CRAFT DOCUMENTATION

FASHION COMMUNICATION
2014-2018
 CRAFT DOCUMENTATION

FASHION COMMUNICATION
2014-2018

Submitted by;

Aarshi Lagarkha
Anshita Tripathi
Rupali
Srishti Gupta
Urvashi
Vidushi Gupta
 ACKNO W L ED G EM EN T

We take this opportunity to express our gratitude to the people who have been a
part in the successful completion of this project. Apart from our efforts, the success
of this document depended upon the encouragement and guidelines of many oth-
ers, to whom we are highly obliged.

We express our heartfelt thanks to our honorable director, Shri Bala Siddhartha,
for serving as the backbone of our support and inspiration channel. Also a special
thanks to our Fashion Communication, Course co-coordinator, Mr. Deepak Joshi and
our subject mentor Ms. Purnendu for their imperative guidance and valuable sug-
gestions.

We are also grateful to the loving, accepting, hardworking and extremely talented
people of Amritsar for the support and helping us out at every point. We thank them
for being an immense support during this project.

We would also like to thank all my friends for their incessant guidance, affection and
support.

I hope that we have manifested our sincere attempts to represent all the informa-
tion and other things to the best of my knowledge and ability.
OVERVIEW OF
PUNJAB
Punjab, state of India, located in the northwestern part of the subcontinent. It
is bounded by the Indian states of Jammu and Kashmir to the north, Himachal
Pradesh to the northeast. Forged from the Indian half of Punjab province after
Partition, Punjab is the homeland of India’s Sikh population. Irrigated by mighty
Himalayan rivers such as the Beas, the Ravi and the Sutlej, It is an expanse of
fertile land that supplies a bulk of India’s demand for wheat and rice, while also
doubling as a nerve centre of India’s textile and manufacturing industries. Punjab
is widely known as the”Granary of India”. Punjab provides a wonderful opportuni-
ty to go traipsing into the backyards of North India.

The state is exquisite land of monuments of historic significance,enchanting

scenes of natural beauty,awe inspiring religious sites and fertility greenery.It is
a state endowed with rich culture,tradition,religion and acknowledge for its self
dependence and glory. Punjab is the secong largest producer state of India.
The word Punjab consists of the two words
“Panj” and “Aab” where Panj means five and
Aab means water. This name was given to
this region to symbolize its five rivers. he
Northwest location of the state and its fertile
land created a strong attraction for foreign
influence. Persians, Arabs, the British, and
Turko-Mongolians were a few of the groups
which contributed to its development. The
historical area of Punjab was defined to the
east from the basin of the river Bias to the
boundary of the river Indus to the west. On the
north the state was bounded by the Kashmiri
Himalayas and on the south it reached the
plains of Rajasthan and Cholistan. However,
over history Punjab has had its boundaries
expand as well as shrink. The high time for
Punjab occurred under the reign of Mugal
emperor Babur and the empire of Mahara-
ja Ranjit Singh. With the partition in 1947 the
borders of the region shrank to its current
size, with its division into the Pakistani prov-
ince of Punjab and the Indian state of Punjab.
Amritsar is the proud owner of the Golden Temple that
serves as a spiritual center for the World’s entire Sikh
population. It is the epicenter of Sikhism, an Indian re-
ligion of a recent vintage. The fabric of the city seems
to be woven around the temple. In fact, Amritsar even
derives its name from ‘Amrit Sarovar’ (meaning holy
pool of nectar) the pool around the Golden Temple.
Unsurprisingly, every time the Sikh shrine was razed
by the Muslim invaders like Nadir Shah or Ahmad Shah
Abdali, it had direct bearings on the town. Last tragic
event occurred in 1984, when the Indian army stormed
the Gurudwara to weed out the Sikh terrorists who had
hid inside it to force the Indian Government to com-
ply with their demand of a separate state of Khalistan.

