15,2019,
https://www.thehindu.com/entertainment/art/in-full-bloom/article26280541.ece

12
The Partition Museum exhibited phulkari coat of 20th century with the title of “A phulkari coat
bought across by Pritam Kaur when she fled during partition. When Pritam Kaur crossed the
border with a bag slung on her shoulder she had phulkari coat among her few precious
possessions 25(Fig no.17).
Textile Museum of Canada showcased a shawal of phulkari with the title of Wedding Shawl of
Early 20th century26 (Fig no.18).
25
Refugee coat,”partition museum” http://www.partitionmuseum.org/wp-
content/themes/Revera/refugee_artefact/popup/5_phulkari_coat.jpg
26
Wedding shawal,”Rituals and culture.”textile museum of Canada,2015,
http://collections.textilemuseum.ca/index.cfm?page=collection.detail&catId=10804&row=1

13
CHAPTER:3
DESIGN DEVELOPMENT
My work is based upon traditional phulkari. I worked on traditional phulkari because of its
delicate and unique geometrical patterns. I found the elegancy and flow in the beauty of the
phulkari designs my research board will have all the images. I got inspired from different
beautiful colors and geometrical patterns of phulkari.
I made my color board being inspired from the bright silk thread and embroidery in my
designs, the process then followed by making 40 pencil sketches, 30 painted and 25 fabric
samples with different techniques and materials, 20 pencil sketches, 15 painted and 12 fabric
samples completed till midterm.
My sketches are different sizes likes 12” x 12”, 8”x8”,5”x7”. I painted my sketches with rich
vibrant and contrasting poster colors and then these painted designs are replicated to fabric
by using different textile techniques like digital printing, embellishment and embroidery etc.
using these techniques enhanced the beauty and colors of the design.
Designno.1
Title: Gold glory (fig no.20)
Size: 12”x 12”
Painted: I painted intricate design with bright colors and gold to increase its beauty and charm
on scholar sheet with poster colors.

14
Fabric: In fabric sample I used different type of embellishment material and darn stitch in hand
embroidery to increase its beauty. I used gold metallic thread n beads on pale yellow silk fabric
this increased its grace and yellow color symbolized with power and happiness in phulkari.
Design:2
Title: Mor bagh (Fig no. 21).
Size: 12”x 12”
Painted: I created intricate geometric design with geometric peacock and painted in vibrant
color with soft green background. The green color is a calming and restful effect.
Fabric: in fabric sample I used pure silk and dyed it in soft green color as green is the symbol
of freshness, nature, holiness and harmony. I did beads and bugle beads work along with metallic
thread on it. Made peacock with metallic embellishment wire to show its uniqueness and
peacock is the symbol of peace and beauty.
Design:3
Title: Fusion of colors (fig no. 22)
Size: 12”x12”
Painted: I made geometric shapes associated with phulkari and painted it with bright and
vibrant colors to show the fusion of phulkari colors. In painted design every color shows some
symbol like red color associated with the symbol of love, happiness and passion. Yellow color
symbolized with success, power and supernatural feelings. Green color symbolized with nature

15
and freshness. Orange color associated with the symbol of cheerfulness and also the symbol of
affordability.
Fabric: In fabric sample I used machine embroidery with silk threads in filling stitch on
organza fabric and embellished it with stars and enamel.
Design:4
Title: Sunflower charm (Fig no. 23).
Size: 12”x12”
Painted: Sunflower bagh/ garden are the major motif of phulkari. I created geometric design
with sunflower motif along with athkalia motif and painted with poster colors. In painted design
deep pink color associated with the symbol of love, desire and blooming flower. Orange color
shows affordability and creativity. Blue color symbolized with truth and nature like water and
sky. Painted background in pale yellow symbolized with happiness.
Fabric: In fabric sample I used wool thread, metallic thread in the background and sunflower
motifs are made with embellishment material like crystals and shiny beads on silk fabric base.
Design:5
Title: Mystic (fig no. 24)
Size: 12”x12”

