Embroidery traditions such as Phulkari, Chamba Rumal and Kantha have long been mediums of self-expression, storytelling and community building.
Historically, embroidery in India has not merely been a decorative craft; it is a deeply ingrained cultural expression that stitches the stories of communities, reflecting their cultural affinities, social contexts, living environments, and sociopolitical scenarios. The diverse regional forms of embroidery are a manifestation of our country’s rich heritage of artisanal skills and craftsmanship.
Embroidery traditions such as Phulkari, Chamba Rumal, and Kantha have long been mediums of self-expression, storytelling and community building. For example, embroidered Phulkari textiles from Punjab, that were crafted by the women of a clan, as affectionate gifts for weddings and child births, depicting motifs specific to their community and cultural practices. This craft was passed down the generations, by the women as an activity to engage in during their pastime, and it became a creative language of expression.
Globally, India stands as the second-largest apparel and textile exporter and the largest exporter of hand embroidery, which underscores the exceptional skill of its craftsmen. The artisans that are engaged not only showcase the rich cultural traditions of India but also ensure the transmission of invaluable knowledge, skills and techniques to future generations, thus weaving the very fabric of India’s artistic legacy. They not only form the backbone of the Indian fashion industry, but act as guardians of rare forms of indigenous arts.
India has been known for its exquisite textiles, embroidery, and dyeing techniques; production for global trade intensifying with European Trading Companies arriving in the subcontinent. The demand for Indian textiles in Europe during the 17th and 18th centuries was so significant that it greatly influenced European fashion patterns and trends. Moreover, the incorporation of Indian craftsmanship into European design is not a new phenomenon. A notable example is the ‘Peacock Dress’ worn by Lady Mary Curzon to the coronation ball of King Edward VII at the Delhi Durbar in 1903. While the dress and its embellishments were designed in Paris, the goldwork was completed by highly skilled zardozi embroiderers in India.
While India’s art and fashion continue to inspire brands ranging from luxury houses like Dior and Alexander McQueen to fast fashion giants like Zara and H&M, this influence has also led to the outsourcing of production and, at times, the exploitation and appropriation of Indian artistry. Despite the global fashion industry’s reliance on India, the contribution of Indian artisans largely remains unacknowledged; however, this seems to be slowly changing. Indian designers such as Rahul Mishra are showcasing Indian embroideries at international fashion weeks, bringing deserved attention to the craftsmanship. In 2023, Maria Grazia Chiuri, the Creative Director of Christian Dior, chose to spotlight the different Indian textile crafts and celebrate her long-standing collaboration with Chanakya Atelier, through their Fall 23’ collection showcased in Mumbai.
In recent times, embroidery has been reimagined and embraced as a medium of fine art, marking a significant shift in perception. Needlework was not commonly seen beside fine arts like painting and sculptures; however, it is now an artform to be reckoned. The tactile medium represents a unique amalgamation of creative vision and craftsmanship.
Embroidery ateliers, previously unseen forces behind the world’s largest fashion houses, are now gaining the recognition they deserve. They are now seen at the forefront, showcasing their embroidery through fine art at galleries, exhibitions and art fairs. Living legends including Manu Parekh, Madhvi Parekh, Gulam Mohammed Sheikh, Nilima Sheikh, and Ranbir Kaleka, have reimagined a few of their artworks in the form of needlework. The works of deceased artists like SH Raza, KK Hebbar, and Ram Kumar have also been reproduced through embroidery as well. These embroidered pieces, akin to lithographs, serigraphs, or prints, recreate artists’ artworks and can be produced in multiples.
Contemporary artists such as Vinita Karim, T. Venkanna, and Viraj Khanna to name a few, are working with ateliers or artisans to create original artworks through embroidery. Each explores embroidery in a unique way; Karim creates works that combine painting and embroidery, Venkanna’s creations are a result of his collaboration with an atelier, while Khanna, who’s family business includes the Indian designer brand Anamika Khanna, uses his own workshops to experiment and create art. As the artist conceives the vision and guides its realization, embroidery becomes a medium through which they express their artistic narrative. This trend is not limited to Indian artists. Through Villa Swagatam, residency programs run by The French Institute in India, French artists like Barthélémy Toguo, Yassin Balbazoui and Pierre Roy-Camille have collaborated with Indian ateliers to create a new body of work.
Moreover, there are artists who are embroiderers themselves, where both concept and craft are done by the same individual, making them very personal forms of self-expression. Artists like Varunika Saraf, Bapi Das, and Jayeeta Chatterjee are a few who exemplify this. Saraf, who learnt the skill of embroidery from her mother and grandmother, chose to showcase matrilineal forms of artistic inheritances which were historically not included in the cannons of modern and contemporary art. Das, an auto-driver turned artist, is skilled at needlework, and his works, which are entirely embroidery, are often displayed in framed embroidery hoops. Chatterjee’s artworks consist of kantha stitching with printmaking techniques on sarees and other textiles.
Designers Tarun Tahiliani and Ashdeen Lilaowala are creating embroidered panels and tapestries as wall art and installations, using embroidery styles and patterns they are known for in their apparel. Simultaneously, there’s a revival of traditional embroidery styles, with initiatives like the Delhi Craft Council’s work on Chamba Rumal and Morii Studio’s Sujni embroidery tapestries contributing to this movement and helping to preserve these crafts.
While the fashion industry does provide the mainstay for the artisans, they are restricted in expression and quality in a consumer-demand driven, price sensitive market. With the entry of art patrons, the same artisans will now get a larger, less restricted field for their expression and better values will encourage the best of their skills to find ground, and they will strive to push boundaries further. We hope this growing interest in embroidery not only ensures the preservation of craftsmanship but also elevates the status of Indian artisans. As traditional embroidery practices are slowly losing their relevance as a community activity, the art market can help keep the traditions of storytelling and self-expression through textiles and needlework alive. With the hope that this resurgence, that has sparked a new wave of artistic expression, is not a short-lived one but grows and catches on for the times to come.
Jayesh Mathur is an architect, independent scholar, and Indian art collector.
Supriya Lahoti is a museum professional and consultant with the Ministry of Culture.
