held under the British regime. By the end of the 19th century, Phulkaris and Baghs had found a market in Europe and America. There were firms in Amritsar where Phulkari work of any shape or size could be ordered. Some of the firms procured orders from Europe for supplying Phulkari on a commercial scale. The newer market dictated the changes in designs and color combinations. Some commented that the Europeanized versions of Phulkari were not Indian at all. The embroideries were in black, green, and red and the stitches of embroidery were an inch in length. Types Pal (1960) describes the following traditional varieties of Phulkari: . He also describes the materials used, colours and stitching techniques. The traditional cloth would be khaddar using hand-spun cotton. The cotton would be weaved professionally to create a heavy material. Lighter versions called were also used. Pal noted that khaddi material was also becoming popular. The colours were red, white, golden yellow green and deep blue. Natural methods would be used to dye the material w such as utilising flowers. A popular method was to use the Rubia cordifolia tree known as Indian madder and Majith in Punjabi. Unspun silk thread known as patt would be used to embroider the designs using the double stitch known in Punjabi as dasuti tropa, herringbone stitch and satin stitch. Long and short stitches would be employed. No stencil would be used to embroider the designs. Women would gather to embroider Phulkaris. Traditional folk songs would be sung by the group. Pal also gives one instance of a woman putting one grain of wheat to one side for every stitch she made. When the Phulkari was complete, the lady donated the grains away. Sometimes, different styles can be seen on one Phulkari. This is because each girl would use her own imagination to stitch a design, perhaps to remind the girl when she gets married of her friends who helped stitch the Phulkari. Thind (2005) mentions another variety: the bawan bagh where more than one bagh style is used on one cloth. Many of the varieties are part of museum exhibitions and private collections. Thind makes reference to the contributions made by Mohinder Singh Randhawa in promoting the preservation of Phulkari art. He also mentions private collections where he has seen various motifs including the Harmandir Sahib (Golden Temple) embroidered in a Phulkari. Bagh Bagh is a