Applique and embroidery of Barmer, Rajasthan

Appliqué is a patchwork craft involving intricate stitching on colorful fabric patches. In this craft, a base fabric is taken, and several small patches of colorful fabric are stitched onto it by hands where the raw edges are usually covered with decorative embroidery stitches. The practice has deep historical roots across Sindh and western India. In its present form in India, Barmer appliqué is closely associated with post-Partition migrations of artisan communities from present-day Pakistan in 1947, after which the practice gradually took root and evolved in Rajasthan. In the Dhanau Tehsil of Barmer in Rajasthan it became a generational craft. The different generations of people in Barmer had put in constant effort which gave rise to a traditional Barmer applique technique.

The craft cluster spreads across five villages in Barmer including- Dhanau, Alamsar, Sawa, Itada and Burhan ka tala. The traditional motifs used by the artisans are geometric shapes like triangles, zig-zags, stars, basic flowers and trees. Other ornamental motifs include peacocks, parrots, horses, camels, elephants and khejri-a culturally significant species in the Thar desert landscape.

Process

The production process of the applique work begins with the careful selection of a suitable design as visual balance and compositional clarity are central to the craft. The chosen motif is traced onto the fabric using ‘khakha’- a tracing paper. This is followed by the selection of an appropriate base fabric, with due consideration given to colour harmony; in order to maintain a visual narrative. In some cases, artisans also work with block-printed textiles including locally available ‘ajrakh’ cloth. The subsequent stage involves tracing and cutting the designs. There are two distinct kinds of applique- reverse applique and patch applique. Reverse applique is where two or more layers of fabric are placed together, and the motifs traced on the upper layer are cut away to reveal the contrasting fabric beneath; the exposed edges are then secured with embroidery stitches. In contrast, patch appliqué involves cutting separate fabric motifs and stitching them directly onto a base cloth, creating raised decorative forms on the surface. Once the motifs are cut, they are affixed to the foundation fabric using a locally prepared adhesive, ‘kalab’, made from a mixture of wheat flour, gum, and water. After the pasted elements are dried in the sun, women undertake the appliqué work, executing the needlework in careful alignment with the backing fabric. Upon completion of the stitching, the finished pieces are washed in water mixed with alum, which serves to fix the colours and prevent bleeding; this washing process also removes residual adhesive, resulting in a smoother surface. Finally, the textiles are ironed to eliminate creases formed during washing and drying, ensuring a refined and finished appearance suitable for use.

Traditional embroideries of Barmer

MUKKA

Mukka embroidery is a surface embellishment technique characterised by the use of gold and silver metallic threads, with mirrors positioned centrally within the design. The metallic yarns are meticulously hand-stitched in concentric circular motions around the mirrors, creating a distinctive ornamental effect. Recognised as one of the earliest forms of surface decoration in the region, this technique has historically been employed exclusively in the production of the kanchala, a traditional poncho-like garment, underscoring its cultural specificity and long-standing artisanal lineage.

SOOF

Soof embroidery is distinguished by its precise symmetry and visual harmony, achieved through the careful arrangement of motifs such as flowers and leaves that are systematically abstracted into linear, geometric forms. This disciplined transformation of organic elements into structured patterns results in compositions that are both aesthetically balanced and technically rigorous, reflecting the embroiderer’s mastery of proportion, rhythm, and spatial order.

PAKKA

Pakka embroidery is characterised by the use of densely worked squares formed through chain and buttonhole stitches, producing compact and structurally solid geometric patterns. The tight execution of these stitches lends the surface a pronounced sense of firmness and visual density, distinguishing Pakka as a technique that emphasises precision, durability, and formal geometric clarity within the regional embroidery practices.

JOGI

Jogi embroidery is fundamentally a hand-executed technique distinguished by the use of elaborate ornamental motifs such as tara and chun. The term reshe ka kaam denotes the method of defining and accentuating appliquéd motifs through successive layers of thick silk–cotton thread, creating a pronounced linear relief on the textile surface. In addition, the incorporation of mirrors, locally referred to as ‘tik’, serves as a characteristic embellishment, enhancing the visual richness and material complexity of Jogi embroidery.

TAGAI

Tagai embroidery is a minimal technique characterised by the use of a single running stitch to trace and accentuate linear patterns. This technique is most frequently applied to gundri, a traditional quilt historically presented as part of dowry practices, reflecting both its functional and ceremonial significance within the cultural context.

Contemporary applications

Traditionally, appliqué and embroidery in Barmer were limited to domestic textiles such as quilts, bedcovers, and women’s garments, largely due to the specialised skill required but, eventually as more craft development initiatives and training programs were taken in order to promote the craft, it expanded the artisan base and the range of products also got diversified. In the contemporary times, there has been more innovations into home furnishing, apparel and accessories. The various product range in which the applique work is carried out are cushion cover, throw, table runner/table mat, kurtis, kaftans, tops, long dresses, waistcoat, shirt, palazzo, dupatta, stole, tote bag, sling bag, phone pouch, botua bags, etc.