Mukesh Gurani, CEO and Co-Founder of Reemaz, Udaipur, introduces the audience to another episode of the Fabric Knowledge Series by talking about the timeless and culturally rich embroidery art form known as Phulkari. As its name suggests, Phulkari literally means “flower work” or “flower motifs,” an art that is instantly recognized by its intricate floral patterns and vibrant embroidery.

He explains that the origins of Phulkari can be traced back to Punjab—both in present-day India and Pakistan—dating as far back as the 16th century. References to this art form can be found in the traditional folk songs of Punjab and even in the sacred verses of the Guru Granth Sahib. During the Mughal era, Phulkari was noticed and admired by the British as well, but unfortunately, it was never promoted widely at that time. Instead, it remained confined to the villages of Punjab, practiced by local women, and unlike royal or elite crafts, it did not gain recognition as an art of the wealthy.

After independence, when industrialization expanded and machine-made products took over, the popularity of Phulkari began to decline. Yet, in recent decades, thanks to the efforts of skilled artisans, visionary designers, and government support, the art has been revived and brought back to prominence. Today, Phulkari even holds a Geographical Indication (GI) tag, which safeguards its identity and cultural heritage.

Gurani goes on to describe how Phulkari was traditionally created. It was not the work of professional artisans, nor was it made for commercial purposes. Instead, it was a skill passed down through generations of Punjabi women, who would make Phulkari pieces at home. It became a tradition for young women to learn the craft, and it was often prepared as part of their trousseau or gifted at weddings. At one time, it was considered essential for every Punjabi woman to know Phulkari.

There are various types and styles of Phulkari embroidery. The simplest form includes scattered floral designs on fabric, while Bagh Phulkari involves heavy embroidery that covers the fabric completely, leaving no gaps. Traditionally, Phulkari was embroidered on Khaddar, a handspun cotton fabric. The base cloth was often dyed in darker shades such as navy blue, maroon, black, or brown, and the embroidery threads used were brightly colored silks—reds, yellows, greens, and more. One unique feature of the craft is that the embroidery thread is worked from the back of the fabric, while the flower motifs emerge on the front.

Mukesh Gurani emphasizes the painstaking effort required to complete a piece of Phulkari. For example, creating a full Bagh Phulkari dupatta could take six months at the very least, sometimes even years, depending on the intricacy of the design. This makes every Phulkari piece not just a textile, but a labor of love and dedication. The range of Phulkari products includes dupattas, odhnis, shawls, headscarves, sarees, and in recent times, suits as well.

Another unique style he mentions is the Darshan Dwar Phulkari, which was traditionally offered as a devotional piece in Gurudwaras and temples. While this practice had reduced over time due to industrial changes, it is now being revived again.

Gurani highlights how modern designers have embraced Phulkari, giving it a global stage. It has been showcased in prestigious fashion events, including International Fashion Week and Milan Fashion Week, where top designers incorporated Phulkari embroidery into contemporary fashion collections. This, he believes, is a proud moment for an art form that once risked fading into obscurity.

CEO and Co-Founder of Reemaz Mukesh Gurani  concludes by promising that in upcoming episodes of the Fabric Knowledge Series, more such traditional arts will be explored, giving people a deeper understanding of India’s vast and rich heritage.