Describing the stitches used in chikan embroidery might appear a straightforward listing of technical skills, which artisans master with various degrees of competence, but it is more complex. The execution of these stitches is one aspect in addition to the artisan's choice of the blocks' designs, the placing and spacing of the blocks within a composition, and last but certainly not least, the choice of stitches and the interplay of their different textures.
The artisans might be influenced by the aesthetic codes of chikan craft acquired during the apprenticeship, but also reflect the personal aesthetic preferences of the individual craftsperson. Furthermore, in the last twenty-five years, the Indian fashion world has played a crucial role in redefining the aesthetic of contemporary chikan.
Hul (Detached Eyelit stitch) is a tiny hole punched in the fabric with the needle teasing apart the warp and weft of the cloth. It often forms the center of the flower or it is part of various composite stitches.
Bijli (Lightning stitch) has many variations, some of which are identified by a separate name. The innumerable ways in which this tiny motif is integrated into bigger motifs make it versatile.
Tepchi (Running stitch) appears as a thin line with stitches of equal length (about four threads) over the cloth, and passing below one or two threads. It is used for outlining and filling ornamental motifs. It is generally applied to the entire piece, but for the areas of jali work. It creates delicate and diaphanous effects against the transparency of the muslin.
Pechni (Whipped stitch) is most widely used in chikan for depicting the trailing stems and tendrils so typical of the craft. Once the tepchi stitch has been made, the needle travels back whipping over each stitch again, in a different direction from above downwards generally without picking at the cloth underneath.
Sidhaur Jali (Open stitch) is executed on a straight line and two points in the fabric are pulled and tucked with the thread. It is the most common form of jali in chikan embroidery, its lattice effect might vary tremendously: the holes have a roundish shape, and their number, evenness, and size are the main indicators of its quality.
Hathkati (Hemstitch) is the single line of open work and often defines the embroidered border, to interpret the texture of bakhia petals and leaves and emphasize the kil motifs. On fine pieces, hathkati might delineate contours and borders or it creates graceful openwork at armholes or delicate underlines along the neckline.
Jora Patti (Flat stitch) is a satin stitch used to fill tiny leaves or petals. Working it alternatively on half the petal or leaf and creating a neat thin hollow line in the middle of the double-pointed oval shape.
Kate (Bangle stitch) is a round motif with many variations and it can be worked in different sizes by adding more circles of kate stitch around it.
Dhum Patti (Cretan stitch) forms a braid at the central spine of the leaf. At the top of the leaf, the thread is brought back from the reverse side.
Phanda (Pearl stitch) looks like strings of tiny precious pearls or a delicate flower bud. It might be sparsely scattered among other stitches, or it might impress a strong identity on the entire chikan embroidered piece.
Murri (Satin stitch) is made with a criss-cross foundation stitch which is then overcoated horizontally with close and tight satin stitches. It is mainly used to interpret the small leaves and buds of tendrils and flowers. The most common form, lambi murri has the elongated and pointed shape of a rice grain, while gol murri ends with a round tip.
Kat (Blanket stitch) is worked like an ordinary buttonhole stitch but in a circular form, each stitch being taken into the same central hole. In this way, the fabric is pulled apart and leaves quite a large hole in the center. It is generally used for tiny flowers, especially on the scalloped edges of contemporary tablecloths and bed linens.
Kil (Pin Stitch) is a tiny motif frequently interspersed with tendrils and foliage, It is often placed at the center of a flower.
Bhakia (Shadow stitch) is the most common stitch in commercial chikan to the extent that it has often been identified with chikan embroidery itself. It is predominantly used for working flowers, petals, and leaves, for delicate outlines, and thin meandering stems and tendrils.
Janjeera (Chain stitch) is used to outline leaves or flower shapes and it is worked with such a thin thread and such tiny stitches that it becomes hardly discernible to the naked eye.