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Buy Chikankari Dress Material Online: 308 Lucknow Hand Embroidered Unstitched Suit Sets in Cotton, Kota Doria, Chanderi and Organza Silk with Bakhiya, Jali and Mukaish Work

Three hundred and eight Lucknowi Chikankari dress material suit sets from Meharki Chikan, Lucknow, in 2pc and 3pc unstitched formats across six base fabrics. The cotton range carries plain Chikankari embroidery in blue, green, purple, pink, beige, and peach; the mul cotton voile sets are white on white, the sheer ground making the embroidery visible only as a slight textural shift in the light. Kota Doria 2pc sets place Chikankari needle work on the open khat-check weave from Kota, Rajasthan, a cross-craft combination where the embroidery thread sits in and between the woven squares. Chanderi silk sets carry heavier embroidery on a GI-tagged silk-cotton base from Chanderi, Madhya Pradesh, in peach, white, yellow, and green. At the ceiling, two organza silk 2pc sets in white carry heavy Chikankari embroidery where the stitch density is significantly higher than on cotton — the organza's fine, stiff weave holds the thread without puckering across the heavily worked surface. All sets are unstitched, in stock, and carry no made-to-order tags.

Chikankari is stitched from the back. The needle enters from the reverse face of the cloth, and the stitch appears on the front as a shadow — a slight texture shift, a soft outline, a raised dot — rather than a visible thread. This is bakhiya, the shadow stitch, and it is the foundation of every Lucknowi Chikankari dress material in this collection. The artisan traces the chalked motif on the cloth, stretches it over a small wooden frame, and begins stitching from the underside, building the motif in a thread that the buyer will only half-see from the front. Alongside bakhiya, Chikankari uses tepchi, a long running stitch that moves quickly across large fields; murri and phanda, two sizes of a small raised dot stitch used for flower centers and fine detail; and jali, where the cloth threads are pushed apart and held open with stitches to create an open lattice — a window in the cloth that catches light from behind. Jaal work covers the full surface in a net of these small stitches. Mukaish and cut dana add a metallic register to certain sets: Mukaish is a fine gold or silver wire anchored flat to the cloth surface in a tiny stitch; cut dana places small metallic pieces across the embroidery field, both used in the festive sets where the Chikankari dress material moves from a daily cotton into a ceremonial Chanderi or organza base.

For styling a Chikankari dress material: the silhouette choice matters more here than in most unstitched collections, because Chikankari's embroidery was designed for the A-line and the straight cut — flat surfaces where the stitching is visible, not compressed into gathers. Tell the tailor to keep the kurta silhouette clean: straight or gentle A-line, no heavy smocking at the yoke. Churidar or straight cotton pants in a plain matching or ivory tone let the embroidered kurta carry the look. For jhumkas: silver filigree drops — Lucknow's own silver craft tradition sits in the same court aesthetic as Chikankari, and the two from the same city are the most natural pairing. Pearl drops work on the white mul voile and white organza sets where the quiet palette needs a quiet metal. On colored Chikankari (purple, green, pink cotton sets): a single pair of plain gold or silver jhumkas with no stone, no heaviness. For juttis: Lucknawi mojris — the flat embroidered leather shoe from the same city — close the reference circle. Or plain ivory juttis that do not add pattern to the embroidered field. For bags: a small potli in a plain cotton or silk in one of the kurta's ground tones. For the organza silk heavy embroidery sets: the occasion is festive or ceremonial. The embroidery is heavy enough to read across a room — no necklace, no layering. One pair of Kundan or pearl earrings and nothing else.

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Pochampally Ikat Dress Materials: Unstitched Ikat Suit Sets in Cotton, Silk Cotton and Handwoven Pure Silk from Bhoodan Pochampally, Telangana — GI-Tagged Yarn-Dyed Ikat

Two hundred and eighty-three unstitched Pochampally Ikat dress material suit sets in 2pc and 3pc formats, spanning five fabric tiers from cotton to handwoven pure silk. Cotton and mercerised cotton sets form the entry of the range; silk-cotton blend sets (Sico) sit in the middle; handwoven Sico 2pc sets step up further; and handwoven pure silk 2pc sets reach the ceiling. South Kargha supplies the majority of the collection across all tiers; Noori Bazar supplies cotton 2pc sets, some of which include hand-crafted jewellery in the package. All sets are unstitched — the kurta fabric, bottom fabric, and dupatta arrive as separate lengths for a tailor to cut and stitch to your measurements. All carry the GI tag for Pochampally Ikat registered in 2004. The tradition's most acclaimed practitioner, Govardhan ji of Puttapaka village, Yadadri Bhuvanagiri district, Telangana, a Padma Shri awardee, has spoken to the colour permanence that distinguishes genuine yarn-dyed Ikat from surface-printed imitations.

Every Pochampally Ikat dress material in this collection carries a pattern that was fixed in the yarn before weaving began. The weaver starts not at the loom but at a resist table days or weeks earlier, tying the warp threads, the weft threads, or both — at measured intervals — so the tied sections will resist the dye bath and hold their base color while the untied sections absorb it. Once dyed and dried, the threads go onto the loom and the pattern emerges only as the shuttle passes: the colored segments of weft aligning with the warp to build the Chowkra diamond, the chevron, the temple border, motif by motif across the cloth. Double ikat — where both warp and weft are resist-dyed separately before weaving — is the most demanding format: the weaver must calculate two independent resist sequences so they intersect at exactly the right crossing points. Pochampally is one of only three places in the world where double ikat is produced — alongside Tenganan in Bali and Okinawa in Japan. A complex double ikat set can take up to a hundred days from yarn preparation to finished cloth. At every pattern boundary in the finished dress material, the slight bleed under the resist tie leaves a feathered edge: the colour transitions are soft, not hard, and this softness is what separates the yarn-dyed Ikat from any print that attempts to reproduce it.

For using an unstitched Pochampally Ikat dress material: a 3pc set includes kurta fabric (approximately 2.5 metres), bottom fabric (approximately 2 metres), and dupatta (approximately 2.5 metres). Take the kurta fabric to a tailor and choose a silhouette that lets the Ikat pattern run uninterrupted — a straight kurta or an A-line works better than an anarkali with heavy gathering, which compresses the repeat in the body. The Ikat pattern aligns on flat cloth, not on a gathered one. The dupatta is woven in the same Ikat fabric as the kurta — wear it loosely over one shoulder so the diamond or chevron pattern falls flat and visible. For jhumkas: flat gold or oxidized silver are the most direct matches to Pochampally Ikat's jewel-toned grounds. Terracotta jhumkas work against the earthier cotton Ikat tones. For the pure silk sets: the surface is more luminous and the occasion is more formal — one pair of stone-set earrings in a complementary tone, no necklace. For juttis: embroidered Rajasthani juttis if the occasion is dressed up; plain Kolhapuris for a daily cotton Ikat outfit. The Ikat repeat is the full statement — everything else should stay in the same register or stay quiet.