The city was founded in 1577 by the fourth Guru Ram

Das. Outside the old city that can be entered through
12 huge gates a whole new organized town has
emerged. Being one of the most advanced yet tradi-
tional cities in Punjab, it is also one of the best plac-
es to taste the scrumptious Punjabi food and shop in.
Golden Temple – This is one of the biggest religious sites in India. Each year, thou-
sands of devotees come here from all over the world. The temple is built on a
beautiful tank encircled by wide marbled passageways. Devotees wash their hands
and feet here before entering the shrine. The temple is topped by a golden dome
that was contributed by Maharaja Ranjit Singh. Remember to do the ‘parikrama’ or
walk around the smaller homage sites surrounding of the TEMPLE.

Jallianwala Bagh - This is a historic monument where 379 people were ruthlessly
killed and about 1,200 injured by General Dywer’s troops in 1919. Visit the Martyrs’
Gallery which serves as a poignant reminder of this heinous crime.

Ranjit Singh Museum – The museum is housed in a sprawling palace with extensive
grounds. You will find a wide range of memorabilia of Maharaja Ranjit Singh’s time,
including some of the finest paintings and prints of the Raj era.

Durga Temple - Set within a serene tank, this is a 16th century temple dedicated
to Goddess Durga. Within the complex are several other temples like Sheetla Mata
Temple, Lakshmi Narayan Mandir and the Hanuman Mandir.

LANDMARK
PHULKARI
 Ma e hatha di ae Phulkari nishani eh;
Isse naseebawalan ne ronde hansde paii eh
(Phulakri is a token of mother’s labour of love;
Fortunate are those who get this bittersweet pleasure).
Phulkari embroidery of Punjab is an
intimate part of the life of Punjabis.
there was a time when no ceremony
in which women participated could
complete without wearing a bagh or
phulkari. Phulkari is analysed as ‘phul’.
flower and ‘kari’,work i.e floral work or
flowering.Initially it was phul kyari but
gradually it became phulkari. The word
Phulkari literally means “flower-em-
broidery”. The art of Phulkari origi-
nated in 15th century AD in Punjab, a
north Indian state in India. 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
and dupattas that cover head whereas
Bagh is created on the garment that
covers the whole body.

Today Phulkari has become an inte-

gral part of day today life of women
in Punjab. The embroidery is very sim-
ple but the color combination, stitches
and the pattern makes it look spec-
tacular and gorgeous. It is created on
all sorts of cloth and is used in various
ways. Today phulkari is not only seen
on garments but can also be seen on
bed sheets, pillow covers, curtains,
wall hangings etc.
 REFLECTING EMOTIONS

Wome put their heart desire’s into embroi-

dery.With time ,the phulkari became interwo-
ven with the loves of the women of Punjab.
The joys,sorrow,hopes,dreams,yearning of
the young girls and women who embroider
the phulkaris,were always transferred on to
the fabric.many folk songs grew out of this
expressive combination of skills and intense
feelings.so one hears a women,whose be-
trothed has not sent a promised message to
her murmuring sadly softly,as she embroi-
der peacocks- the symbol of yearning.It was
not long before phulkari folk songs became
a part of the famous,pulsating folk dances of
Punjab-gidda and bhangra.

