Pal (1960) after describing the varieties of Phulkari and the methods used to create them, went onto state that despite there being a reduction in the art for the last 50 years in undivided Punjab, girls and women still continued to embroider Phulkaris in the then Punjab comprising modern Punjab, India, Haryana and parts of Himachal Pradesh to at least the 1950s. In villages far away from the cities, Phulkaris such as the Chope were still given to brides hailing from traditional families. However, he noted a marked loss of interest in the craft as a whole. Phulkaris could be seen hanging on walls using nails, being placed on the ground when religious figures attended villages, being used in the fields to collect crops and being used as rags. Phulkaris were being sold at cheap rates to collectors from overseas who would then sell them at higher rates. Women would give away lighter Phulkaris to servants. Pal believed that the Punjab is a progressive state of India but it did not value its traditional crafts. Renewed interest has only resulted from the refugee crisis after the 1947 partition whereby organisations encouraged women to embroider Phulkaris to make ends meet. Thind (2005) believes that it is Pal's chapter that triggered a serious interest in preserving the dying tradition of Phulkari. People began to take note of the folk art. Thind also noted private collectors preserving traditional Phulkaris. In his visit to the U.K. in 1980, Thind saw a private collection of Phulkaris with various motifs. He also mentions work by local organisations in Punjab (India). Various books have also been written on the subject either wholly dedicated to the subject or in chapters. The renewed interest can be seen in girls and women wearing Phulkari scarfs and carrying Phulkari bags. However, the new method of embroidering Phulkaris is distinct from the traditional method. Phulkaris are now embroidered using machines and modern materials.