A journey from the Mughal courts to the common man

Chikankari, one of the most exquisite and enduring embroidery traditions of the Indian subcontinent, has become synonymous with the city of Lucknow. For over 200 years, artisans, local organisations and human supply chains have preserved the delicate craft, ensuring its continued relevance and charm. Known for its intricate “white on white” embroidery on fine fabrics, Chikankari reflects luxury, elegance, and a rich cultural legacy.

In 1775, when Lucknow became the capital of Oudh, it attracted artisans, musicians and craftsmen under royal patronage. The motifs used in Chikankari, inspired by the city’s architecture, feature designs like floral patterns, paisleys, lattices, and mosaics.

  • Rumi Darwaza; Source: iStock

A craft rooted in royal patronage and cultural refinement

The word "chikankari" comes from the Persian words "chikaan" and "kari", which mean "embroidery" and "craftsmanship" respectively.

In 1903, George Watt famously described Lucknow’s Chikankari as “the most artistic and delicate form of indigenous needlework in India.”

From the late 18th century onward, Lucknow distinguished itself as a cultural hub, renowned for its refined arts, music, and etiquette. The Nawabi lifestyle epitomized luxury, with royal patronage fostering exquisite forms of embroidery on velvets, silks, and fine muslins. Among these, Chikankari, characterized by its intricate, delicate white embroidery on sheer muslin—became a defining element of Nawabi culture.

Anthropologist Tereza Kulkova aptly expressed that “chikan is associated with wealth, style, taste, extravagance, finesse, delicacy, and even honor, respect and power.”

Narratives of origin

Chikankari embroidery has its origin shrouded in mystery and legend. There are different versions about its origin in India including some female-oriented legends. One account credits Mughal Empress Nur Jahan, celebrated for her aesthetic sensibilities and Persian heritage, with commissioning artisans to reinterpret the intricate designs of Isfahan’s mosques and palaces in fine stitchery.

  • Jahangir and Prince Khurran being entertained by Nur Jahan Source: Paola Manfredi book Chikankari, A Lucknawi Tradition

Another tale traces the craft’s introduction to Lucknow to an anonymous princess from Murshidabad, who, in an attempt to win her husband’s favor, embroidered a cap on delicate muslin—a trend soon emulated by other noblewomen.

Historically, Chikankari was a male-dominated craft in royal ateliers, where artisans created bespoke pieces for elite patrons. However, over time, men transitioned to managerial roles in the supply chain, and women took on the embroidery work, oftenwithin the confines of their homes and for minimal wages.

Today, through the efforts of NGOs, entrepreneurs, and family-run enterprises, many women are reclaiming leadership in both design and commerce, fostering greater transparency and equity in the industry.

Cultural continuity and fashion evolution

Chikankari transcends religious divides, belonging equally to both Hindu and Muslim communities of Lucknow, who regard it as a shared cultural inheritance.

Interestingly, the embroidery’s origins are linked to men’s fashion during the late 18th century, when finely embroidered sheer muslins were favored by royal men. The degree of a fabric’s transparency symbolized the skill of its weaver, and white-on-white embroidery became a hallmark of aristocratic style. Courtly attire featured embroidered muslin caps, delicately stitched angrakhas, wide pyjamas, and intricately adorned scarves.

  • Necklines ornamented for Men’s Angrakhas Source: Paola Manfredi book Chikankari, A
    Lucknawi Tradition

As the Mughal court’s influence waned, the Nawabs of Awadh assumed patronage of the craft. The Nawabs played a crucial role in promoting and preserving the art form. They encouraged skilled artisans to create exquisite chikan garments for the nobility and the royal court.Traditionally, garments were stitched first and embroidered afterward, but contemporary practice often involves embroidering the fabric before garment stitching.

  • Potrait of Panna Lal Mehta wearing chikankari embroidered Angrakha. Source: Paola Manfredi book Chikankari, A Lucknawi Tradition

Chikankari faced a decline during the British colonial era when the local textile industry suffered due to the import of western clothing and machine-made fabrics. However, efforts to revive chikankari began in the early 20th century. Various organizations and individuals recognized its cultural and artistic value, leading to a resurgence of interest in the craft.

Today, over 5,000 artisan families in and around Lucknow remain engaged in Chikankari production, sustaining a craft that blends artistic heritage with livelihood.

Some images of chikankari embroidered caps, bodices, and scarves – to understand and admire the details of the intricacy of the embroidery and the nuances of dress-making. It involved tricky embroidery placements and hand sewing as a part of royal garment construction.

Header Image & research inputs source : Paola Manfredi book Chikankari, A Lucknawi Tradition