The layout of the design again depends on the printer who is doing the block printing. We do have designers who give a brief about the kind of work they are looking for, but mostly the printer handles things his way. The only fact that they think important is the costing of the product. So an expensive garment would have an intricate layout of design with very less negative space while a lesser costly garment would have sparingly placed motifs. The basic material used for transferring the design is indigo (Neel) and diluted glue. Incase the indigo color is not visible on the fabric then silver color is used.

The embroidery stitches used here are so elaborate that there are specialists for different groups of stitches. In one single product the jaali (net work) will be done by one person, the phanda (a 3D bulbous dot, similar to the French knot), done by another person and the bhakhiya (shadow work involving herringbone stitches) done by yet another person. So more the amount of stitches more is the labor involved and naturally more is the costing. The other common stitches used are taipchi, murri, ghas - Patti, keel kangan etc.

The final stage in the entire process is the washing and the finishing. Before the normal wash the fabrics or garments are soaked in certain diluted acids followed by a soak in bleach and soda. All this is done to fasten the colors and to make the white look whiter. Starching the garments is done to give them a stiff look ill the time they reach the retail stores. It is said that the final look of the garment depends on how well the garment has been washed and ironed.

The colors involved in the chikankari garments and products (apart from the traditional white) have also started imitating the fashion scenes and some way of color forecasting is definitely done, because each season the stores do have the "IN" colors. So the consumer will have all options from a minty green to a sunny yellow to a fuchsia and a turquoise. The same goes for the fabrics also. Cotton was there and will always be a part of the traditional chikankari craft. But for the maintenance free consumer of today there are options like chiffon, georgette, net. Some have also started experimenting with denims and wool. Who says Chikan is for Spring-Summer, it can be very much for the Autumn Winter collections as well.

As far as the origin of this craft is concerned, there are various stories. Some say that it is a Persian craft, some give the credit to Noorjahan, and some say that it was a saint who taught the craft to the villagers so that they can earn their living. There is no tale which has authentic facts to support its truth. Whoever started this craft, had definitely given boon to the artisans as well as a fashionable delight to the rest of the world.

The chikankari craft is developing in leaps and bounds today, because the demand and awareness has increased manifold. But with its development the development of the artisans (mostly women folk) is also important. Innovation, experimentation and active involvement of good business practices can be a key to this.

About the Author

The author is faculty in Footwear Design & Development Institute (FDDI), Noida