NEEDLE & THREAD: Artisans of Clothing

Pandemic Effects: Episode #2

I doubt anything has fascinated me about Mexico as much as the colors, diversity, and creativity of the indigenous clothing.  Before we settled here I decided to make a project of shopping for pieces I could wear on a fairly frequent basis.  I’d love it if I had black hair (I’m a little too blonde!) and could dress like my hero Frida Kahlo, who worn “native dress” to show her support of the indigenous people of Mexico. The love of Mexican clothing has led me to the love of learning about the numerous variations in style and pattern and the women who create them.

The indigenous women of Mexico have historically spent hours, days, months, processing primarily cotton, wool, and silk, weaving it into clothing of many different styles and adorning it with embroidery, designs based on the region they live in.  Somewhere along the way I read that the dress of each region was “encouraged” by the Spaniards during the Conquest in the 1500’s, as a way to identify each indigenous group, but I haven’t been able to find my source on that.  From region to region styles have been affected by weather, religion, European influences, techniques, and availability of equipment and supplies, ie., looms, fibers such as cotton, bark, and agave, dyeing materials such as indigo, flowers, and insects, etc.  Over time the work that was a necessity for daily clothing became a necessity for subsistence. Very few women wear  village costumes these days, except for special occasions.  Their time is spent creating items for sale instead of for daily wear.  The diversity and beauty of the work is now sought after by tourists, businesses, and collectors.

The Mexican states best known for their clothing are Michoacán, Oaxaca, and Chiapas.  Michoacán has many indigenous groups – Purépecha, Mazahua, and Otomi among them.  Backstrap looms are used for making wool and cotton rebozos (shawls).  Cross-stitch embroidery (usually yellow) on checkered aprons is typical of the Purépecha.  Storytelling embroidery does just that on blouses, shawls, pillows, etc.  And deshilado (pulled thread) embroidery can be as basic or elegant as you’d like.

In Oaxaca the women of the Isthmus of Tehuantepec are noted for their densely embroidered flowered tops and skirts made famous by Frida Kahlo. The typical “wedding dress” (or top) made familiar by the hippies of the 70’s is usually white fabric with elaborate embroidery on the yoke, sleeves, and front.  There are cheap versions but authentic versions take weeks to months to create.  Mandiles (aprons) are created in smock, half apron, and pinafore styles, generally made from acrylic fabrics with machine embroidery that may be simple or very elaborate.  On the coast a Mixtec master weaver may take 300 hours to make a traditional skirt, 200 hours for a huipil.  The Museo Textile De Oaxaca created educational programs for weavers that have blossomed into high end expositions, providing much needed income.

Those who’ve been to Chiapas (I haven’t made it yet!) will tell you that the range of textiles and clothing is astounding.  Cooperatives there, as in other states, have been developed to allow the artisans more profit for their hard work, with set prices and the opportunity to be more visible to buyers.  Mothers are encouraged to teach their craft to their daughters so that there is continuity of the traditions of Maya textiles.  Small villages in Chiapas have outdoor market days, some representing more than one community.  Typical findings are long-haired wrap skirts, satin blouses, and chales, or capes, hand or machine stitched.  Dense embroidery of flowers is typical of Zinacantán women, with patterns hand drawn then meticulously stitched by machine numerous times.   In 2015 there were over 1 million weavers and embroiderers in Chiapas, and 2000 sewing machines (MAYA THREADS: A Woven History of Chiapas by Walter F. Morris, Jr.) (Photo below found online.)

So, these too are the artisans I worry about.  With COVID-19 limiting travel, markets and fairs, and other methods of sales, and so many artisans unable to sell online due to lack of knowledge or access to computers, I wonder how many of these women will be able to endure this blow.  Their designs are unique, sacred, personal, and often highly symbolic. For many ONE sale can make a difference in whether their family eats that week, that month.  I’m not sure how to help the indigenous women of Mexico other than to stay well and hope that I can travel to meet and buy from them in the near future.  After all, we’re all in this together!

(There is so much information about the clothing and the people who create them.  I could go on much longer.  But I’ll stop now and leave you with a list of websites and books of interest.  You can also write to me in the comment section if you have questions.  If I don’t know, I’ll find out.) 

TEXTILE FIESTAS OF MEXICO: A Traveler’s Guide to Celebrations, Markets, and Smart Shopping by Sheri Brautigam/2016

OAXACA STORIES IN CLOTH: A Book about People, Belonging, Identity, and Adornment by Eric Sebastian Mindling/2016

Interesting websites: Historyplex: Tradition of Mexican Clothes and Costumes: A Beautiful Riot of Color; The Classroom: History of Mexican Clothing; Everyculture.com. – Mexico; https://relativitytextiles.com/mexican-textiles/

In-depth studies:

https://ethnycorner.com/en/2019/08/24/quelle-est-lorigine-des-fleurs-mexicaines-sur-les-vetements-mexicains/

https://www.getty.edu/conservation/publications_resources/pdf_publications/pdf/unbroken_thread_eng_vl.pdf