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Buy Batik Fabric Online: 326 Hand Block Batik Wax-Resist Pure Cotton and Silk Batik Print Fabrics from Kutch and Madhya Pradesh by the Metre at ₹450

Three hundred and twenty-six hand block Batik print fabrics by the metre, in pure cotton, silk, and linen bases, sourced in small batches from artisan craft clusters in Kutch and Madhya Pradesh. The pure cotton range is supplied entirely by Drishti Handicrafts, a Kutch-based Batik enterprise, numbered across a wide colorway run — each numbered fabric in its own distinct dye sequence, same process, different batch palette. The silk and linen bases extend the range in the broader collection. Every fabric in this collection is wax-resist printed by hand, which means the crackle lines you see in the finished cloth are not designed. They are the record of how the wax behaved in the dye bath on that particular piece of cloth on that particular day.

A Batik print fabric begins as a flat piece of cloth and a block of molten wax. The Drishti Handicrafts artisan in Kutch presses a carved wooden block loaded with hot wax across the surface, sealing the cotton fiber at every contact point. The waxed areas will resist the dye; the unwaxed areas will absorb it. The cloth then moves into a cold dye bath — cold because hot dye would melt the wax and collapse the resist. As the cloth is submerged, the wax hardened across the surface cracks open at its thinner edges, and fine lines of dye enter those cracks. When the cloth comes out of the bath and the wax is removed by boiling, those crackle lines remain fixed in the color of the bath — they cross the printed motifs and the undyed ground in patterns that cannot be predicted or repeated. This is what makes every Batik print fabric from this collection a distinct physical object: same process, same block, different crackle. On silk, the wax spreads more thinly, cracks more finely, and the crackle lines read at a smaller scale. On cotton, the crackle is bolder. On linen, the wax sits across the fiber's natural texture and the crackle runs along the grain lines.

For what to cut from Batik print fabric: a kurta top cut from the full cloth lets the crackle pattern run uninterrupted across the body, which is the most honest use of the fabric. A blouse cut in Batik pairs well with a plain cotton saree — the crackle on a small surface reads as a textural detail rather than an all-over pattern. A Batik dupatta cut from the linen or silk base can dress up a plain kurta without adding a second print to compete with. When you take Batik fabric to a tailor, tell them to lay the pieces for cutting without trying to pattern-match at the seams — the crackle lines will not align across a seam no matter how carefully they are cut, and trying to force alignment wastes cloth. The unaligned crackle at the seam is not a flaw; it is the evidence that the printing happened on flat cloth before construction. For wearing what you make: the Batik natural dye palette — indigo blues, earthy reds, ochres, blacks — sits most naturally with terracotta or brass jhumkas and Kolhapuri chappals or embroidered juttis. Keep the rest of the outfit plain. One Batik piece per outfit is enough.

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Plain Fabrics by the Metre: How to Choose a Handloom Base Fabric by Weave, Weight, and End Use

Thirteen hundred and twenty-one plain and solid-color fabrics by the metre across eight confirmed weave traditions and three fiber categories, priced from ₹240 to ₹890 per metre. The full price ladder from confirmed inventory: prewashed cotton plain fabric at ₹240/metre in green, pink, white, and blue; Kota Doria cotton plain fabric at ₹290/metre in pink, yellow, maroon, and red, the open khat-check weave from Kota, Rajasthan; prewashed running stitch cotton at ₹290/metre; natural dyed Kota Doria at ₹390/metre; natural dyed cotton plain at ₹350/metre in black; Dharwad checks cotton with border at ₹390/metre; banana fiber soft cotton fabric at ₹450/metre in purple, green, and red; Dharwad cotton plain with woven thread border at ₹490/metre; Bijnor fine handloom cotton natural dyed at ₹520/metre by Handloom Virasat; Jhiri handloom cotton plain and stripe at ₹520-₹550/metre by Aha Vastra Handloom; floral embroidered Hakoba cotton at ₹580/metre; Sambalpuri embroidery cotton fabric at ₹690/metre by Ashoka Assemble; Mangalagiri handloom cotton with Nizam Zari border at ₹790-₹850/metre by South Kargha. The broader collection extends to silk, linen, Chanderi, Maheshwari, and Mashru in deeper inventory. No "made to order" flags on any confirmed product.

Plain fabric by the metre is the working material for blouses, coordinating dupattas, jacket and coat cuts, underlining, and garment construction where the base fabric carries the structure and the print or weave elsewhere in the outfit carries the surface. The weave structure determines the end use more than the color does. Kota Doria's open khat-check — two threads woven, two threads left open in a repeating square grid — is the lightest fabric in this collection and the most breathable: the open squares allow air through the weave, making it suited to blouses for summer sarees or a sheer overlay layer. Dharwad handloom from Dharwad, Karnataka is mercerised plain weave: the caustic soda treatment aligns the cotton fibers and gives the surface a smooth, slightly cool hand that sits well against the body and takes kurta construction cleanly at the seams. Mangalagiri handloom from Mangalagiri, Andhra Pradesh carries a Nizam Zari border — a geometric metallic border in the warp derived from the Nizam-period weaving tradition — which finishes a sari blouse or dupatta hem without any additional embellishment. Bijnor handloom from Bijnor district, Uttar Pradesh is a fine, even-woven plain cotton with a natural dyed ground, consistent in weight and width for structured garments. Banana fiber soft cotton from South Kargha blends banana plant fiber with cotton, producing a fabric with a natural luster and a slightly textured surface that sits between cotton and linen in hand. The two embroidered options — Hakoba floral embroidered cotton and Sambalpuri embroidery cotton by Ashoka Assemble — carry surface needlework on a plain cotton ground and work as statement fabric for a single garment piece rather than a coordinate.

Plain fabrics pair most directly with iTokri's printed and woven fabric collections: a Kota Doria plain at ₹290/metre coordinates with a Kota Doria Ajrakh block print or a Srikalahasti pen work on Kota Doria silk for a blouse in the same base weave; a Dharwad plain serves as the lining or underlining for a Chanderi silk or Maheshwari silk top fabric; a Mangalagiri plain with Nizam Zari border finishes as a saree blouse where the pallu border and the blouse border share the same metallic register. The Sambalpuri embroidery cotton at ₹690/metre works as a statement kurta or blouse fabric on its own. Within iTokri's fabrics range, this plain fabrics collection sits alongside the block print fabrics, ikat fabrics, and Chanderi fabrics collections — most buyers in this collection are cutting a coordinate or a base, not a standalone garment.

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Pochampally Ikat: The Village, the Yarn, and the Weave

The village of Bhoodan Pochampally sits in Yadadri Bhuvanagiri district, Telangana, about 50 kilometres from Hyderabad. "Bhoodan" in the village's name refers to the land-gift movement led by Vinoba Bhave in 1951, when the village became associated with voluntary land donation — the full name marks that history. The weaving tradition itself is older. Pochampally's weavers, primarily from the Padmasali community, have worked the resist-dye loom technique now called Ikat for generations. The craft takes its common name from the village, though the weaving clusters extend into the surrounding towns of Bhongir and Siripuram.

The term "Ikat" comes from the Malay-Indonesian word "mengikat," meaning to tie or bind. The same technique appears independently in Odisha (Sambalpuri Bandha), in Gujarat (Patola of Patan), and across Southeast Asia and Central Asia, but each tradition developed its own pattern vocabulary, yarn preparation method, and regional character. Pochampally Ikat's distinctive visual language is built around the Chowkra diamond, a geometric form that repeats across the cloth in tight, interlocking rows. The feathered edge at each diamond's boundary — the place where the resist tie caused the dye to bleed fractionally under the bind — is the craft's visual signature. You cannot replicate it with a screen or a digital print because it is a consequence of a physical process, not a design choice.