A SYMBOL OF FAMILY TIES AND STATUS

The women created phulkari mostly for their

personal use.The cycle began with the young
girl who followed her mother’s chores and
learned household work including this em-
broidery. The phulkari as well as the bagh
is closely linked with the rites of passage. A
newborn baby after being bathed is wrapped
in an old phulkari,used by the grandmother,its
soft texture is considered appropriate for the
infant.the shawl also carries the aura of the
venerable grandmother, her love and her
blessings. The women sign songs to cele-
brate the arrival.
 Jamada ra lal gudhar balatai
Kuchar lita inna mayia te dai
Natha te dhota lal pat baletaya
Kuchar lita ma pai jayia.
When the child was born
He was wrapped in a patched quilt.
When the child was bathed
He was wrapped in silk embroidery.
 ORIGIN OF
PHULKARI
Its history and origin varies from person to person due to lack of ev-
idences and documentation. The origin of this beautiful art can be
traced back to the 15th century AD. Some people said that phulkari
was made in the famous love story of Heer-Ranjha written by Waris
Shah (1725 -1790), Heer has many costume included phulkari articles
too from this, it is quite obvious that, phulkari an article customarily
presented to the girl during her wedding. Some have opinion that this
craft migrated from Persian art, where an embroidery from ‘Gulkari’
having similar literal meaning, ‘gul’ means flower and ‘kari’ means
work, which did resemble phulkari, there is another theory which
did resemble phulkari. One more theory which discloses that the jat
tribes of east Punjab, basically peasants migrated from central aisa,
are the pioneers of this craft this was the strongest theory to which I
came around during my research these jat also carried these craft in
other states of India like Haryana, Rajasthan and Gujarat.
Many ancient articals of phulkari were rumal, kerchief embroidered
somewhere during fifteenth century by sister of Sikh guru, Guru
Nanak Dev Ji.Some feel it came from central Asia along with jat tribes
who migrated to India and settled in Punjab,Haryana and Gujarat.
There is reference of phulkari in Vedas,Mahabharat,Guru Granth Sa-
hib and folk songs of Punjab.
It appears that this art originated in the Punjab.Before partition in
1947,the Punjab was populated by Sikhs,Hindus and Muslims;but
Phulkari and bagh embroideries were predominatly the work of the
first two communities.Commercial work began in 1882 only,when
Maharaja Ranjit Singh agreed to the first export contract for phulkaris.
Demand grew towards the end of the 19th century,around the time of
the Punjab Exhibition of 1881 in London.
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 col-
ors 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. 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 Amrit-
sar and 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.

R A W M A T ER I A L S
& C O LO R S
 S Y M B O L I C S I GN I FI C A N CE O F
C O LO RS A N D M O T IFS

In the past, the women of Punjab made a Phulkari and Bagh for their
“suhag” (marital bliss) and prosperity. They used colors and motifs
that they liked the best. All the colors and motifs used by the women
for embroidering had a symbolic significance.

• Red: The color red was mostly used the base fabric. Red symboliz-
es happiness, prosperity, love, passion desire, and excitement. Red
also signifies blooming flowers and sunlight that gives us life. It also
stands for power and energy. That is why; the mother goddess is
always depicted in a vibrant red color.

• Yellow: Yellow and shades of yellow are used in great quantities

for the Phulkari and Bagh. It is a symbol of happiness, liveliness and
success and fertility. It has a special significance in Punjab since it
is the color of wheat and the mustard flower. It is also a symbol of
power, enlightenment and supernatural feelings.

• Orange: Orange color is a symbol of cheerfulness, creativity, pro-

duces a mystical effect on the mind and suggests wonder. It is also
a symbol of affordability and low cost.

• Green: Green color is a symbol of freshness, nature, a clean en-

vironment, holiness, harmony, and honesty. The green color has a
calming and restful effect.

• Blue: Blue color is a symbol of nature and truth. It is also a symbol

of water and sky however, it was not• often used. White: White is
a symbol of peace, purity, honesty and simplicity. It was used for a
special kind of Bagh• base cloth called “Thirma”.
The women of rural Punjab used motifs from their household articles and their
natural surroundings. On the Phulkari , women depicted these articles and
used the “darning stitch” for complicated designs. The women of rural Punjab
used motifs from their household articles and their natural surroundings. On
the Phulkari and Bagh, women depicted these articles and used the “darning
stitch” for complicated designs.

D ES I G N S &
PA T T ER N S
A. The geometric motifs: geometrical motifs were used such as triangles, squares and
vertical and horizontal lines with changing directions and the darn stitch with various color
combinations. The subject matter of Phulkari comprised of flowers, animals and human
forms and many other things made with geometrical patterns.