16
Fabric: In this fabric sample I used hand embroidery adda work and motifs are peacock and
athkalia motif along with geometric shapes in green, pink and orange colors with embellishment
material like bugle beads, stars and sequences on the rusty color raw silk fabric base. Peacock
symbolized with beauty and peace and athkalia motifs also the major geometric motif in phulkari
symbolized with beauty and fertility.
Design:6
Title: Black elegance (fig no.25)
Size: 8”x 8”
Pencil: I made geometric design with athkalia motif on scholar sheet with black poster paint.
Fabric: In fabric sample I used machine embroidery with black thread in filling stitch to show
its elegancy and cut the negative space with hot nib cutter ( kaweya). Black color symbolized
with sustainability. And also prevent too away from evil eye.
Design:7
Title: Silver grace (Fig no. 26).
Size: 8”x 8”
Pencil: Created design with geometric flower with geometric lines on the background.

17
Fabric: I used machine embroidery technique. In machine embroidery I used silver metallic
thread on organza fabric. White and silver associated with the symbol of purity, honesty and
simplicity. Mostly widows wear white phulkari called thirma. The fabric sample inspired from
thirma phulkari. After silver metallic thread embroidery I cut negative space with hot nib cutter
which increases its elegancy and grace.

18
Chapter: 4
Designbrief:
Survey Questionnaire.
The title of my thesis is “Modernizing the Traditional Phulkari” The word phulkari means
“flower embroidery”. Originated in 15th century AD in Punjab .The tradition of phulkari was
often associated with Sikhs heritage but as it was also shared with Hindus and Muslims.
Phulkari happens to be more geographically specific than religiously specific. After the India
Pakistan partition, this art form was almost brought an end to it. But this art is now alive in the
form of mass manufactured clothing but lost their personal charm. The objective behind this
topic is to modernize the folk handicraft of Punjab. Mostly people are not familiar with
traditional Phulkari. I want to introduce this traditional culture of Punjabis in international
level in contemporary textile techniques.
Name:
Age:
Gender:
Have you ever heard about PHULKARI?
 Yes
 No
What kind of textile patterns do you like?
 Geometrical
 Floral

19
 Both
What do you think why our handicraft lose its charm? Due to lack of
 Interest
 Handicraft promotion or culture
 Both
Do you think that capes go best with different technique in phulkari?
 Yes
 No
What fabric stuff would you prefer to wear in capes?
 Raw silk
 Cotton
 Organza
Which color do you like to wear the most?
 Soft pastel
 Cool
 Vibrant

Do you like to wear embroidered and embellished stuff?

20
 Yes
 No
Which cutline do you prefer to wear in cape?
 Straight cut
 Asymmetrical cut
In which age would you prefer to wear cape?
Do you prefer single tones colors in phulkari?
 Agree
 Strongly agree
 Disagree

What do you prefer?
 Machine embroidery

21
 Hand embroidery
Do you prefer hand bags in embellishment material?
 Yes
 No
What do you prefer?
 Long stripe shoulder bag
 Hand bag
 Both
Which fabric is suitable for embroidery?
 Velvet
 Organza
 Cotton
Do you prefer capes in see through fabric?
 Agree
 Strongly agree
 Disagree
Do you like to try new things and fashion for your apparel?
 Yes
 No
 Sometimes

22
Survey Conclusion
The survey was conducted for the female of age group 20-30 years of age. Most of them
were students and some were working ladies. Total 20 survey questionnaire were filled
by those ladies. It is noted that 90% of the people had knowledge about phulkari. . 60%
of people were ready to adopt new fashion trends and try unique things. Most of the
people liked my techniques and color palette I have used in my fabric samples and they
appreciated capes I made with different technique of textile. They also appreciated the
concept I have chosen for my thesis topic to use an object of utilitarian purpose as an
inspiration for my designs. 80% of people liked my technique and color scheme for the
theme I have chosen for my designs. The result of my analysis is that I am on the right
path. People had appreciated it and want to see more work related to my topic.