In 2004, Pochampally Ikat received a geographical indication registration, the first GI tag for any textile from undivided Andhra Pradesh. The registration recognises both weft ikat (weft yarn resist-dyed, warp plain) and double ikat (both warp and weft resist-dyed) as belonging to this tradition. Double ikat, where the weaver must align two independently dyed yarn sequences so they intersect at the correct color points, is the more demanding format. A double ikat saree requires the pattern to be calculated in both axes before a single thread is tied. The Telia Rumal, a specific double ikat format in which the cotton yarn is treated with castor oil before dyeing to achieve deeper color penetration, was historically woven as square cloths traded across the Indian Ocean to Indonesia and the Gulf — the red-black-white palette of Telia Rumal was a recognized prestige mark in those trade networks. The tradition continues in Pochampally today, now woven as sarees rather than square cloths.

The mulberry silk double ikat sarees at the upper end of this collection represent a later development in the Pochampally tradition: weavers adopted the same yarn-resist process on mulberry silk fiber (from the Bombyx mori silkworm), producing the same feathered-edge motifs with the light-catching surface that silk provides. The weaving process is the same; the yarn demands greater care in tying, dyeing, and tensioning on the loom because silk is finer and less forgiving of uneven dye penetration than cotton.

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Handmade Sarees Online: Ajrakh, Bandhani, Pochampally Ikat, Mangalagiri, Kalamkari, Kantha, Chanderi and Bagru Sarees in Cotton, Silk and Silk Cotton from ₹1,850

Two thousand six hundred and sixty-one handmade sarees across twenty confirmed regional craft traditions, priced from ₹1,850 to ₹19,990. The collection spans three distinct production methods: block print and resist-dye sarees, handwoven sarees, and hand-embroidered sarees. Price anchors from confirmed inventory: screen-printed Kalamkari-pattern cotton sarees at ₹1,850 (noted separately in the flags below); hand-embroidered Kantha silk sarees at ₹2,450; Kota Doria cotton sarees with Kalamkari-motif print at ₹2,800; Pedana hand block print natural dyed cotton Kalamkari sarees at ₹3,290 by South Kargha; Kutch Bandhani tie-dye cotton sarees at ₹4,290 by Kachchh Ji Chhaap; Bagru hand block print natural dyed Chanderi silk sarees at ₹4,890 and Sanganeri hand block print Chanderi silk sarees at ₹4,890, both by Artisan Hand Block Prints; Pochampally Ikat woven mercerised cotton sarees at ₹6,190; Mangalagiri handwoven silk-cotton Pattu sarees with zari border at ₹6,690-₹9,490; Sanganeri hand block print on Chanderi at ₹4,890 and on modal silk at ₹6,990 (fiber notes below); and handwoven merino wool natural dyed Ajrakh block print sarees at ₹19,990 by Riyaz Abdulmajid Khatri of Kutch. Base fabrics confirmed across this collection include cotton, Chanderi silk, mercerised cotton, Kota Doria cotton, silk-cotton, merino wool, and mulmul cotton voile. Additional traditions confirmed in the broader collection: Leheriya, Sambalpuri Ikat, Chikankari, Phulkari, Banarasi, Chanderi, Bhujodi, Dharwad, Ilkal, Begampuri, and Paithani.

The print and resist-dye sarees carry the widest range of regional traditions. Ajrakh from Kutch, Gujarat follows a 16-step sequence: the cotton or wool cloth is first prepared with a myrobalan mordant, then resist blocks are applied, followed by alum mordant blocks and syahi iron-mordant blocks, before successive indigo baths and madder baths build the characteristic geometric repeat in blue, red, and black. Riyaz Abdulmajid Khatri applies this same Ajrakh process to a handwoven merino wool base — fine wool that accepts natural dyes differently from cotton, producing a slightly muted surface where the mordant chemistry interacts with the wool protein rather than the cotton cellulose. Bagru block printing from Bagru village, near Jaipur, Rajasthan, uses a syahi iron mordant and alum block sequence, producing an oxidized, earthy palette on Chanderi silk. Sanganeri block printing from Sanganer, Jaipur, uses a finer floral repeat vocabulary on both Chanderi silk and cotton. Pedana Kalamkari (GI tag 2013) from Krishna district, Andhra Pradesh, is a hand block print on cotton using carved wooden blocks loaded with mordant paste; natural dye baths in madder and indigo fix the color only where the mordant was applied. Kutch Bandhani (GI tagged, Kutch, Gujarat) is built before the dye bath: each dot in the pattern is individually tied at mustard-seed scale by Kachchh Ji Chhaap artisans in Kutch district, and the tied points resist the dye to produce the characteristic field of dots once threads are removed. The woven sarees include Pochampally Ikat (GI tag 2004, Yadadri Bhuvanagiri district, Telangana), where the weft yarn is resist-dyed before weaving so the pattern emerges from yarn color rather than surface print; Mangalagiri handloom sarees (Mangalagiri, Andhra Pradesh) woven with silk-cotton blend and finished with a Nizam Zari geometric border; and Chanderi silk sarees (Chanderi, Madhya Pradesh) woven with a silk warp and cotton weft. Kantha embroidery from Bengal works a running stitch over the cloth surface to build motifs and fill fields.

This parent collection contains every saree iTokri holds in stock across all traditions. For buyers who know the craft they want, the dedicated sub-collections carry deeper color ranges and more variation within a single tradition: Handloom Sarees, Leheriya Sarees, Bandhani Sarees, Mangalagiri Sarees, and the Ajrakh, Pochampally, and Kalamkari ranges within the broader Handloom Sarees section. Each sub-collection also carries buying notes specific to that tradition — how the weave affects drape, how to identify the feathered edge that marks genuine Ikat yarn resist, how Ajrakh's reverse face reads differently from the print face. For buyers building a wardrobe across craft traditions, this parent collection gives the full price ladder from ₹1,850 to ₹19,990 in a single view.

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Cotton Kurtas for Women: Ajrakh, Bagh, Sanganeri, Bagru, Kalamkari, Pochampally Ikat, Bandhani, Dharwad and Banarasi Handwoven Cotton Kurtas from ₹1,250

Three hundred and thirty-eight cotton kurtas spanning eleven craft traditions from across India, priced from ₹1,250 to ₹2,990, in sizes XS through 6XL. Three silhouettes: short kurtas, straight long kurtas, and A-line long kurtas. The collection organises naturally into four technique groups. Block-printed natural-dye cotton kurtas include Ajrakh from Kutch in Gujarat, Bagh hand block print from Bagh village in Madhya Pradesh, Bagru block print from Bagru village in Rajasthan, Sanganeri block print from Sanganer in Rajasthan, and Kalamkari from Andhra Pradesh. Handloom woven cotton kurtas include Pochampally Ikat from Yadadri Bhuvanagiri district in Telangana (GI-tagged since 2004), Dharwad handloom from Karnataka, and Banarasi handloom from Uttar Pradesh. Tie-dye cotton kurtas include Bandhani from Kutch in Gujarat and Leheriya from Rajasthan. Jacquard cotton kurtas, where the pattern is woven structurally into the cloth rather than printed or embroidered on the surface, round out the collection. Plain solid-dyed cotton short kurtas are at the floor of ₹1,250.

