Soof (also known as kachho, meaning raw or weak) embroidery is also known as Sodha barat, which means Sindhi embroidery. This embroidery was introduced by Hindu Sodha Rajput from Tharparkar in Sindh, Pakistan, who sought refuge in the district after the Indo-Pak war of 1971 and first settled around Jhura village in refugee camps. 

 The Sodha women’s soof embroidery has a distinct style and technique. Historically, this sort of needlework was used to decorate a bride’s wardrobe and give gifts from her family to her fiancé’s family. Women’s inventiveness in embroidering and mixing simple motifs to reflect natural forms is best exemplified by the outfits they make as dowry gifts for their daughters and sons-in-law. 

Another community practising this craft is Maru Meghwal, they are traditionally a pastoral community that originated in the Sindh region and later migrated to Kachchh(Gujrat) and a few parts of Bikaner (Rajasthan). It is mostly practised by women of the community, other than embroidery they are involved in weaving and leather work.

This community practices different techniques for embroidery like Pakko(using chain stitch) and kachho (soof), (using garments of the women “Kanjari”, “dupatta” and “Ghagra” which are made by themself. 

Tessellated triangles, also called soof, are vibrant and delicate embroidery with geometrical patterns and motifs inspired by their surroundings, which sometimes even include human, bird, and animal figures. The embroidery relies on the counting of threads in the ground fabric. The guideline is not drawn but is built up with a series of triangles, diamonds and other geometrical shapes counting the warp and the weft thread, which should be the same count.

Soof (triangles) and leher (waves) act as building blocks or guidelines. Craftswomen experiment with these shapes to create a variety of motifs. Fabric with a basket weave is needed for sowing. Skilled work thus requires an understanding of geometry and keen eyesight.

Counting the warp and weft threads that make up the foundational grid allows for the creation of patterns. The embroidery is then rendered on a horizontal and vertical grid. Satin stitches are laid out on the surface of the cloth and are not visible on the reverse (as in false satin or surface darning stitch) the embroidery is also referred to as kachi tand soof (one-sided), whereas stitches visible on both sides are referred to as hakim or paki tand soof (two-sided). The reverse side lies flat on the surface. Small round mirrors are used to embellish the embroidery; the stitches used are thin but sturdy and are rendered so tightly that the maximum area of the mirror is exposed.

Using thin floss silk thread gives it a very refined and delicate look and may appear to have been machine stitched. 

Injiri’s approach to elevating the traditional aspect of this embroidery is by placing it differently on the garment which gives it a new dimension.