The craft of Chikan work often referred to as Lucknow Chikan, is over 400 years old with a firm presence in the Indian and global fashion arena. The technique of its creation is called Chikankari and its unique sensibility flaunts grace and elegance as subtly as the wearer pleases.

The word ‘Chikankari’ is derived from the Persian word ‘Chakeen’. Lucknow is also known as the hub of chikan work.

Chikankari is a very delicate and intricate shadow work type of embroidery from Uttar Pradesh, India. It is mainly practiced in Lucknow and adjoining areas. Initially, the embroidery was done using white yarn, on colorless Muslims known as colorless, today, Georgette, chiffon, cotton, and other fine fabrics are also being used. From being an embellishment used primarily for decorating clothes, Chikankari embroidery has now spread to home decor items like cushion covers, pillow slips, table linen, and so on.

There are various theories behind the naming of the term ‘chikankari’. As per one version, the word has been derived from a Persian word chain or shaken, which means creating delicate patterns on fabrics with threads. According to others, it may be a distorted version of chicken or sequin coin valuing Rs. 4, the amount for which it was bought. Yet another explanation ascribes the term to the chikan in the Bengali language which means ‘fine’.

This fine embroidery is popularly known as ‘white embroidery’ as it was primarily done with white cotton threads on sheer muslin cloths to give a very subtle but rich texture to a plain-woven fabric.

There are hardly any garments with Lucknow Chikan work that don’t use floral patterns or motifs. Due to the strong influence of Persian aesthetics on this craft, flowers have been a staple in Chikankari designs. The types of flowers (including their stems, Buti, leaves, and Paisley motifs), as well as their stylizations, have varied throughout time to keep up with fashion trends, but in general, have remained fairly intricate and delicate.

The Lucknow Chikankari technique can be most easily broken down into two 2 parts; the pre and post-preparation onto stages and the 36 types of stitches that can be used in its embroidery phase. The basic 3 stage process of all Chikankari work is:

Block Printing

This is the initial phase where the design is made on the cloth of choice. The cloth is cut according to the garment it will form and using multiple wooden block stamps, designs are imprinted in blue ink onto the fabric.

Embroidery

This fabric is then set within a small frame, part by part, as the needlework begins to trace the ink printed patterns. The type of stitch an artisan chooses depends on the specialty of the region and the type and size of motifs.

Washing

Once the embroidery work is complete, the fabric is soaked in water to remove the pattern outlines. After this, it is starched to obtain the right stiffness depending on the fabric.

Usually, there is a combination of different Lucknow Chikankari stitches used within one whole pattern. These include: Makra, Kaudi, Hatkadi, Sazi, Karan, Kapkapi, Dhania-patti, Jora, Bulbul and many more. There are also 10 principle stitches made from raw skeins of thread:

• Jali: A specialty of Lucknow; this technique uses minute buttonhole stitches with a wide blunt needle to make a Jali or net where the thread is never drawn through the fabric, making it impossible to distinguish the front from its backside.

• Tepchi: This is a long-running stitch that is weaved on the right-hand side of the fabric and forms the outline of a motif.

• Murri: This is a minute rice-shaped design used in minimalist and intricate patterns.

• Bakhiya: Also called shadow stitching; here, the thread work is done on the backside for its outline and tint of color to be seen on the front side of the fabric.

• Zanzeera: This is a chain stitch made to design the outline of leaves and petals especially when they are connected within their pattern.

• Hool: This is a detached eyelet stitch used to design the heart of the flower.

• Phanda: Millet-shaped stitches; these are used to make vines of flowers and grapes.

• Rahet: This is mostly a single stitch technique used to create plant stem designs, however can also contain a double stitch using the Bakhiya technique.

• Keel Kangan: This stitch is mainly used to adorn floral motifs and petals.

• Khatua: Considered a finer form of Bakhiya and used for flowers and paisleys, the motif is first weaved on calico and then placed on the main fabric.

Lucknow Chikan embroidery has ebbed and flowed since its initial formal establishment. Its golden years in the period of Mughals and Nawabs were followed by a major downfall in later years during the British Rule.

Only during the Industrial Era did Chikan begin to re-emerge with the same popularity it had before. It took no time in being commercialized. The Bollywood Film fraternity, as well as smaller design enterprises, played a big part in nationally restoring the respect and appreciation Chikan’s work always deserved.

Thus, undoubtedly, the sheer variety of Lucknow Chikan’s work today is more bountiful than ever before. It is greatly in demand by the general urban masses, upper classes and, celebrities in Bollywood and Hollywood alike.

A regular kurta or a pair of palazzo pants can cost you anything between Rs.1200 and Rs.5000. Beware of cheaper versions ranging between Rs.200 and Rs.500, as they are mostly made using machines, and don’t have the precision and neatness of hand embroidery.

One of the main things to identify is the neatness of the work. An original handmade garment is checked for precision and neatness before it is ready to be sold. So, a garment with uneven stitching, loose threads, and a thicker fabric only indicates that a machine has been used in the production.