Before the October revolution (1917), gold embroidery workshops (kasaba) were directly under the control of the Emir of Bukhara, and gold embroidery workers (zarduz) occupied the most honored position in the craft hierarchy. In the 1930s, gold embroidery workshops began operating in several cooperative artels in Bukhara. In 1939, these workshops were merged into a single gold embroidery artel, "40 Years of October," which was reorganized in 1960 as the Bukhara Gold Embroidery Factory. The organizational structures and product range changed, but the fundamental technological and ornamental traditions of the craft, which defined its distinctiveness, remained.

Embroidery was done with drawn and spun silver and gold-plated threads. From the mid-19th century, they were supplied from Russia (by the Alekseyev i K° factory) and were distinguished by the high quality of the metal: the silver was 84-carat, and the gilded threads contained 10 to 20 percent pure gold, sometimes red gold. They were sewn using a satin stitch: the metal threads were attached to the surface of the fabric with silk (since the 1890s, cotton) threads using small stitches on the reverse side. The gold embroidery was complemented by embroidery of individual fragments in colored silk and velvet appliqués, round metal kubba domes, pulakchi ("money") sequins, and inlays of precious and semiprecious stones. The stitching was done in two main ways: zaminduzi (Uzbek zamin - "earth", duzi - "to sew"), in which the entire surface of the item was covered with metal threads on a base of cotton fabric, and gulduzi (Uzbek gul - "flower"), which involved stitching a pattern onto the surface of velvet or silk fabric using a stencil made of thick paper (less often leather). One item could combine both design techniques: individual fragments of the pattern made using the gulduzi method had a continuous bay of zaminduzi. The gold embroidery ornament could be made in the following compositions: 1) darkham ("interwoven") - completely covering the embroidery field with a pattern; 2) buttador (butta - "bush") - with pattern elements evenly distributed over the field; 3) daukur (kur - "border") - a gold-embroidered border running along the ends of the sleeves, the edges of the skirt and the hem; A patterned medallion, called a tauk ("spider"), was embroidered on the back. This latter type of ornamental decoration was characteristic primarily of men's robes.

Most of the gold-embroidered items from the 19th and early 20th centuries in the museum's collection are men's robes (jomi), horse blankets (dauri), and other horse harness components. At that time, these constituted the main product range of the palace gold-embroidery workshops and were produced exclusively by order of the emir (like other items of men's attire, with the exception of skullcaps) and, with his permission, for high-ranking officials. They were intended for personal use (khosagi) and gifts (inomi). The inomi items in the museum's collection have particular historical and artistic value: they were among the gifts from the Bukharan emirs to the imperial family and are distinguished by the particularly high quality and decorative nature of their gold embroidery. Archival documents preserve the gift dates of only a few items—primarily ceremonial horse harnesses, in which the Bukharan rulers sent their thoroughbred horses to St. Petersburg. Most of these gifts were made by Emir Abdullah Khan to Alexander III and Empress Maria Feodorovna, who, like the emir himself, enjoyed participating in horseback riding.

Unlike items intended for "men's" use—clothing and horse harnesses—the production and distribution of gold-embroidered women's clothing, accessories, and household items in the past were not subject to class restrictions; they were made in private workshops commissioned by wealthy citizens.

In contrast, the assortment of gold-embroidered items from the 1930s to 1960s, as the museum's collection shows, was dominated by women's clothing and interior decoration, while expensive gold-embroidered robes and other elements of traditional men's dress, as well as horse harnesses, even as festive items, fell out of favor during this period. At the same time, skullcaps, previously unacceptable for women, became widely popular in women's clothing, and those adorned with gold embroidery became a must-have for festive attire for girls and young women. Sleeveless jackets, gold-embroidered versions of which were intended to complement the bride's wedding attire, also came into fashion.