Use of embroidery on Salwar Kameez

Both - the dupatta and kameez are usually decorated with heavy embroidery, needlework, mirrors and even precious stones and using festive colors, to provide elegance to salwar kameez. The most common Design Patterns are made on Salwar Kameez with different types of work on it like Embroidery work, Patch work, Floral work, Lace work, and Bead work. Embroidery is the most common of them all. The embroidered kameez salwar can be divided into two categories –

1. Hand Embroidered Salwar Kameez: Hand embroidered salwar kameez is a result of the efforts done by the craftsmen. In such type of Salwar Kameez the embroidery work is not embellished with threads only. There are many decorative items that can be embroidered along with the thread like seeppy, stars, beads, moti, gungroo, laces, stones and jewels etc.

2. Machine Embroidered Salwar Kameez: In machine embroidered salwar kameez, the main component of embroidery is threads of different colors and fabric like cotton, polyester, silk, silver, gold etc. Machine embroidery has limitation but it has better look than the hand embroidered Salwar Kameez material.

Numerous embroidery styles have been used in India since long time, some of them are listed here

• Aari Bharat Embroidery: Aari Bharat Embroidery is also known as Mochi embroidery. Mochi literally means “shoemaker”. The mochis work on silk cloth called “Mashru”, net or canvas using a needle called “Aar” and silk thread. They work without any pre-decided design or drawing and conceptualize the design as they work. They work wonders as their fingers skillfully trace out all forms such as leaves, fruits, flowers, animals and human figures. Mostly concentrated in the areas of Kutch and Kathiawar, Aari Bharat is slowly reviving, as the work is much in demand all across India and abroad.
• Ahir Bharat Embroidery: Ahir embroidery is famous for its flowing style making extensive use of motifs of peacocks, parrots, scorpions, elephants and flowers. The designs are first drawn free hand and then embroidered. The name comes from the Ahir tribe, which is found in Bhuj, Anjar and Mandvi regions in Gujarat . This style is akin to mochi or aari embroidery. Objects commonly embroidered are bags and wall hangings. Decorative strips, called Sankias or Barsankias are also embroidered in this style and are pinned on each side of the main doorway of a house. They are linked with a Toran above it. Clothing adorned with shisha or mirror work is worn on festivals or ceremonial occasions.
• Banjara Embroidery : Banjara is the term used for gypsies or the nomadic tribes of India. They have a distinctive embroidery style that is a sublime mix of many cultures. Their clothes are bright, colourful, and heavily decorated with elaborate mirror and beadwork. They also make extensive use of shells, ivory beads, and colorful threads. The banjaras are fond of wearing huge skirts called ghagras that are brightly colored and heavily embellished. Their accessories include heavy bangles and anklets. The stitching that is used for these skirts (ghagras), blouses and the men folk's jackets is now used to decorate bags, belts, bed spreads wall hangings and living room decors.
• Banni Embroidery : This trend originated in the vast stretch of semi-desert land called Banni. It embodies the Lohanas of Khavda and the Jats, Mutwas, Harijans etc. of Banni villages. Banni embroidery, that also comes from the stable of Kutchi embroidery of Gujarat , employs ornate, petite designs in bright flashy colors, which is deemed the most stunning and magnificent among the different types of Kachchi embroidery. This art incorporates the shisha or mirror work. The glass is cut into different shapes and sizes and the embroidery revolves around it. The Garari Jat community does extremely minute mirror embroidery with threads of different hues and colors. Mirror shapes are cut out of a vase blown out by a mouth pipe.
• Bidri Embroidery : Bidri originated in a place called Bidar near Hyderabad . Bidri essentially means silver inlay on black colored metal. The style was replicated on cloth as well. The stitches are akin to Zardozi work. Bidri comprises casting, engraving, inlaying and oxidizing. The designs are chiseled, after which pure silver wire or sheet (gold in some cases) is driven into the creases and the surface smoothened. The pieces are warmed slowly and a solution of sal ammoniac and earth is poured on it. This imparts a jet-black color. Oil is rubbed on the piece to lock in the black coating. Fanatically protected by practitioners, Bidri epitomizes the lifestyles of Sufis, artistic values of the Mughals and the passion of warriors to beautify their weapons.
• ChikanKari Embroidery : Chikanari typically represents the art form of the city of Lucknow. Of Persian origin, it means a cloth fashioned with intricate needlework. Chikankari is a light style and very well suited to hot climatic conditions. It combines comfort and aesthetic value. Light chikan saris and salwar suits are common summer wear for women while men wear chikan kurtas. The source of Chikan ornamentation in Chikankari is Mughal. Similar designs and patterns can be seen in Mughal inspired buildings such as the Taj Mahal. This form was closely associated with the Nawabs and other royal families. Over the years, it filtered down and is today the most common and popular embroidery form.
• Kantha Embroidery : The beauty of this style lies in its extreme simplicity. The stitch is a simple running stitch done in such a way that it gives a unique quilted look. An art form of Bengal and synonymous with embroidered quilt, Kantha also stands for dorukha, which implies recycling of old and worn cloth. Kantha in Sanskrit means rags. Precious silks and expensive clothes on becoming old were piled into layers and stitched together. Some legends draw parallels with a lady's self-expression. The real kantha describes a story, the emotions and the life of the artist. The motifs range from flowers, animals, geometric patterns or even gods and goddesses.