Each tradition produces its pattern through a different process at a different point in the cloth's making. Block-printed traditions (Ajrakh, Bagh, Bagru, Sanganeri, Kalamkari) apply carved wooden blocks to the finished cloth in one or more colour passes: in the natural-dye mordant traditions like Ajrakh and Bagh, the block applies a mordant first and the colour develops in a subsequent dye bath, producing the characteristic feathered edge where block and dye chemistry meet the cotton weave. Ikat weaving in Pochampally dyes the individual warp and weft threads before the cloth is woven: the geometric pattern builds through the interlacing of pre-dyed threads, and the soft blur at each motif boundary is a physical record of yarn movement during weaving. Dharwad handloom from Karnataka is a mercerised plain weave with a smooth, slightly cool surface; the pattern is in the selvedge border or woven warp stripe. Bandhani from Kutch works at the scale of individual resist dots: each dot is tied by hand at mustard-seed scale, dyed, and released, producing the scattered fine-dot pattern across the cotton ground. Leheriya rolls the cloth diagonally and binds it before dyeing, so the diagonal wave stripe forms along the bias across the full cloth width. Jacquard cotton uses individual warp-thread control at the loom to build a structural motif that is identical on both faces of the cloth and will not fade separately from the ground colour.

These kurtas arrive ready to wear, stitched and finished. The size range XS to 6XL is available across most silhouettes. Short kurtas are suited to layering and pairing with trousers; long straight kurtas pair with palazzo, salwar, or churidar; A-line kurtas have added ease at the hem for a drape-forward silhouette. At the craft level, block-printed and natural-dyed cotton (Ajrakh, Bagh) is suited to everyday warm-weather wear and improves in softness with washing; Pochampally Ikat cotton is crisp and structured off the loom but softens with use; Bandhani and Leheriya cotton hold their tie-dye surface through standard cold-water washing. Within iTokri's stitched range, dedicated sub-collections for individual crafts go deeper: the Ajrakh kurtis, Sanganeri kurtis, Bandhani kurtis, Jacquard kurtis, and Pochampally Ikat kurtis collections each carry a fuller selection for their specific tradition.

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Pochampally Ikat Fabric by the Metre: GI-Tagged Handwoven Cotton and Raw Silk Ikat Fabric from Telangana, Single Ikat and Double Ikat from ₹390/Metre

This collection is Pochampally Ikat fabric by the metre, woven by the Padmasali weaving community in Yadadri Bhuvanagiri district, Telangana. Pochampally Ikat holds a Geographical Indication tag registered in 2004. Fabrics are priced from ₹390/metre to ₹3,590/metre across three confirmed tiers: standard cotton Pochampally Ikat at ₹390/metre (the bulk of the collection, from South Kargha), cotton double ikat at ₹1,090/metre (Sri Venu), and raw silk Pochampally Ikat at ₹3,590/metre (Pochampally Ikat Weaves by Govardhan). Fabric width is 44-46 inches; weight ranges from 90 to 150 GSM depending on weave density. Colors confirmed across the collection: maroon, green, orange, black, red, yellow, and multicolor combinations in geometric repeat and diamond motifs. Named artisans weaving in this collection include S. Laxmi, R. Venkat, and Govardhan. No "made to order" tags on any product.

Pochampally Ikat is distinguished from every other resist-dye tradition by when the pattern is applied: the resist binding and dyeing happen on the individual yarn threads before they are mounted on the loom, not on the finished cloth. Each warp or weft thread is bound at precise intervals with a resist material, dyed, dried, and the resist removed — the color sits in the yarn at the bound intervals, and the undyed sections remain the ground color. When the pre-dyed threads are mounted on the loom and weaving begins, the pattern forms as the threads interlace: the weaver aligns the dyed sections of warp and weft at each pick to bring the motif into register. The characteristic feathered edge at each motif boundary in Pochampally Ikat, where the color fades softly rather than cutting cleanly, is a physical record of yarn flex during weaving — the threads shift fractionally as tension changes across the loom, and this movement is built into the finished pattern. It cannot be replicated by printing. In single ikat, either the warp threads or the weft threads are resist-dyed before weaving, with the other set remaining plain. In double ikat, both warp and weft threads are resist-dyed separately and independently before either set enters the loom: when weaving begins, both pre-dyed sets must align at every intersection simultaneously so the pattern assembles correctly from two directions at once. The Sri Venu double ikat cotton at ₹1,090/metre is this construction. On raw silk, the Pochampally Ikat dye takes with deeper saturation in the geometric motifs than on cotton, and the silk fiber adds a natural sheen to the woven surface.

Pochampally Ikat fabric by the metre is suited to any tailored garment: kurtis, kurta sets, palazzo suits, blouse cuts, or salwar. Approximate yardage: 2-2.5 metres for a kurta, 0.75-1 metre for a blouse, 3.5-4.5 metres for a full suit set. The geometric ikat pattern is present on both faces of the cloth (reversed on the inside) and does not require special seam allowances for pattern matching in the way that printed repeat patterns sometimes do. The 44-46 inch width accommodates most women's kurta cuts in a single width. Within iTokri's Pochampally range, this fabric collection sits alongside the Pochampally Ikat dress materials (unstitched 3-piece sets), Pochampally Ikat stitched suits, and Pochampally Ikat sarees for those who prefer a finished format.

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Hand Block Print Dress Materials: Ajrakh, Bagh, Bagru, Sanganeri, Kalamkari, Batik and Pipad Block Print Unstitched 3-Piece Sets on Cotton, Chanderi, Maheshwari Silk and Kota Doria

This collection brings together unstitched 3-piece hand block print dress material sets spanning seven distinct regional block printing traditions, on fabric bases that include pure cotton, Chanderi silk, Maheshwari silk, Mulmul cotton, Kota Doria, Tussar silk, and silk-cotton blends. Every set is 3-piece: kurta fabric, bottom fabric, and dupatta. Confirmed price points on the first page of the collection: Bagh hand block print natural-dyed Chanderi silk sets at ₹5,890 (iTokri Crafts Initiative) and Bagru hand block print Maheshwari silk sets at ₹4,990-₹5,190 (Artisan Hand Block Prints); the full collection covers a wider range from cotton to silk bases across traditions. Block printing traditions confirmed in this collection: Ajrakh from Kutch in Gujarat, Bagh from Bagh village in Madhya Pradesh, Bagru from Bagru village in Rajasthan, Sanganeri from Sanganer in Rajasthan, Kalamkari from Andhra Pradesh and Telangana, Batik (multiple regions including Bherongarh in Madhya Pradesh, West Bengal, and Gujarat), and Pipad from Pipad City in Rajasthan.

