Brief History of Phool Patti Ka Kaam

“Phool Patti Ka Kaam” is a traditional embroidery style from North India. This delicate form of appliqué work was originally done using fine cotton fabrics. Phool Patti embroidery dates back to the Mughal period. It is said that in those days this work was embroidered on 'shalukas' worn by the begums of nawabs. The need for embellishment and the hot summer weather are said to have given birth to phool patti embroidery. ‘Patti-ka-kaam’, as it is commonly called, originates from Aligarh district of Uttar Pradesh in North India and is also referred to as “Aligarh work” sometimes. The embroidery form is typical of the state of Uttar Pradesh and the only other city in India where this embroidery is also practiced is Rampur, Uttar Pradesh.



As the name suggests, the embroidery motifs are in the shape of flower petals or leaves. “Phool” means “flower” and “Patti” means “leaf” in the local language spoken in the region. This textile decoration style consists of little bits of fine ‘mull’ fabric which are cut by hand and deftly folded and shaped into tiny petals, leaves and other geometrical and floral shapes. These are then embroidered onto the fabric to create a variety of intricate patterns. The entire embroidery is done by hand including the finish of edging and joining of the seams.



Being a peasant art form, the traditional inspiration is primarily from the natural surroundings. Floral motifs dominate the designs as artisans sought inspiration from the beauty of flowers, leaves and fruits such as rose, lotus, grapes, mango, melon seeds, grains, others. Some dominant motifs are five and three petal flowers, branches and stems with leaves, tendrils, creepers, paisleys, bunches of grapes and others. In keeping with the Islam traditions, human and animal figures are avoided.



Several thousands of women living in different parts of Aligarh are estimated to be involved in Phool Patti work currently. This work has remained the domain of women and girls from entrepreneurs, designers, trainers, patti karigars, workers, seamstresses as well as launderers. Men however have sometimes been involved in marketing and helping their artisan wives also, such as in cutting of the material. The patti karigars or embroiderers in Aligarh are often the poorest women in the city many are illiterate. Income from working with this craft provides a means of employment and wages in the security of their homes for many illiterate women from economically backward communities.



The group of artisans my mother worked with during the 1970s and early 80’s were mostly younger women and girls. Their mothers/guardians had, after due consideration to safety and other issues, given them permission to come to our house to work and learn. Most of them, as I recall, wore veils, usually black in colour called “burkha”. However, as soon as they were in Mamma’s work room they would take off the burkha to cool off the sweat under the fan. Their relationship with my mother went much beyond the work arena. They discussed their family, marriages, relationship problems and others which she listened with empathy and interest and also contributed through her advice and suggestions.



This delicate appliqué embroidery finds limited mention in the repertoire of Indian embroidery forms. Though much is written and researched bout other embroidery forms from India, including from North India such as chikan, a review of literature indicates a paucity of publications or articles on patti work embroidery or its artisans. Currently the Centre for continuing Adult Education at the Aligarh Muslim University, conducts a skills building project working with patti workers and has done a study on the profile including wage earnings of the artisans. The review for this publication could also only track one study at the Department of Home Science of the University which had researched with patti work and its artisans. Perhaps thus, though innovations are being explored by the AMU centre, among embroideries of India, as well as in designer palettes, Patti Ka Kaam has not managed to secure a significant position despite its unique characteristics. However, its thoughtful use can enhance an ensemble and take it from mundane to the extraordinary.



This photographic journey is an attempt to explore the background, examine different phool-patti shapes and their intricate designs, collate the experiments with embellishments and innovations, including on different garments and household linen of phool patti work. Though only a glimpse of Saleha Khan’s work with the women and girls from Aligarh, this publication is for those who might want to appreciate, collect, learn, promote, work or experiment with this special embroidery style of Phool Patti Ka Kaam.

Saleha Khan

Saleha Khan is the designer of the Phool Patti creations in this book. She worked with the artisans in Aligarh during the 1970s and 80’s and contributed to reviving this less known appliqué embroidery including enhancing its scope and diversifying its use on different garments and household linen items.Mrs. Khan did not receive any formal training in design, her Masters degree was in Chemistry. Besides her work with phool patti embroidery, Mrs Khan coordinated and implemented capacity development and income generation initiatives for women and girls including with SAFAR in Gwalior. She now lives a retired life in Lucknow.

Preface

I first heard of this embroidery form of ‘Patti Ka Kaam” during my childhood in the city of Aligarh. My earliest memory is as a seven-year old wearing a peach-colored kurta and churidar dress with patti-work embroidery on “Eid”.

When my parents moved to Aligarh in 1967 from Bombay (now Mumbai), my mother was introduced to this traditional embroidery form, which was mostly done by the veiled women and girls, and it caught her interest. There were no shops selling patti work in the city in those days. Traditionally, women worked on this embroidery in their homes on their own clothes and off an on at the request of interested patrons. She got together a small group of women familiar with the stitches and started experimenting with her own designs and creations on saris and many other items. She used different materials, embellishments and explored patti work on table cloths, napkins, curtains which was perhaps the first time this was used on household linen. I recall Mamma, as I call her, really enjoying herself discussing colours and designs with the women and girls sitting on the floor cushion in front of her low table with transparent design sheets and carbon paper in her work room in our home in Aligarh. She would explain in detail and train the artisans in aspects of designs, colour combination and quality and also listen to their personal stories of their life and times. I never told her that as I child I was sometimes jealous of the time and attention she was giving to her artisan group.

This theme area of writing is new for me. In my career as a practicing obstetrician & gynaecologist and later as a public health & development professional, my experience is limited to writing technical papers, documents and reports. My interest was sparked when browsing through an article on embroidery crafts in India in an in-flight magazine, I missed the mention of this embroidery form I grew up hearing about in my childhood. Though perhaps I would not be able to do full justice to this work, I have nevertheless enjoyed developing this photographic journey. I have attempted here to explore the art of “phool patti” through my mother’s work and innovations during the 1970’s and 80’s and tried to get a glimpse of the artisans – the women and girls- behind the craft.


My warm thanks to family and friends who shared with me the saris, garments and items designed by my mother, some of them over twenty-odd years ago, which they still had persevered with care in their personal collection. These include among others, Nuzhat Husain, Farida Khusro, Shaukat Tariq, Talat Zamir, Feroza Salman, Asha Govil and Rafat Hai. The collection in this book would not have been possible without their contributions. I take this opportunity to express my particular thanks to my Dad, Sultan Mohamed Khan, for his constant encouragement and support which has always enabled his wife and daughters to explore new areas and achieve their dreams.



I hope this book, perhaps a first on the subject, would trigger the interest and creativity among young as well as established designers to experiment with this traditional Indian craft of “Phool Patti” work and advance its scope, popularity and possibilities. All the designs and creative ideas by Saleha Khan in this book can be freely used, adapted and replicated to encourage promotion of phool patti ka kaam for advancement of its artisans – particularly marginalized women and girls. All proceeds from the publication and sale of this book are for SAFAR (Supporting Action For Advancement and Rights), to contribute towards expanding income generation activities for women and girls which Saleha Khan initiated in her home town in Gwalior.

Farah K. Usmani

Phool Patti Ka Kaam: Reviving a Traditional Indian Applique Embroidery

I dedicate this to my mother, Saleha Khan, who conceptualized and designed the phool-patti patterns, materials and innovations in this book way back during the 1970’s and 80’s. Her work contributed towards reviving this less known appliqué embroidery from Aligarh, enhancing its scope, diversifying its use on different garments and household linen items, as well as developing capacity for livelihood opportunities among women and girls from poor and marginalized communities in Aligarh.

Farah K. Usmani