Arithmetically lyrical motifs, laid on the surface of textile products celebrating the intertwined effect of a fabric mark the identity of Suf embroidery. The name of Suf embroidery derived from the word saaf or neat and clean portrays the individuality of its brand. Another significance of the name lies in the angular formation of patterns which is inherent quality of the Suf technique.
The intricately, delicate technique of Suf proves out to be a painstaking process in which the embroiderer, creates patterns with surface satin stitch used from the back of the material, while meticulously counting the warp and weft of the fabric. Each creator envisages a design and translates it into simple geometrical patterns and directly applies it in her embroidery without pre-drawing on the surface. Each and every thread is counted in reverse to create balanced, symmetrical, patterns with triangular minutiae. An array of motifs showcasing flowers, leaves, trees, fruits, birds and animals are created with this methodical process.
This attribute of the technique also confines the range of fabrics compatible to the embroidery. Suf is comfortably applicable on fabrics whose structure is visibly countable, hence for all the handmade enthusiasts; Suf offers the delight of being stitched more than often only on handloom fabrics.
Traditional usage of colors barred the embroiderers to use black and blue in their creations as they signified mourning. Though contemporary Suf encompasses all range of color palettes from bright to neutral, cool to warm and pastels to monochromes.
Traditional Trivia
Suf is traditionally practiced by women of the Sodha Rajput and Meghwal communities who migrated from Sindh, mostly during Indo-Pak war almost 40 years back. Originating from Thar Parkar in east Sindh these communities still bear the cultural ethos of that region. Soof which also bears a strong resemblance to phulkari of Punjab originated in Sindh and realtes to the embroidery styles found in Afghanistan and Pakistan.
Suf Bharat, bears an intrinsic value in the social fabric of the communities practicing this craft form. Embroidered products form the main component of a bride’s wedding trousseau and are also considered a proof of her skill and industriousness. Traditionally abla or mirror work was not part of the Suf technique, though contemporary products use small sizes of abla as part of embellishing accessory.
Community Involved
Sodha Rajput and Meghwal communities, who have migrated from Sindh to Kutch District in Gujarat, practice this craft for domestic as well as commercial usage.
Raw Materials Used
- Cotton, cotton-jute, cotton-silk ,linen fabric in which the warp and weft of the fabric is easily countable
- Embroidery threads of varied colors
- Abhala or mirror
- Little tassels for finishing
Tools and Equipments
- Needle