B. The vegetables: fruits and floral motifs: Nature provides many motifs for creating art.
As the name Phulkari suggests ‘growing flower’, many floral motifs were created by wom-
en from their own imagination. Genda (marigold), Surajmukhi (sun flower), Motia (jasmine)
and Kol (lotus flower) were commonly used for Phulkari and Bagh. Sometimes, the field of
phulkari was embroidered with small patterns called “Butian”. Among the different fruits,
santaran (orange), anar (pomegranate), nakh (pear), bhut (muskmelon), mango slice, and
chhuare (dried dates) were used as motifs for a Phulkari.

C. The birds and animal motifs: Bird and animal motifs were also on Phulkari. In a “sainchi
phulkari”, human forms, animals and birds were used . The most common animal motifs are
the cow, buffalo, goat, camel, horse, elephant, snake, fish, tortoise, pig, rabbit, frog, cat, rat,
donkey, squirrel and lion. Among the bird motifs are the peacock, parrot, sparrow, crow,
owl, hen, and pigeon were the most popular.
In earlier times, Phulkari was done on a handspun khadi cloth with simple
darning stitch using the unspun silk floss yarn called ‘pat’. The stitches
are made on the reverse side of coarse cloth, with colored silk threads.
Smaller stitches are finer and delicate. The stitches are done vertical-
ly, horizontally and even diagonally, to create special effect of light and
shade. Such a base is strong, long lasting and cheap. In the bagh, a single
thread of the base material separates one pattern from the other. As it is
done on a thick material the embroider can work without a frame. Most
of the time, patterns to be embroidered were not drawn on the fabric be-
forehand, the embroiderer had to count each thread of the khaddar with
meticulous care to build the designs.

When a section of embroidery was completed, the fabric was rolled in and
covered with a muslin cloth, to keep the embroidered part clean while
working, as it was easier to count the threads of a light color khaddar than
of a dark one, it happened sometimes that the fabric was achieved, by
such technique cotton is coloured but not silk.

This unique method of the embroidery is worked on the inner side of the
cloth and the pattern takes shape on the upper side. The pattern is controlled
by the counting of the thread. The needle picks up only one thread at a time
as so to make the back of the pattern well defined with single lines of color
in extremely fine stitches. In front the stitch ranges from ½ to 1/4cms in size.
Phulkari is traditionally done on khadi cloth with simple darning stitches us-
ing the hand spun silk floss yarn called the ‘pat’. The stitch is done through
single darn thread and the simple adept to hands make it one of the most
sought after embroidery craft. Shading and variation is often obtained by us-
ing horizontal, vertical or diagonal stitches. This variety of Phulkari is hence
used for different occasions and purposes.

Though not all the Phulkaris’ go through the same process. In its initial years,
the Phulkari’s were directly embroidered on the cloth without any traces.
Ahead are some examples of this method where patterns are directly made
on cloth. Clearly, the experts handle this department.
P R ES E N T A T I O N
& T E C H N I Q U ES
T Y P ES O F
PHULKARI
THIRMA
This phulkari from the north of Punjab, shared by Hindu
and Sikh traditions and very appreciated by collectors
is identified by its white khaddar called thirma, symbol
of purity. As a symbol of purity, thirma was often worn
by elder women and widows but, at times, this choice
of white coloured khaddar was also made for estheti-
cal reasons. The pat was generally chosen in a range of
bright pink to deep red tones. Cluster stitched flowers,
wide triangles covering the forehead as well as chevron
darning stitch surfaces were very common thirma pat-
terns.

