Everything you need to know about the Indian craft of gota patti

While most believe that gota patti is the forte of Rajasthan alone, some also claim that it is, in fact, a form of Pakistani embroidery that originated in Punjab before spreading in popularity to neighbouring states. The handcraft is actually centuries-old, and was traditionally the domain of the royal family and members of the court. Today, it’s a must-have in festive and bridal wardrobes.

Sukriti and Aakriti Grover’s namesake label champions this age-old craft, infusing it with a modern spirit without diluting its timeless appeal in their collections. We called upon the designers’ expertise to discuss what makes gota patti so unique. Excerpts from the interview below.

How is gota patti created? 

Gota is basically gold and silver lace from Lucknow. This metallic lace is made up of metal-coated weft yarn, while the warp yarn includes ribbons of fibres like cotton and polyester. Small pieces of zari are stitched onto the fabric, with edges sewn down to create patterns. The zari threads are usually real silver, gold-plated or an imitation made with a copper base, and gilded with gold or silver colour. Gota ribbons are woven with a wrap of flattened gold and silver wire, and a weft of silk or cotton thread. This is then used as trims on a variety of textiles. Apart from traditional Indian wear, gota patti can also be found on turbans, rakhis, torans, home decor and juttis.

Gota patti was only worn by royal families in the earlier times, but it has become much more commonplace today. This can be credited to the switch from gold and silver to gilt and lurex, as well as mass production of gota by electrically powered swivel looms in Surat and Ajmer. 

What is the cultural significance of gota patti for Indian brides? 

Surface texturing and embroidery enhances the value of traditional textiles. Worn by Mughal and Rajput royalty of yore, gota patti is unique for its colour and intricacy of technique. As part of a bridal trousseau, an authentic gota piece can easily become an heirloom down the line.

What are the different kinds of gota patti? Which fabrics are most preferred to create these? 

Gota patti is mainly used on lightweight fabrics like chiffon, georgette, tussar silks and crepes. The different forms of gota patti include seekhi, phool, bijiya, mothda, bakhandi and lappa, among others. Seekhi gota is categorised by a silver and gold ribbon of gota used as a lace trim, while phool gota spotlights gota circles that are pleated on the ensemble.

How long does it take to make an outfit featuring gota work?

The crafting of Gota patti is a time-consuming procedure. After tracing designs on paper, setting it on wooden frames, outlining the design on the fabric the gota patti is attached with a back stitch, and finally securing it with a wooden hammer. Takaayi, which is the process of stitching the leaves to the base fabric, is the most tedious of all the steps. The time taken often depends on how elaborate the outfit is—a heavy bridal ensemble can take up to a week, while a seekhi work sharara can be made in half a day as well.

What are the most commonly used motifs, and how are they created?

Taking a closer look at the nomenclature, the ‘patti’ refers to the most important part of motif, the leaf. Gota patti involves folding tapes into pattis (or leaves), which are basically rhomboid units. These are organised into butas or a jaal to create a motif, which is later sewn on the fabrics. Popular motifs include peacocks, sparrows, paisleys, floral and geometrical patterns, human figures, palanquins, elephants and horses. In the gota tukdi technique, the gota is first cut into various shapes—gamla (flower pot), kairi (mango) or champak (flower)—and then appliquéd on the base fabric, adorned with embroideries like zari and zardozi.

How do you modernise and preserve gota patti through your collections? 

We use gota threads and stripes that are updated to appeal to a millennial dresser, and mix authentic old-world gota embroidery with modern silhouettes and colours to bring a balance of the old and new. We were also one of the first labels to combine this Rajasthan-based craftsmanship with Mughal silhouettes like shararas and ghararas.

Where are your artisans based out of? What are some of the challenges the community faces?

Our artisans are spread all over the country, including the hubs of Lucknow and Rajasthan. With the mechanisation of gota patti, hand embroidery has taken a hit, and that is the biggest woe for craftsmen today. Moreover, with younger generations of weaver families pursuing different careers, the craft also faces the threat of extinction.

Also read:

Paithani saris: Everything you need to about this Maharashtrian wedding staple

Everything you need to know about the ancient craft of mirror work

How Sanjay Garg modernised Chanderi while supporting the weaving community