23
Chapter No. 5
Product Development
My thesis topic is” Modernizing the Traditional Phulkari”. The research started with brain
storming and then researching all the details, collecting images. I have used the ancient motifs
and patterns of Phulkari and created design with it.The motifs are taken from the internet images
and internet books.
I made a research board (fig no. 27) comprising the images of ancient Phulkari. My research
board also contains some images of Lahore museum swati gallery collection of Phulkari. I
extracted my color palette directly from my research board.
After making research and color board, I made pencil sketches. I made 35 pencil sketches and
then retrace and painted them. I used poster paints and water colors in my painted samples. I also
made designs on adobe Photoshop with pen tool as my design compositions included more of
geometric patterns.
I transformed these painted designs to fabric samples. I have used a lot of different techniques
including hot nib cut, hand and machine embroidery, embellishment with beads and pearls.
Metallic threads, sequences and bugle beads. The fabrics I have used include organza, velvet,
shimmer, jute, raw silk etc.
Mini thesis product:
I started research for my mini thesis product and made different designs related to my topic and
then after a lot of research on capes I made a research board that carried the images of different

24
types of long cape. I decided to make a long cape. I researched on the techniques I will be using
in my product and I decided to use hand embroidery with embellishment material technique on
raw silk fabric so I made s fabric sample of this technique (Fig no.28). For mini thesis I used raw
silk fabric and create intricate design at the back of cape and on the front of cape arm hole with
hand embroidery and embellishment material (Fig no. 29).
My second product of mini was a bag. I used to research on different types of bags and made a
research board comprising with bags images than I decided to made a geometrical bag with
embellishment side panels in velvet fabric (Fig no.30).
Majorthesis product:
As my thesis topic is “Modernizing the Traditional Phulkari”. I continue my fabric sampling
with different technique. I have decided to make apparel using hot nib cut technique. First of all I
made a research board related the images of short capes. After made research board I made
different type of intricate design associated with my topic phulkari. I used machine embroidery
technique along with embellishment material on organza fabric.

25
Chapter No. 6
Conclusion
Phulkari handicrafts represent an amazing cultural history of Punjab. It was also a very rich and
delicate textile technique in the sub-continent. The phulkari is still one of the most valuable
embroidery pieces of many museums, private collections and auction houses. This amazing
artwork is worth sharing.
By the passage of time, phulkari motifs and techniques have evolved according to contemporary
textiles. This heritage which holds such an important place in the world of handicraft history
must be conveyed to future generations by sharing the knowledge and continuing production
through various ways.

FIGURES
Fig no. 1
Title: hand embroidery of Punjab
Source:
https://strandofsilk.com/journey-
Fig no.2
Title: stitch in time
Source: http//www.wovwnsouls.com
Fig no.3
Title: bride under phulkari
Source:
https://www.swadesi.com/news/phulka
ri-evergreen-charm-for-women/

Types of Phulkari
Fig no.4
Title: phulkari mass manufacturing
Source:
https://www.utsavpedia.com/motifs-
embroideries/the-culture-and-future-
of-phulkari-embroidery/
Fig no.5
Title: wrong side stitch
Source:
http://www.indianheritage.biz/Phulkari
.html
Fig no. 6
Title:thirma bagh
Source:

Fig no.7
Title: darshan dwar
Source:
Fig no.8
Title: bawan bagh
Source:
.html
Fig no.9
Title: vari da bagh
Source: http//www.wovensouls.com

Fig no.10
Title: chope
Source:
.html
Fig no. 11
Title:surajmukhi bagh
Source:
https://ancienthouseindia.wordpress.co
m/2015/03/05/phulkari-the-traditional-
embroidery-of-the-punjab/
Fig no. 12
Title: nelak bagh
Source:
https://ancienthouseindia.wordpress.co
m/2015/03/05/phulkari-the-traditional-