Each regional block printing tradition produces its pattern through the same core act — a carved wooden block pressed onto cloth — but the chemistry, process sequence, and motif vocabulary differ entirely. Ajrakh from Kutch is a mordant resist block printing process: the cloth is mordanted with myrobalan (harda), resist blocks and alum blocks are applied in separate passes, and the cloth passes through indigo and alizarin madder dye baths in sequence, with sun-drying between each step. The result is the characteristic Ajrakh triad of indigo blue, madder terracotta, and iron black on a cream ground; Ajrakh from Kutch holds a GI tag. Bagh printing from Bagh in Madhya Pradesh, practiced by the Khatri artisan families, also works through mordant block printing followed by natural dye bath immersion: the deep terracotta-red and iron-black palette on a cream ground comes from alum and syahi mordants reacting in an alizarin madder bath. Bagru printing from Bagru village in Rajasthan uses the same mordant logic but produces a distinct palette of oxidized blacks, warm reds, and greys, and on Maheshwari silk — woven in Maheshwar on the Narmada in Madhya Pradesh — the protein fiber takes the natural dye mordant with deeper color saturation than on cotton. Sanganeri block printing from Sanganer, Rajasthan, practiced by the Chippa artisan community, produces lighter floral repeats — roses, narcissus, folk-scene butidar units — on bleached cotton grounds using the same alum-mordant and natural-dye process, distinguished by a finer, more open motif composition than Bagh or Bagru. Kalamkari from Andhra Pradesh and Telangana takes two forms in this collection: hand block Kalamkari (Machilipatnam) and hand-painted Kalamkari (Sri Kalahasti), with the Pedana/Machilipatnam tradition holding a GI tag from 2013 for its pen-on-cloth and block-print work using natural dyes. Batik block printing applies hot wax through a carved block before a cold dye bath: wax fractures in the cold produce crackle lines through each motif, a physical marker of the wax-resist process not reproducible by screen printing. Pipad block printing from Pipad City in Jodhpur district, Rajasthan, is a regional natural-dye block print tradition practiced by the Chhipa community.

These are unstitched sets for tailoring to fit. Standard yardage per set is designed for a salwar-kameez silhouette: approximately 2-2.5 metres kurta, 2-2.25 metres bottom, 2-2.5 metres dupatta. The fabric base choice shapes both the drape and the care: cotton sets wash easily in cold water; Chanderi silk and Maheshwari silk sets are best hand-washed; Kota Doria sets hold their open-check weave through careful cold washing. Within iTokri's catalog, dedicated sub-collections carry deeper selections for each tradition: the Bagh printed dress materials collection, Ajrakh kurtis, Kalamkari dress materials, Sanganeri block print range, and Batik printed collections each offer a more focused selection when a specific regional tradition is the requirement.

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Batik Stitched Suit Sets: Hand Block Batik Print Cotton and Chanderi Silk3Piece Suits with Palazzo and Dupatta, Sizes XS to 2XL from ₹3,790

Thirty-six hand block Batik print stitched suit sets in two fabric bases, priced from ₹3,790 to ₹6,990, in sizes XS through 2XL. Each set is a 3-piece stitched combination: long kurti, elasticated palazzo pants, and dupatta. Cotton suits form the majority of the collection at ₹3,790; one Chanderi silk suit set at ₹6,990 is woven in Chanderi, Madhya Pradesh. Colors confirmed: black, red, pink, green, orange, brown, and maroon — all within the natural dye palette of indigo, alizarin madder, and iron-based preparations used in the Batik process. Regional Batik traditions represented in this collection include Madhya Pradesh (including Bherongarh village near Ujjain, where Khatri artisan families carry the natural-dye Batik tradition), West Bengal, Gujarat, and Andhra Pradesh. All sets are hand block Batik — the wax is applied using carved wooden blocks, not a tjanting (freehand) tool.

Hand block Batik builds the pattern through wax resistance rather than direct dye. The artisan presses a hot wax-loaded carved wooden block onto the cloth at each motif point, sealing those areas before the cloth enters a cold dye bath. In the cold bath, the wax stiffens and fractures under the movement of the cloth, allowing thin paths of dye to creep through the sealed areas: these crackle lines running through each motif are a physical record of the wax fracturing in the cold bath and cannot be replicated in screen printing. Multiple color passes are built up by repeating the wax application and dyeing sequence. Natural dyes used across this collection include indigo for blue, alizarin madder for red and terracotta, and iron preparations for black and brown. On cotton, the dye builds cleanly against the ground and the crackle lines are sharp; on Chanderi silk, the protein fiber accepts the natural dye mordant differently, producing deeper color saturation against the silk's characteristic slight sheen, and the Chanderi weave's fine drape is maintained through the wax-resist process.

These suits arrive stitched and ready to wear. The elasticated palazzo allows for a consistent fit across the size range without tailoring; the long kurti falls to approximately mid-calf and is suited to pairing with the matching palazzo or with churidar or leggings. The dupatta is included in the set and carries the same Batik print as the kurti. Sizes run XS to 2XL; a size chart for this cut is available on the product page. Within iTokri's Batik range, these stitched suit sets sit alongside the Batik print sarees and the Batik cotton fabric-by-the-metre collection. Buyers who need a wider size range or a different silhouette will find Batik fabrics in the pure cotton fabrics collection for tailoring to fit.

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Bagh Hand Block Print Dress Materials: Natural-Dyed Cotton, Kota Doria and Maheshwari Silk 3-Piece Unstitched Sets from ₹2,990

All products in this collection are 3-piece unstitched dress material sets, each comprising kurta fabric, bottom fabric, and dupatta, in Bagh hand block print with natural dyes. Sets are priced from ₹2,990 to ₹10,290. Three fabric bases: cotton (₹2,990-₹5,490), Kota Doria cotton (₹3,690-₹5,890), and Maheshwari silk (₹6,590-₹10,290). On cotton sets, the natural dye palette produces terracotta red, iron black, warm brown, deep indigo, earthy beige, and muted maroon. Kota Doria sets bring Bagh natural dye printing to a base woven in Kota, Rajasthan, some with a Kota Doria dupatta in the set. Maheshwari silk sets carry the same Bagh printed surface on a silk woven in Maheshwar, Madhya Pradesh. Artisan families printing in this collection: the Umar Faruk Khatri family, the Abdul Kadar Khatri family, and the Mohammed Bilal Khatri family, all from Bagh village in Dhar district, Madhya Pradesh, alongside the Maa Shree Bagh Print studio.

Bagh printing is a natural dye block printing tradition carried by the Khatri artisan community in Bagh village on the banks of the Baghini river in Dhar district, Madhya Pradesh. The process is mordant block printing, not direct dye application. Before any block is lifted, the cloth is washed and pre-treated with myrobalan (harda), a tannin-based preparation that opens the cotton fiber to dye. Printing then proceeds in separate passes: a carved wooden alum block is pressed by hand across the cloth where red is intended; an iron-based block (kasees) where black is intended. The cloth then enters a natural alizarin dye bath: only the mordanted areas accept the color, and the unmordanted ground remains at the natural cloth color, producing the characteristic Bagh palette of deep red and black motifs on a cream-white ground. For indigo sets, a separate indigo reduction bath replaces the madder dye step. After dyeing, the cloth is washed repeatedly, traditionally in the Baghini river whose mineral-rich water contributes to the characteristic muted, settled tone of Bagh color. The motif vocabulary draws from interlocking geometric repeats, stepped borders, and small butidar units. Because each color pass is applied by hand block, slight registration shifts between passes are a physical record of the individual printing session. On Maheshwari silk, the protein fiber takes the mordant and natural dye differently from cotton, producing a slightly deeper color saturation on the same motif set. On Kota Doria, the open khat-check weave texture creates a characteristic soft outline where the block meets the raised check intersections.

