Zardozi is the crown jewel of Pakistani embroidery, with roots tracing back to the Mughal Empire. The name comes from Persian: "zar" (gold) and "dozi" (embroidery). Traditional zardozi uses metallic threads—gold and silver—along with wire, sequins, and semi-precious stones to create intricate raised designs.

What it looks like: Three-dimensional metallic embroidery that sits on top of the fabric rather than flat against it. The metal elements catch light from different angles, creating a shifting, luminous effect. Designs often feature floral motifs, paisleys, and geometric patterns with significant dimensional depth.

How it's done: Skilled artisans (karigars) use a hook called an "ari" to couch metallic elements onto the fabric. The metal thread or wire is laid on the surface and secured with tiny stitches. Each element—every coil, every sequin, every bead—is placed individually by hand.

Dabka (also spelled "dabke" or "dabki") is a technique using tightly coiled metallic wire that's stitched through the fabric and shaped into designs. The coils create a distinctive textured, almost sculptural quality that's immediately recognisable.

What it looks like: Raised, springy metallic embroidery with visible coiled texture. When you run your fingers over dabka work, you can feel the individual coils. It has a rich, heavy appearance and catches light with a unique shimmer different from flat metallic thread.

How it's done: The artisan works with pre-coiled metallic wire (called "kora" or "dabka wire"), cutting it to length and stitching it through the fabric to create patterns. The coils are bent and shaped to follow curved designs. It requires significant skill to maintain consistent tension and clean lines.

Tilla work uses flat metallic ribbon or strip that's couched onto fabric to create designs. It's sometimes confused with zardozi, but tilla uses flat ribbon rather than coiled wire or thread, creating a different visual effect.

What it looks like: Flat, smooth metallic embroidery that reflects light evenly. The ribbon creates bold, graphic lines with clean edges. Tilla work has a more uniform sheen compared to the varied light-catching of zardozi or dabka.

How it's done: Flat metallic ribbon is laid on the fabric surface and secured with tiny stitches at regular intervals. The ribbon is bent and folded to follow curves and corners in the design. Often used for borders, outlines, and geometric patterns.

Resham simply means "silk" in Urdu/Hindi, and resham work refers to embroidery done with silk threads. It's one of the most versatile techniques, capable of everything from delicate floral sprays to dense, all-over coverage.

What it looks like: Soft, lustrous embroidery with a subtle sheen. Resham work can be fine and delicate or bold and heavily textured depending on the technique used. The silk threads allow for beautiful colour gradients and blending that metallic work can't achieve.

How it's done: Various stitching techniques are used—satin stitch, chain stitch, stem stitch, and more—depending on the desired effect. Skilled artisans blend multiple colours of silk thread to create realistic floral motifs and detailed pictorial designs.

Kora work involves small, hollow metallic beads that are stitched onto fabric, while sequin work uses flat, disc-shaped embellishments. Both add sparkle and light-catching dimension to garments.

What it looks like: Glittering, light-catching embellishment that sparkles with movement. Kora beads have a subtle, sophisticated shimmer, while sequins create more dramatic sparkle. Often combined with other techniques like resham or tilla.

Hand vs Machine: Hand-applied sequins and kora are stitched individually, allowing for varied placement and mixed sizes. Machine application creates more uniform coverage but lacks the organic quality of handwork.

Gota work (also called gota patti) originated in Rajasthan and involves appliquéing pieces of gold or silver ribbon onto fabric. It has a distinctively festive, traditional appearance that's particularly popular for mehndi outfits.

What it looks like: Geometric shapes (triangles, squares, circles) cut from metallic ribbon and stitched onto the fabric in patterns. Creates a bold, graphic look with strong traditional associations. Often features lappet edging (small triangular danglers).

How it's done: Metallic ribbon is cut into shapes and applied to the fabric with tiny stitches around the edges. The shapes are arranged in patterns—borders, scattered motifs, or all-over designs.

Mukesh work (also called badla or mukaish) is a traditional technique from Lucknow involving very fine flattened metallic wire that's twisted and stitched to create delicate patterns. It has a subtle, sophisticated appearance.

What it looks like: Fine, delicate metallic patterns that shimmer subtly rather than sparkle brightly. Creates intricate geometric and floral designs with a refined, understated elegance. Often used on chiffons and fine fabrics.

Why it's special: The flattening process creates flat wire that lies close to the fabric, making it more durable and comfortable than raised embroidery. It's lightweight despite its metallic appearance.

Aari work uses a specialized hooked needle (the "aari") to create chain-stitch embroidery. Originating in Kashmir, it's known for creating flowing, continuous lines that work beautifully for floral and paisley designs.

What it looks like: Continuous, flowing embroidery lines created by interlocking chain stitches. Has a distinctive texture where you can see the chain-link pattern up close. Creates smooth curves and intricate filling patterns.

Note on terminology: "Aari" can refer both to the hook used and to the chain-stitch technique. Some sellers use "aari work" loosely to describe any hand embroidery done with an aari hook, which can include other techniques.

Phulkari (literally "flower work") is a traditional Punjabi technique characterised by bold, geometric patterns worked in bright coloured threads, traditionally on khaddar (hand-woven cotton) fabric.

What it looks like: Bold, geometric patterns in bright colours—often oranges, pinks, yellows, and greens. The embroidery is worked from the back of the fabric, creating a raised effect on the front. When heavily embroidered (bagh), the base fabric is almost entirely covered.

Cultural significance: Traditionally created by women for their daughters' wedding trousseaus. Each piece told a story through its patterns. Today, phulkari elements are incorporated into modern Pakistani fashion as an accent.