Designer Anjul Bhandari traces the evolution of the craft of mukaish

Originally developed as an embroidery technique to enhance the royal evening wear centuries ago, the craft of mukaish is easily identified as a dotted pattern in silver or gold metal, embedded in the a body of lightweight fabric. Today, contemporary modifications of the traditional metal work can be seen both on fashion week runways and in sought-after ethnic ensembles. Among the designers who are bringing the old-world charm of mukaish work to the mainstream is ace couturier Anjul Bhandari, who started working with the age-old technique 10 years ago. The designer is often in the spotlight for her signature pastel-hued chikankari ensembles, but her work with mukaish embroidery is also just as noteworthy. Vogue gets in conversation with Bhandari to find out more about the origin of the Mughal craft, its new-age modifications, and how she has contemporised it in her own collections.

What’s the origin and history of mukaish work?

Mukaish is an age-old art form that has been practiced in and around the Awadh region near Lucknow for centuries—it originated as early as the 3rd century BC. The metal embroidery was initially started as an adornment to chikankari work, so the Nawabs and Mughals could make their chikankari outfits even more elegant and elaborate for evening wear. Originally, mukaish work was only used to create small dots that embellished chikankari garments, and to add some bling and sparkle to them. However, over the years, because of the beauty and intricacy of the work, designers began creating all-mukaish pieces as well.

 

Why is mukaish embroidery often seen with Chikankari?

Chikankari and mukaish are two different art forms originating from Awadh. However, chikankari is purely a thread embroidery technique that is typically done with a white thread on muslins, georgettes and chiffons. Whereas, mukaish is a metal embroidery, where you take little strands of metal and twist them into patterns and little dots with your hand—either to adorn chikankari outfits, or to form complete motifs and textiles of the mukaish jaal. The base fabrics can range from soft georgettes and chiffons to sturdy raw silks.

Tell us more about the artisans practising mukaish today

Artisans of mukaish work hail from around Awadh. It basically is the men who do this embroidery. The little dots are created by the women at home, but basic patterns and the leaves are done by men of the community.

What motifs and designs does one usually find in this embroidery?

Mukaish dots are most common, but the motifs can extend to floral and geometric. If done well, these can completely change the appeal of an outfit. Since it is made with metal, little splatters of it in small shapes are also used to create great highlights in a printed garment.

How has your own work with mukaish evolved over the years?

We started by using mukaish details on suits and as borders, and eventually started creating complete ensembles like anarkalis, lehengas and saris with them. Our most unique way of using the technique is to enhance our chikankari with Bharti mukaish, which gives it that beautiful highlight.

How do you modernise the age-old embroidery in your collections?

Traditionally, mukaish work was only restricted to Persian motifs or small dots, so it doesn’t hurt or pinch the wearer’s skin. The whole idea was to use mukaish work only to accentuate the outfit. However, we’ve tried to use a number of different technique to contemporise the craft while still keeping it as authentic as possible. We now experiment with different motifs, like geometric ones, to give it a modern spin, and also use long strands of mukaish that we call “Til”.

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