Kashida embroidery: a pomegranate and tulips in wool on black

NeedleCraft

I documented eight embroideries of India, from their history and motifs to their stitches and colours, and worked a sample of each by hand.

Kasuti embroidery: a geometric eight-point star in counted stitches — My sample: an eight-point star in counted stitches.

Kasuti, chapter 1, of Karnataka

Kasuti dates back to the Chalukya and Vijayanagara periods. Women worked it on handloom garments like Ilkal sarees, often passed down as heirlooms. The name is Kannada: kai means hand, suti means weaving or embroidery.

Motifs: Temple towers, palanquins, chariots, lamps, conch shells, lotus flowers, peacocks and elephants.
Stitches: Gavanthi, for straight lines and outlines
Murgi, for zigzags
Negi, for diagonals and borders
Menthi, for florals and small fillings
Colours: Red, orange, green, yellow and white, worked on black, blue or maroon for contrast.

Known for the craft: Usha J Pawar

Illustration: a woman in a black Kasuti-embroidered shawl

Kantha, chapter 2, of Bengal

One of the oldest embroideries in India, from West Bengal and Bangladesh. It began as recycling: women stitched old saris and dhotis together into light quilts and wraps. Each piece is a visual diary of a woman's life, her surroundings and her beliefs.

Motifs: Peacocks, flowers, fish and elephants; paisleys, spirals and geometry; village life and religious stories.
Stitches: Running stitch, in rhythmic rows
Darning, for texture
Loop and herringbone, for borders
Satin and backstitch, for fine detail
Colours: Soft, earthy threads pulled from old saris: red, black, blue and off-white. Modern Kantha uses vibrant threads.

Known for the craft: Pritikana Goswami

Illustration: a woman in a Kantha quilted wrap

Kantha embroidery sample: a woman in a running-stitch sari — My sample: a woman in a sari of running stitch.

Banjara embroidery sample with mirror work and bright petals — My sample: mirror work set in bright petals.

Banjara, chapter 3, of the Lambani

Banjara embroidery comes from the Lambani, a nomadic tribe settled mainly in Karnataka, Telangana, Maharashtra and Andhra Pradesh. For centuries it was part of bridal trousseaus and everyday dress. Its mirrors and motifs are believed to ward off evil and draw in good energy.

Motifs: Diamonds, triangles and squares; peacocks and elephants; flowers, trees and the sun.
Stitches: Running, chain, herringbone and satin
Mirror work (shisha)
Appliqué and patchwork
Layered with cowrie shells, beads and coins
Colours: Bright reds, yellows, greens, blues and whites: the joy and resilience of the community.

Known for the craft: Asha Patil

Chikankari, chapter 4, of Lucknow

From Lucknow, Chikankari is believed to have been introduced by the Mughal empress Noor Jahan in the 16th century. Worked on fine muslin, it flourished under royal patronage and stands for elegance, patience and grace.

Motifs: Rose, jasmine, lotus and creepers; paisleys; jaal and vines; jali borders.
Stitches: Back, chain, herringbone and stem
Phanda and murri knots
Jali, for a net effect
Colours: White thread on pastel cloth; modern pieces add light pinks, blues and greys.

Known for the craft: Anjul Bhandari

Illustration: a woman in a Chikankari kurta

Chikankari embroidery: a white paisley on sheer fabric — My sample: a white paisley on sheer fabric.

Illustration: a woman in a Manipuri sari

Manipuri, chapter 5, of Manipur

Rooted in Meitei culture, Manipuri embroidery is made for ritual attire, ceremonial cloth and classical dance costumes, above all for the Ras Lila. It is minimal but expressive, blending into the woven cloth rather than overpowering it.

Motifs: Conch shells, flowers, stars, creepers and animals; symbols from Manipuri classical dance.
Stitches: Running, chain and satin
Zari work, in ceremonial garments
Hand-tucked threadwork woven on the loom
Colours: White, gold and deep red, in harmony with handloom textiles.

Known for the craft: Maisnam Lalini Devi

Manipuri embroidery sample in red on black — My sample: red flowers and white running stitch on black.

Aari embroidery: a gold chain-stitch rose on black — My sample: a rose in gold chain stitch on black.

Aari, chapter 6, of Gujarat

Aari began in the Mughal era on royal garments, furnishings and tapestries, and grew in Rajasthan, Gujarat and Kashmir. It is named after its hooked needle, the aari, and worked on a stretched frame, the adda. Today it means luxury and festive elegance: wedding couture and lehengas.

Motifs: Paisleys and florals; peacocks, elephants and birds; symmetrical geometry; jaal, vines and borders.
Stitches: Aari chain stitch, with a hooked needle
Zardozi: gold and silver thread, beads, sequins
French knots and couching
Cutdana and mirror work
Colours: Deep reds, royal blues, emerald greens, gold and silver.

Known for the craft: Amit Gada

Illustration: a woman in an Aari-embroidered lehenga

Gota patti embroidery: a silver star on black — My sample: a silver star of gota on black.

Gota Patti, chapter 7, of Rajasthan

Gota Patti dates back to the Mughal era, when royal costumes were trimmed with real gold and silver ribbon. Metallic gota in polyester and copper later replaced the metal and kept its grandeur within reach. The craft still supports Rajasthani women artisans through cottage industries.

Motifs: Lotus, rose and marigold; leaves, birds and paisleys; peacocks and mangoes; borders and vines.
Stitches: Appliqué: gota cut into shapes and sewn on
Edge stitching and couching
Chain stitch or hemstitch for detail
Colours: Gold and silver gota on bright red, pink, yellow, orange, blue and green silk, chiffon or georgette.

Known for the craft: Amit Gada