Originally devised as an ingenious way to repurpose discarded silk threads, Kasuti embroidery once captivated royalty and commoners alike. Now, it finds global appreciation. It was once an indispensable part of the bridal trousseau in Karnataka, adorning Chandrakali silk saris in particular.

While it dates back to the 12th century Chalukya period, it gained prominence in 17th century Mysore as one of the 64 art forms mastered by female courtiers. Today, the embroidery technique flourishes in various districts of Karnataka, including Bijapur, Dharwar, Belgaum, Miraj, Sangli, and Jamkhandi.

The name ‘Kasuti’ comes from the Kannada words ‘kai,’ meaning hand, and ‘suti,’ meaning cotton thread. The distinctive technique creates designs by counting threads and stitching them together rather than relying on tracings. Four types of stitches: gavanti, murgi, negi, and menthi are executed on cotton, Khadi, or silk. The fabric is mounted on an embroidery hoop and overlaid with a cotton net for precision. The number of stitches in one design can surpass 5,000. Motifs like rangoli patterns, flora, fauna, tulsi katte, palanquins, and chariots are sewn on different parts of the piece. These include the kunchi (cape), lehenga (skirt), seragu (pallu), kusuba (bodice) and kulai (bonnet). Often the embroidery includes mirrors, gold, and silver.

In pre-Independence Mysore, Kasuti embroidery used silk thread with motifs largely consisting of Shaivite imagery, reflecting the Lingayat community’s faith. However, commercially viable and sturdily dyed cotton thread is mostly used today, while motifs have moved to floral and geometric instead of the figurative. Scholars like Kamala Dongerkery have been instrumental in securing attention and support for Kasuti craftspeople.

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