DARSHAN DWAR

Darshan Dwar, that can be translated as “the gate through
which God can be seen”, unlike other phulkari was not
made for a person but for a temple as an offering to
thank the gods after a wish had been fulfilled. For this
reason, while a dowry could contain dozens of phulkari,
darshan dwar has never been made in big quantities.
Like other figurative pieces (e.g. Sainchi phulkari, see
the next paragraph) this particular kind of phulkari was
made in east Punjab, a mostly non-Islamic area which
allowed the development of a broad variety of human
and animal representations.
 SAINCHI PHULKARI
Sainchi phulkari are figurative pieces narrating the life in the villages of
south east Punjab. Local animals (goats, cows, elephants, big cats, scor-
pions, peacocks,...) are represented moving among wrestlers, farmers,
weavers, etc. Train is also often displayed on sainchi phulkari, this means
of transportation, brought by the British in the second half of the19th cen-
tury, having had a big impact on local populations’ life. Beyond their aes-
thetic value, sainchi phulkari can be compared to our nowadays media as
they depict the ways of life, interests and environment of the old time rural
people of Punjab. In addition, they were produced in a relatively small area
(Firozpur and Bhatinda districts) and required high embroidery skills. These
are all the reasons why they became so appreciated by collectors and oc-
cupy a very unique position among the different varieties of phulkari.

CHOPE
Chope Phulkari is embroidered on the borders and edges of this red col-
ored cloth of ‘Chope’ and is presented to a bride by her grandmother. The
bride’s maternal grandmother gifted Chope embroidery as soon as her
granddaughter was born. The Holbein stitch was used instead of the darn-
ing stitch which has the specification of creating same designs on both
sides of the cloth. One interpretation was that the grandmother wished her
granddaughter to be happy in all her lives, be it today and afterlife, which
showed two sides of existence. Chope was wrapped around the bride after
she took the ritual bath before the wedding ceremony, as Chope had its
towering importance of being much bigger than that of Phulkari.
SUBER
This Phulkari is worn by the bride during the marriage
ceremonial rites. There are five motifs crafted, one at
the center and four at the corners. It is heavily decora-
tedand comprisesof delicate designs.

BAAWAN BAGH

“Baawan” means “fifty-two “ in Hindi & Punjabi languag-
es. It refers to the mosaic of fifty-two different patterns
which adorns the piece with 52 numbers of patterns
or more. Baawan bagh Phulkari was in fact a display of
samples used by professional embroiderers to show
their skills and design patterns they could offer to their
clients. This clearly clarifies why Bawan is the rarest of
all the bagh and phulkari.
 SALOO SALU OR SALOO PHULAKRI
It depicts the rural life where, motifs are traced be-
fore embroidering. The various activities of rural life
are depicted such as household chores of housewives
and agricultural process, smoking hukka , guests hav-
ing sharbat, wrestlers practicing wrestling , pounding ,
churning , grinding , spinning , weaving and so on. The
embroidery is known as the Sainchi Phulkari. The red
and black khaddar cloth, wore as a veil or wraparound
for daily wear is the Salu.

SURAJMUKHI
Surajmujkhi, the sunflower, refers to the main pattern of
this phulkari. From a technical point of view this phulkari
is unique as it is the only one that mixes in equivalent
proportions with the Holbein stitch (used for making
chope phulkari) and the regular darning stitch.
 The designs have moved from the geometrical to styl-
ized animals and birds. The creative artists have adapted
scenes from village life and domestic objects such as be-
lan and pots apart from nature- flowing rivers, sun, moon,
lotus flowers, sunflower and the rainbow. The parrot and
peacocks have inspired motifs.

Over the years, the pure cotton base cloth has made way
for mixed polyester, silk threads for synthetic floss and ma-
chines have taken over the labor-intensive craft. Yet, the
Phulkari has regained its popularity, most recently in fash-
ion designer Manish Malhotra collection. All it needs now is
a supportive government and loyal patrons.

Phulkari and bagh displayed in collections are mostly 50

to 150 years old. They had been bought for a few rupees
or exchanged against kitchen utensils in villages of Punjab,
years back, by local intermediaries and then sold to deal-
ers in big cities like Delhi or Peshawar. Some associations
have been trying hard to keep this art alive but nowadays
phulkari are almost exclusively industrially made. They are
available in cloth markets of Punjab’s big cities (Patiala,
Amritsar...) along with embroidered kurtas and cushions.
The fact that this tradition in its original form is now almost
over, that Punjab’s villages have been washed out of their
best pieces and that the information on phulkari’s value in
the occidental market is now easily available all over the
World through the Internet, has increased the prices of fine
phulkari and bagh in very big proportions. These pieces
have now almost totally moved from villages to collectors
and museums like Quai Branly or V&A.