These sets arrive unstitched for tailoring to fit. Standard yardage per set is designed for a salwar-kameez silhouette: approximately 2-2.5 metres kurta, 2-2.25 metres bottom, and 2-2.5 metres dupatta — the proportions are fixed per set and sized for a standard adult cut. The named-artisan sets by the Khatri families allow a buyer to know precisely whose printing studio produced the piece before it was tailored. Within iTokri's catalog, these dress materials sit alongside the broader hand block print collection and the Bagh-print cotton fabric-by-the-metre range for those who need fabric only rather than a pre-portioned set.

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Pure Cotton Fabrics by the Metre: Hand Block Print Ajrakh, Bagh, Sanganeri, Akola, Batik, Bandhani and Handloom Weaves from ₹240/Metre

This collection brings together pure cotton fabrics by the metre from across India's block-printing, tie-dye, and handloom weaving traditions, priced from ₹240/metre to ₹790/metre. Plain and slub-cotton plains open the range from ₹240/metre, suited to kurta underlayers and straightforward everyday garments. Hand block-printed and natural-dyed cottons form the core of the collection: Ajrakh from Kutch in Gujarat, printed on both standard cotton and on open-weave Hakoba cotton; Batik wax-resist from Kutch artisans including Drishti Handicrafts; Bagh natural-dye block print from Bagh village in Madhya Pradesh; Sanganeri block print from Sanganer in Rajasthan; and Akola block print on slub cotton from Maharashtra. Tie-dye fabrics include Bandhani from Kutch. Handloom wovens include Mangalagiri cotton with Nizam Zari border from Andhra Pradesh, Kota Doria open-check weave from Kota in Rajasthan, Dharwad and Khun cottons from Karnataka, and Kanchipuram cotton with Zari border from Tamil Nadu. Some Kota Doria fabrics in this collection carry a Bagh block print over the woven base, combining two distinct craft traditions on the same cloth. Fabric width 39-46 inches.

Across this collection, the surface technique determines how the pattern behaves in wear and washing. On hand block-printed fabrics, each color pass is a separate carved wooden block applied by hand against cloth and resist. Ajrakh printed by the Jabbar Khatri family in Kutch uses natural indigo, madder, and iron-based dyes through a multi-step resist process, producing geometric forms with the characteristic soft edge where the resist boundary lifts. Bagh print from Bagh village uses fermented natural dyes on cloth mordanted with myrobalan and alum, resulting in a muted earthy palette of red, black, and white. Sanganeri print from Sanganer builds lighter floral repeats on bleached cotton using the same mordant-and-natural-dye process. Akola block printing from Maharashtra is applied to slub cotton, where the irregular texture of the slub base creates slight variation in how the ink absorbs at each pass. Batik from Kutch applies hot wax by block before the cloth enters a cold dye bath: when the wax fractures in the cold, crackle lines run through the printed motifs, recording the temperature shift as visible texture. On the handloom side, Mangalagiri cotton woven in Andhra Pradesh carries a Nizam Zari border worked in metallic thread directly into the weave. Kota Doria from Kota in Rajasthan is woven in a square khat-check structure that gives the cloth its characteristic light, slightly open hand. Hakoba cotton, the open-weave base used for several Ajrakh fabrics in this collection, is lighter and more breathable than standard mill cotton and takes natural dye differently due to its looser weave structure.

These fabrics are sold by the metre for home stitching and tailoring. Approximate yardage for common garments: 2-2.5 metres for a kurta, 0.75-1 metre for a blouse cut, 3.5-4.5 metres for a full kurta-palazzo or salwar set. Plain and slub-cotton plains work as base cloth for layered or multi-fabric projects. The hand block-printed and handloom cottons function as statement fabric, where the technique is visible in the finished garment and worth featuring in the cut placement. Within iTokri's broader fabric range, this collection sits alongside dedicated Ajrakh block-print fabric, Bandhani fabric, Batik fabric, and handloom saree fabric collections, each of which goes deeper into a single technique if that is the specific requirement.

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Buy Lucknowi Chikankari Dress Material Online: 319 Hand-Embroidered Unstitched 2-Piece and 3-Piece Suit Sets in Cotton, Kota Doria and Chanderi Silk from ₹4,290

Three hundred and nineteen Lucknowi Chikankari dress materials, all unstitched, priced from ₹4,290 to ₹18,690 per complete set, from Lucknow, Uttar Pradesh. Sets come in two structures: three-piece (kurta, bottom, dupatta) and two-piece (kurta, dupatta). Five fabric bases carry the Chikankari embroidery across the range. Cotton three-piece sets open at ₹4,290 and reach ₹8,290 for more densely worked pieces. Kota Doria cotton two-piece sets, where the Kota Doria base is woven in Kota, Rajasthan, run from ₹5,590 to ₹8,990. Mul cotton voile three-piece sets sit at ₹9,790. Chanderi Silk sets (Chanderi silk woven in Ashoknagar, Madhya Pradesh) span ₹9,190 to ₹13,490: the higher pieces add Mukaish work (small metallic foil embellishments attached to the fabric surface by hand) and Zari border (metallic thread embroidery), both traditional Lucknawi craft additions alongside the needle embroidery. The ceiling at ₹18,690 is a two-piece Organza Silk set with Heavy Chikankari and Hand Beads Work. Colors across the collection: white (the dominant Chikankari ground), green, blue, purple, pink, yellow, peach, beige.

Chikankari is a needle-embroidery tradition from Lucknow with a vocabulary of 32 traditional stitches. Eight confirmed from this collection's page descriptions: Tepchi (a basic running stitch for outlines and fill); Bakhiya (shadow work, stitched from the reverse of the fabric so a shadow-like effect shows through from the front); Jali (a pulled-thread open-work stitch that draws fabric threads apart to create a net-like lattice); Murri (a small raised knot); Phanda (a finer, rounder knot smaller than Murri); Keel Kangan (a bangle-shaped raised stitch); Kauri (a cowrie shell-shaped stitch); and Hool (an eyelet stitch producing small open holes). A single dress material typically uses several of these stitches in one composition: Jali at the border, Murri and Phanda in floral fill, Tepchi along stems, Bakhiya as shadow panels. The base fabric changes what the embroidery does visually. On opaque cotton, white Chikankari thread reads cleanly against the ground. On Kota Doria, the semi-sheer check-weave ground lets light pass through, and the embroidery reads against both the weave structure and the light behind it. On Chanderi Silk, the natural silk sheen deepens the white thread. On Organza Silk, a stiff sheer fabric, Heavy Chikankari (dense surface coverage) becomes structural: the closely worked embroidered areas stiffen the cloth and make the embroidery the dominant surface, the plain ground receding behind it.