Fig no.13
Source:
https://www.vogue.in/content/manish-
malhotra-7/
Fig no.14
Source:
https://www.vagabomb.com/Phulkari-
for-a-Cause-Meet-Kanika-Goyal-the-
Designer-Who-Uses-Phulkari-in-
Western-Wear/
Fig no. 15
Title:phulkari in pheiladia
Source:
https://www.tribuneindia.com/news/sp
ectrum/arts/phulkari-in-
philadelphia/398460.html

Fig no.16
Title: mela phulkari
Source:
https://www.thehindu.com/entertainme
nt/art/in-full-
bloom/article26280541.ece
Fig no. 17
Title: refugee coat
Source:
http://www.partitionmuseum.org/wp-
content/themes/Revera/refugee_artefact/po
pup/5_phulkari_coat.jpg
Fig no.18
Title:refugee shawal
Source:
http://collections.textilemuseum.ca/ind
ex.cfm?page=collection.detail&catId=
10804&row=1
Fig no 19
Title: phulkari in Lahore museum
Source: picture captured by author

Designdevelopment
Fig no.20.a
Title: gold glory
Dimension: 12” x 12”
Medium: painted on scholar sheet
Made by the Author
Fig no.20.b
Title: gold glory
Dimension: 12” x 12”
Medium: fabric sample
Made by the Author
Fig no.21.a
Title: mor bagh
Dimension: 12”x 12”
Made by the Author

Fig no.21.b
Title: mor bagh
Made by the Author
Fig no. 22.a
Title: sunflower charm
Dimension: 12” x12”
Made by the Author
Fig no. 22.b
Title: sunflower charm
Made by the Author

Fig no. 23.a
Title: fusion of colors
Made by the Author
Fig no. 23.b
Title: fusion of colors
Made by the Author
Fig no. 24
Title: mystic
Made by the Author

Fig no. 25
Title: black elegancy
Medium: Fabric sample
Made by the Author
Fig no. 26
Title: sliver grace
Medium: Fabric sample
Made by the author

Research board (fig no.27)
Fig no.28
Title: mini thesis product cape
Technique: embroidery and
embellishment.

Fig no.29
Title: mini thesis product cape back
embellishment.
Fig no.30
Title: mini thesis product bag
embellishment.

Bibliography
Agarwal, Vivek.” Strand of silk.”January 1, 2011(accessed December 1, 2018). https://strandofsilk.com/journey-
map/punjab/phulkari-embroidery/introduction.
Bhattacharya, Stuti.” Vaga bomb.” April 31, 2016(accessed December 1, 2018).
https://www .vagabomb.com/Phulkari-for-a-Cause-Meet-Kanika-Goyal-the-Designer-W ho-Uses-Phulkari-in-
Western-Wear/#.
“Culture truck.”january 1, 2016(accessed October 1, 2018) https://www.culturetruck.com.
Gaurav, Kumar,” Rugrabbit.” January 1, 2006. https://www.rugrabbit.com/profile/7341.
Kala, Hemant,” utsav fashion.”December 13, 2016(accessed January 1, 2019). https://www.utsavpedia.com/motifs-
embroideries/the-culture-and-future-of-phulkari-embroidery/.
“Philadelphia Museumof Art.” January 1, 2018(accessed October 1, 2018). http://www.philamuseum.org.
Wedding shawal,”Rituals and culture.”textile museum of
Canad.2015.http://collections.textilemuseum.ca/index.cfm?page=collection.detail&catId=10804&row=1.
Duleep singh,“ancient house India.”World Press.com. March 5, 2015. https://ancienthouseindia.word
press.com/2015/03/05/phulkari-the-traditional-embroidery-of-the-punjab

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