P R ES E N T S C E N A R I O
OF PHULKARI
RICH ART,
POOR ARTISANS
Skilled Phulkari craftswomen of Punjab are facing tough times despite a growing
demand for their work. Though commercialization has resulted in employment for
thousands of women—nearly every household in Tripuri has an embroiderer—the
quality of work has been affected and the embroider’s income has been hit. “We
hardly get anything—just about Rs 35 to Rs 45 per suit. A dupatta, which may take a
month to embroider, brings in only Rs 500 for us. Even though we know that it will be
sold in the market for as much as Rs 3,000, we can’t negotiate the price,” complains
Roopmati, a local embroiderer. Most women say that they cannot ask for a better
price because they know that if they refuse to accept the market rate, they will lose
the assignment to another embroiderer. Local shopkeepers, on the other hand, state
that with a virtual mushrooming of people doing business in phulkari, their profit
margins have been reduced to less than Rs 10 per salwar suit.
So, things have only become tougher for genuine phulkari
craft persons. “What passes off as phulkari today is no-
where near what we used to do or had learnt from our
mothers and aunts? But I have the satisfaction of hav-
ing done good quality work and have taught the same
to my daughter and grand-daughter. We used to make
bags on which the embroidery was so intricate and so full
that one could not see the base fabric,” reveals Ram Piari
(90), a craftswoman, who only recently stopped working
because of her failing eyesight.

“Traditional work is rare to find. Though there are some

craftswomen who still follow the original style, nowadays
even French knot work and Sindhi embroidery are passed
off as phulkari. Ironically, it is the widespread commer-
cialization of the craft that has led to its downfall,” says
Chhabra, who is also Ram Piari’s grand-daughter.
Besides the compromise on quality, there is another
change—fast-colored synthetic threads have replaced
the traditional hand-made silk thread, which are no longer
available. Some women, however, claim that silk skeins
are available in Pakistan.

There is no denying that phulkari is a booming business

in Punjab. But considering that the artisans are not getting
their due because of an over-kill, it is time the state gov-
ernment lent a helping hand to local entrepreneurs by
giving access to subsidized loans and assistance in mar-
keting. “Most craftspersons involved in this business are
uneducated. It is not possible for them to handle the cum-
bersome paperwork required when applying for loans,”
says Gurpreet Singh, proprietor of a popular phulkari em-
porium in Patiala.Phulkari has tremendous potential to
earn foreign exchange. According to Chhabra, “foreigners
who come to exhibitions seek traditional work. There is
definitely a ready market abroad for craftswomen who do
not compromise on the quality of their work.”The need of
the hour is to organise the craftswomen.
https://www.google.co.in/search?rlz=1C1NHXL_enIN726IN727&q=GOV-
ERNMENT+INITIATIVE+TOWARDS+PHULKARI&spell=1&sa=X&ved=0a-
hUKEwiXsPnzuofYAhUM2o8KHba7AekQvwUIJSgA&biw=1366&bih=662

http://www.journal.bonfring.org/papers/iems/volume4/BIJ-6133.pdf
http://www.indianheritage.biz/files/PHULKARI-IH.pdf

http://dsource.in/sites/default/files/course/visual-ethnography-design-
ers/sample-reports/file/Phulkari.pdf

h t t p : // t e x t i l e l e a r n e r. b l o g s p o t . i n / 2 0 1 5 / 0 6 / p r e s e n t - s c e n a r -
io-of-phulkari-embroidery.html

http://www.journal.bonfring.org/papers/iems/volume4/BIJ-6133.pdf

R E F E R E N C ES