Lucknowi Chikankari dress materials are unstitched: the buyer tailors neckline, sleeve, and fit from the set lengths. This is the primary format for Chikankari in iTokri's range, alongside Chikankari kurtis in ready-to-wear. The price range from ₹4,290 to ₹18,690 tracks two variables simultaneously: fabric base and embroidery density. Cotton and Mul Cotton carry medium embroidery at the lower end of the range. Kota Doria and Chanderi Silk carry more complex compositions, often with Mukaish foil and Zari border added to the Chikankari ground. The ceiling Organza Silk pieces are titled "Heavy Chikankari," indicating dense and high-coverage embroidery that requires significantly more needle time than the lighter pieces at the opening of the range. The Kota Doria and Chanderi Silk pieces are cross-regional: each carries a distinct handloom weaving tradition from Rajasthan and Madhya Pradesh before the Lucknow embroiderers begin their work on the cloth.

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Pochampally Ikat Dress Materials: GI-Tagged Double Ikat Unstitched Suit Sets in Cotton, Silk Cotton, Mercerised Cotton and Mulberry Silk from Bhoodan Pochampally, Telangana from ₹1,950

Two hundred and forty-three Pochampally Ikat dress materials, all unstitched, priced from ₹1,950 to ₹15,550 per complete set. Every piece is woven in Bhoodan Pochampally, Yadadri Bhuvanagiri district, Telangana, known as the Ikat capital of India, under GI protection for Pochampally Ikat (registered 2004). The collection is organized into two set structures. Three-piece suit sets include kurta fabric approximately 2.5m × 44-45 inches, salwar or bottom approximately 2m × 44-45 inches, and dupatta approximately 2.5m × 36-42 inches: these sit from ₹1,950 for cotton and ₹2,850-₹2,990 for silk-cotton blend. Two-piece sets include kurta fabric approximately 2.4m × 110cm plus a matching Pochampally ikat dupatta: these range from ₹2,250-₹3,290 for cotton, ₹4,890 for mercerised cotton, and ₹15,550 for mulberry silk at the ceiling. Padma Shri Govardhan ji, master weaver from Puttapaka village, Telangana, is cited on the collection page for color fastness and quality standards. Colors: red, blue, grey, green, pink, orange, maroon, multicolor, purple, yellow, white, beige.

Pochampally Ikat in this collection is double ikat: both the warp thread (running lengthwise along the loom) and the weft thread (running across it) are resist-dyed separately in precise pattern sequences before a single thread is placed on the loom. When the dyed warp and dyed weft interlace during weaving, the pre-programmed pattern emerges simultaneously from both thread sets. Aligning two independently dyed thread sets so their resist-patterns register at every intersection is technically demanding; complex double ikat compositions on a single piece can take a weaver up to 100 days. At every motif boundary the edge carries a slight softness, a feathered blur produced by the natural flex of the yarn as warp and weft meet during weaving. This soft edge is the physical record of the double ikat process and cannot be reproduced by screen printing or digital printing. The fabric base determines the final weight and surface. Cotton produces a firm matte cloth for daily wear. Silk-cotton blend adds quiet luster and a lighter hand. Mercerised cotton (cotton treated with sodium hydroxide under tension) gains a permanent sheen and improved dye uptake, making the resist-pattern read with more depth and brightness than untreated cotton at the same thread count. Mulberry silk at ₹15,550 per set carries the ikat pattern in a naturally lustrous fiber from the Bombyx mori silkworm, where the silk's inherent sheen amplifies every resist-dye boundary in the weave.

Pochampally Ikat dress materials are unstitched: the buyer chooses neckline, sleeve length, and silhouette, then takes the set to a tailor. This is the most customizable entry in iTokri's Pochampally Ikat range, which also includes ready-to-wear kurtis, stitched three-piece suit sets, sarees, and fabrics by the metre. The confirmed yardages in this collection suit standard suit construction without additional fabric. Puttapaka village in Nalgonda district and Bhoodan Pochampally in Yadadri Bhuvanagiri district are the two primary weaving clusters in Telangana for this craft: master weavers in these clusters hold the double ikat alignment technique across generations. The GI protection ensures that dress materials sold as Pochampally Ikat are woven by registered weavers in the designated cluster; it does not cover machine-woven or printed substitutes sold under the Pochampally name.

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Buy Batik Print Fabric Online: Kutch Hand Block Batik, Natural Dye Kala Cotton and Batik Dabu Mul Fabrics by Khamir, Kachchh Ji Chhaap and Md. Shariff from ₹390/Metre

This collection sells Batik fabrics by the metre across five confirmed craft lines, priced from ₹390/metre to ₹1,290/metre. At ₹390/metre, hand Batik print cotton covers the entry range. Hand block Batik cotton in standard and Kutch-attributed cotton sits at ₹450/metre. Batik Dabu on natural dyed mul cotton from the HAVELI CHRONICLES line, a combination of wax resist and mud resist on the same cloth, sits at ₹490/metre. Pure Mul Cotton Kutch hand block Batik from the KACHCHH JI CHHAAP line is ₹550/metre. At the ceiling, the KHAMIR collection's Authentic Kutch Hand Block Batik on Pure Handwoven Natural Dyed Kala Cotton reaches ₹1,290/metre: three processes stacked on one cloth, organic Kala cotton grown and handwoven in Kutch, then hand block printed with natural dyes. Named craft lines across the collection: KHAMIR (Bhuj, Kutch), KACHCHH JI CHHAAP (Kutch), HAVELI CHRONICLES, and BATIK BY MD. SHARIFF. Fabric bases: standard cotton, mul voile (mulmul), and handwoven Kala cotton. Colors: black, blue, brown, green, grey, maroon, pink, purple, yellow.

In Batik, molten wax is applied to cloth through carved wooden blocks (in the hand block Batik variants here) or a pen-like handheld tool, and the waxed areas resist the dye bath that follows. After dyeing, the wax is removed, leaving the resisted pattern in the original fabric color against the dyed ground. When waxed cloth goes into a cold dye bath, the wax may fracture slightly under the temperature change: dye bleeds through those cracks and leaves fine, irregular crackle lines in the finished cloth. These lines cannot be reproduced by screen printing or digital printing; they are the physical record of the cold-bath wax fracture and a direct marker of genuine hand Batik. The HAVELI CHRONICLES Batik Dabu pieces at ₹490/metre add a second resist to the sequence: Dabu is a mud-paste resist from Rajasthan, applied by carved block, that resists dye differently from wax. Where both systems are applied to the same cloth in sequence, the wax-resist areas and mud-resist areas carry different surface textures within the same dye pass. The KHAMIR Kala cotton pieces at ₹1,290/metre use Kala cotton, a heritage short-staple cotton variety native to the Rann of Kutch, grown without synthetic inputs: it produces a cloth with a slightly irregular, naturally textured hand distinct from mill-spun cotton. The hand block Batik print and natural dyes are applied over this handwoven Kala cotton base.

Batik fabric by the metre is the starting material for a garment the buyer designs and tailors to their own silhouette. The per-metre pricing allows buying exactly the length needed: standard yardage guidance for a kurta is approximately 2-2.5 metres, a blouse 0.75-1 metre, and a full salwar suit 3.5-5 metres depending on cut, though these vary by body and silhouette. Within iTokri's Batik range, this fabric collection sits alongside hand Batik print dress materials (pre-measured unstitched suit lengths), Batik print sarees, Batik print kurtis, and Batik cotton sarees, each format suited to different tailoring needs or no tailoring at all. The KHAMIR Kala cotton Batik pieces at ₹1,290/metre carry the most documented provenance in this collection: KHAMIR is a craft development institution based in Bhuj, Kutch, and their supply chain runs from the Kala cotton field through the loom to the block printer in one connected cluster.