• Kathi Embroidery : In this type silk or satin is the preferred base cloth while the thread used is either cotton or silk floss. Predominantly a form of embroidery from Gujarat, it is quite different from the other forms of embroidery from Gujarat. It has a strong influence of Kathi art in its patterns, which are predominantly inclusive of animal motifs, flowers and peacocks. Whatever space is left is filled with leaves and buds. The use of mirror work is quite strong, especially in the making of the center of flowers, eyes of the birds or flower representations. A strikingly distinguishable feature of this form of embroidery is its unusual technique of chain stitch embroidery combining with appliqué work. This is further enhanced by mirror-like insertions.
• Kashmiri Embroidery : Kashmiri embroidery, also known as Kashida, has definitely been inspired by the beautiful natural surroundings of Kashmir. What is significant of this style is that the whole pattern is created using one or two embroidery stitch styles. Wool or cotton is the base cloth used. Most often they are in shades of white or some similar light shade. At times pastel colors are also used. Care is taken to ensure that the color shades blend into the background. Kashmiri embroidery is very skillfully executed by way of a single stitch. Sozni embroidery, papier-mache embroidery, and ari or hook embroidery are individual styles of Kashmiri embroidery.
• Kasuti Embroidery : This age-old form of embroidery is from the state of Karnataka. What is particularly significant about this form is that it is simply done by counting the threads of the warp and weft with the designs traced or implanted as outlines. There are essentially four types of kasuti embroidery. They are Neyge Kasuti, Murgi Kasuti, Menthya Kasuti and Gavanthi Kasuti. As a traditional form, it is specially done on IIkai sarees and blouse pieces. It boasts nearly seven hundred designs under different categories. This form of embroidery lends an exquisite effect and touch to the soft furnishings. Most designs have a religious touch and are derived from temple structures.
• Mirror Embroidery : The craft of mirror work, also known as Sheeshadar, is closely associated with embroidery. In this art, sewing mirror discs are neatly intricated onto the fabric. This art form is carried out in combination with other forms of embroidery in order to add more effects to the designs. The incorporation of the sheesha or the mirror is supposedly one of the most attractive features in Indian embroidery, as it considerably enhances the general effect of the pattern. The glass is first cut into different shapes before it is embroidered into the fabric. Very, very miniscule embroidery is carried out on heavily encrusted yoke with white thread, mingled with red, orange, blue and green. They are specially used for the eyes of birds and the center of flowers.
• Phulkari Embroidery : The literal translation of Phulkari is flower craft and this art of embroidery is related to the state of Punjab. Baugh, which literally means garden, is a Phulkari wherein the entire facade is splendidly ornamented by a continuous design through skillful handling of darning. Chobes is another type of Phulkari Embroidery in which the edges alone are ornamented with the center being left plain. The beauty of Phulkari is enhanced by the color of the ground material. The thread used is invariably pure silk. The uniqueness of the Phulkari embroidery is that its long short darning stitches are worked on the wrong side of the cloth. However, the pattern takes shape on the right side.
• Rabari Embroidery : Rabari embroidery covers a wide range of garments, bags, household decorations and animal trappings. It signifies and highlights important events, rites and values in life. Rabari embroidery on children's clothing reflects the primacy of children. The mirrors, which are embellished are said to protect children from evil spirits inhabiting their world. Rabari embroidery is a pictographic representation and symbolic of mythology, beliefs, culture and life. In this art form glass mirrors are used in various shapes. They can be round, rhomboid, rectangular, square, triangular, and beak shaped. Rabari embroidery is a language of expression. The specific motifs each have a name and meaning. The unique aspect of this art form is that the embroidery style changes with the imagination and spontaneity of the artist.
• Soof Embroidery : Soof embroidery involves the use of geometric patterns and is a type of counted thread embroidery. Lehar or wave is one of the most common patterns. This art form is represented by highly stylized motifs. Just before the needle is inserted the weave threads are counted. The important thing to note is that in this embroidery the stitch is worked from the back of the material. This hand embroidery is very painstaking. Without drawing the motifs the artisan imagines the design in the mind and works it out geometrically in the reverse. Most soof patterns generally begin with a triangle. Soof embroidery is full of rhythmic pattern motifs, which depict part of the artisan's lives apart from infinite variations of peacocks. These variations of peacocks along with various mandalas are supposed to focus psychic energies.
• Zardozi Embroidery: Zardozi embroidery is imperial metal embroidery. It has its own relevance in history as the costume of the royalty. Zardozi embroidery is rich with intricately woven patterns in gold and silver. It is further studded with pearls and precious stones to enhance the exquisiteness of rich and glowing silk, velvet and brocade. Zardozi embroidered garments are very popular and well known for their adeptness and have to be very delicately handled. The design is first traced on rich fabrics like silk, satin velvet, etc. After stretching the fabric on a wooden frame the embroidery work begins. Individually the Zardozi element is incorporated into the pattern by being picked up by a needle, which is then pushed into the fabric. They are excellent as elegant eveningwear and, without doubt, fit for any ceremonial wear.