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Ajrakh Dress Materials: Natural Dye Hand Block Print Ajrakh Cotton, Kota Doria, Chanderi Silk and Tussar Silk Unstitched Suit Sets from Kutch from ₹2,690

Ajrakh dress materials on iTokri run to 278 in-stock unstitched sets, priced from ₹2,690 to ₹12,490, all hand block printed with natural dyes in Kutch, Gujarat by artisans from the Khatri community using a 16-step resist and dye process. Sets are available in 3-piece format (kurta at 2.65 metres × 113cm, salwar at 2.55 metres × 113cm, dupatta at 258cm × 93cm) and 2-piece format (kurta at 2.5 metres × 115cm, dupatta at 242cm × 116cm). Natural dyes confirmed across the collection include indigo, madder root, turmeric, and pomegranate. Fabric bases include pure cotton, Kota Doria from Kota, Rajasthan, Chanderi silk from Ashoknagar, Madhya Pradesh, Tussar silk, and Linen-cotton blends. Confirmed price anchors: Ajrakh cotton 2-piece at ₹4,290; Ajrakh cotton 3-piece at ₹5,890; Kota Doria Ajrakh 3-piece at ₹6,590; Ajrakh Chanderi silk 2-piece at ₹7,890; and Tussar silk 2-piece at ₹12,490 at the ceiling. Colors include black, blue, red, brown, beige, and green. Some sets in the collection integrate Bandhani tie-dye with the Ajrakh block print, combining two Kutch craft techniques on the same fabric.

The Ajrakh motif vocabulary within this collection is drawn from the Khatri design tradition, with named motifs that carry specific geometric and natural form references: Mora (peacock), Jaal (a repeating grid or net structure), Badam (almond), Kakar (cloud form), Ghaleecho (a carpet-style dense geometric field), Mohar (coin or medallion), Ambri Mohar (a mango-coin combination motif), Ishq Pech (a love-knot interlace), Badam Ishq Pech (almond love-knot), Chaanp (blossom), and Wal (creeper or vine). These named motifs are printed using specific carved wooden blocks; each block carries one motif element, and the final design on a dress material set is built by combining multiple blocks across the cloth in a planned sequence. On cotton, the matte surface makes the indigo-and-madder color fields read as a flat graphic of these motifs; on Chanderi silk, the silk warp adds a sheen between motifs that makes the color contrast more luminous; on Tussar silk's naturally textured surface, the same Ajrakh dye palette produces a slightly different tone because Tussar's natural ochre ground shifts the indigo toward a greener blue and the madder red toward a deeper brick tone.

At 278 pieces, Ajrakh dress materials is the unstitched set format within iTokri's Ajrakh range, positioned between the by-the-metre Ajrakh print fabric collection (1,149 pieces from ₹650/metre, where buyers choose their own yardage) and the stitched Ajrakh formats (kurtis at 16 pieces and stitched suits at 10 pieces). The confirmed 3-piece yardage (kurta 2.65m, salwar 2.55m, dupatta 258cm) is specific to this collection's sets and is pre-measured by the artisan cluster, meaning the buyer receives exactly the proportioned fabric needed for a full outfit without the waste of cutting from a wider bolt. The dupatta at 258cm × 93cm is a generous width that allows the full Ajrakh repeat to display across the length without the pattern being cut at the edge. The Tussar silk ceiling at ₹12,490 for a 2-piece set represents Ajrakh's natural dye block print on a wild silk that takes the indigo and madder dye differently from both cotton and mulberry silk, producing a surface that is simultaneously rustic and formal.

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Plain Fabrics: Handloom Mangalagiri Cotton, Dharwad Mercerised Cotton, Kota Doria, Mashru Silk, Kala Cotton and Prewashed Cotton Plain Fabric Online from ₹240/metre

Plain fabrics on iTokri run to 1,255 in-stock pieces, priced from ₹240 to ₹890 per metre, all sold by the metre in solid colors without a surface print, block dye pattern, or tie-dye treatment. The collection covers plain handloom weaves, plain specialty cottons, plain silk variants, and plain wool. Handloom cotton types include Mangalagiri plain cotton from Guntur district, Andhra Pradesh (₹620/metre), with its twisted-yarn handloom weave and characteristic body; Dharwad Mercerised Cotton Thread Buta from Karnataka (₹390/metre), where the mercerised twisted-yarn base carries a small woven thread motif (buta) as the only surface detail; Kota Doria plain cotton from Kota, Rajasthan; and prewashed plain cotton at ₹240/metre, the floor of the collection. Specialty cottons include Mulmul (fine voile-weight sheer), slub cotton (textured yarn with slight irregularity), Hakoba (open-grid woven cotton), and Kala Cotton from Kutch, Gujarat, an indigenous drought-resistant cotton variety grown without irrigation that produces a shorter-staple, naturally coarser fibre. Silk variants include Mashru silk from Gujarat (a silk-face, cotton-back weave with a characteristic horizontal stripe from the satin weave construction, 46 inches wide), Mulberry silk, and Tussar silk. Colors include black, white, pink, beige, blue, green, brown, orange, yellow, purple, grey, and peach.

The plain fabric format serves a different garment-building logic from printed or woven-pattern fabric: the surface has no pre-existing design, so the garment's structure, silhouette, and any added embellishment become the primary visual elements. Prewashed plain cotton at ₹240/metre is the most accessible entry in any iTokri fabric category, suited for embroidery frames, tailor-made linings, inner layers, or summer kurtas where drape and breathability matter more than surface pattern. Handloom Mangalagiri at ₹620/metre delivers the twisted-yarn texture and structured fall of a weave-identified cloth without requiring an accompanying print; the body of the handloom weave holds its own as a surface quality. Mashru silk's silk-face/cotton-back construction means the face of the fabric has the sheen and drape of a silk weave while the reverse is cotton against the skin, a practical combination for festive garments where a silk surface is desired but silk-against-skin wear is not preferred. Plain fabrics in this collection also work as contrast elements alongside patterned pieces: a plain Mangalagiri cotton dupatta alongside an Ajrakh block print kurta, or a Kota Doria voile lining inside a structured Bagh print jacket, both use the plain collection as the silent partner to a louder patterned textile.

At 1,255 pieces, plain fabrics is the unmarked-surface complement to the broader iTokri fabric range. Where the pure cotton fabrics collection (3,811 pieces) spans block print, handloom, and tie-dye alongside plain cotton, the plain fabrics collection here isolates the solid-surface pieces into a single browseable format. The collection is also the practical reference for fabric-to-fabric coordination: a buyer who has chosen an Ajrakh print for their kurta panels can find a coordinating plain cotton in the indigo or madder tone from this collection for the bottom and dupatta; a buyer constructing a patchwork piece can source several plain base colours from the prewashed cotton and Mulmul tiers. The Kala Cotton pieces specifically offer a natural-fiber base with an inherently uneven, lightly textured surface from the shorter cotton staple that no processed cotton replicates, and at the price points in this collection they are among the most affordable natural-origin specialty textiles available by the metre on iTokri.