Credits

Guest Curator: Hilary Simon With special thanks to:

Head of Exhibitions: Alice Viera Albergaria Costa Borges Dennis Nothdruft Annie Hurlbut, Peruvian Connection Exhibition Design: Beth Ojari Armando Andrade Garment Mounting and Conservation: Camilo Garcia, IAG Cargo Gill Cochrane Carlos Agusto Dammert, Hellmann Exhibitions Coordinator: Marta Martin Soriano Worldwide Logistics Caryn Simonson, Chelsea College of Art Curator of ‘A Thread: Contemporary Art of ’: H.E Juan Carlos Gamarra Ambassador Claudia Trosso of Peru to Great Britain Jaime Cardenas, Director of Peru Trade Graphic Design: Hawaii and Investment Office Set Build and Installation: Setwo Ltd Leonardo Arana Yampe Graphic Production: Display Ways Mari Solari Handout Design: Madalena Studio Martin Morales Peruvian Embassy Head of Commercial and Operations: Promperú Melissa French Samuel Revilla and Luis Chaves, KUNA Operations Manager: Charlotte Neep Soledad Mujica Press and Marketing Officer: Philippa Kelly Susana de la Puente Front of House Coordinator: Vicky Stylianides and Events Officer: Sadie Doherty Gallery Invigilation: Abu Musah PR Consultant: Penny Sychrava

WEAVERS OF THE CLOUDS is a and Museum exhibition Cover: ©Awamaki/Brianna Griesinger. Opposite: ©Mel Smith Opposite: Griesinger. ©Awamaki/Brianna Cover: Glossary of Peruvian Costume

Women’s Traditional Dress Men’s Traditional Dress

Ajotas – sandals made from recycled truck tyres. Ajotas – sandals made from recycled truck tyres. Camisa/blusa – a blouse. Buchis – short pants adapted from Spanish costume, which, Chumpi – a woven belt. depending on the area, come to the knee or a little longer. Juyuna – jackets that are worn under the women’s Centillo – finely decorated bands. shoulder cloths, with front panels decorated with white buttons. Chalecos – jackets that may be richly decorated. The jackets are elaborately adorned and commonly turned Chulico – a vest or waistcoat made of woollen plain weave cloth or inside out for everyday use. other material, decorated with buttons, and appliqué. K’eperina – a larger rectangular carrying cloth worn over – knitted with earflaps, which are frequently worn. the back and knotted in front. Children and goods are securely Chumpi – a woven belt. held inside. Chuspas – small woven bags used to carry leaves. Lliclla/manta – a small rectangular handwoven shoulder – the most distinctive part of men’s is the cloth fastened at the front. handwoven poncho. Nearly every Quechua man and boy has Monteras – traditional hats that vary tremendously throughout a poncho, which is generally red in colour and decorated with the communities in the . Often it is possible to identify the intricate designs. Each district has a distinctive pattern. village from the type of hat worn. Hats are secured with delicately – a felt hat worn over the top of the . woven sanq’apa straps adorned with white beads. Montera con cinta labrada – a hat with decorated ribbon. – colourful made from handwoven wool cloth called bayeta. Women may wear three or four skirts to give a graduated layer effect. On special occasions such as festivals women may wear up to 15 polleras tied around the waist. Often the trim of each is lined with a colourfulpuyto , which is usually handmade. In some areas polleras are also referred to as melkkhay (Quechua). Tupu – a decorated pin. Unkuna – a small rectangular cloth that is used for carrying snacks such as corn or coca.

Llama

Alpaca

Guanaco Vicuña

4 5 KUNA Headpiece for Yma Sumac Foyer Pink sweater c.1950 KUNA Millennium collection This headdress was worn on the cover 2019 of Yma Sumac’s iconic album Voice 1 3 , of the Xtabay. The album has been in Peruvian Connection KUNA KUNA garments are made with continuous production since its release. The Rebel Dance Dress ‘Saco Roanoke’ wool from alpaca, vicuña, and Courtesy of Damon Devine, 2019 2019 ; KUNA contributes to the Yma Sumac Estate Pima , metallic thread Alpaca, wool care, conservation, breeding and Handloomed body with hand- A jacket featuring the supernatural improvement of these species as well Earrings for Yma Sumac crocheted cuffs, neckline and hem. and geometric symbolism of as to the preservation of the Andean c.1950 Approximately five days are required Shipibo-Konibo and Xetebo art. communities. The earrings are vintage Peruvian to make one piece. filigree, and were worn by Yma Sumac KUNA KUNA in photo shoots and concerts around Peruvian Connection Blue alpaca sweater Knitted hat embellished with the world. Courtesy of Damon Devine, Mardi Gras Scarf 2019 pom-poms and tassels Yma Sumac Estate 2019 Alpaca KUNA Millennium collection Alpaca and merino wool 2019 Handloomed to imitate a woven KUNA Alpaca 6 technique. More than 50 colours Scarf collection This hat is inspired by the ‘chullo’, an Photograph of the are used and each piece takes } Shipibo, Konibo y Xetebo Andean knitted hat worn in the Cuzco Yma Sumac approximately four hours to complete. 2019 region of Peru. Tassels and pom-poms c.1950 Baby alpaca, silk. The ‘Runinka’ stole are distinctive handmade accessories Courtesy of Damon Devine, Yma 2 is from a collection designed by the that are often used to embellish Sumac Estate Peruvian Connection Shipibo community with KUNA. Peruvian dress. The Blythewood Cardigan 7 2019 4 5 Photograph of the soprano Baby alpaca, wool KUNA Costume for Yma Sumac Yma Sumac Reversible jacquard knit finished Shawl (1923–2008). Dress c.1950 with a tubular jacquard border KUNA Millennium collection 1953 Courtesy of Damon Devine, Yma Approximately three days are 2019 This dress was made in 1953 and Sumac Estate required to complete one piece. Alpaca, silk was worn in three of Yma Sumac’s Inspired by Nazca culture, this four films:Secret of the Incas (1954), Toni Frissell (1907–1988) Peruvian Connection collection of designs was created to Música de Siempre (1958) and Las Fashion model following women Condor Belt reinvent the and techniques Canciones Unidas (1960). down a street in Peru 2019 used by the ancient weavers of Peru. Courtesy of Damon Devine, 1952 Pima cotton with glass beads The collection explores all aspects of Yma Sumac Estate Fashion photograph featuring actress Hand crochet thread and pigment featuring in their Barbara Mullen (1914–1979) Each belt requires five to seven traditional works of art. Published in Harper’s Bazaar, Jan 1952 days to complete. Library of Congress

6 7

Introduction An ancient art

The nation of Peru covers many different terrains: from coastal The textiles of pre-Columbian cultures has been made possible by the dry plains to highlands, rich vegetation to deserts, lakes to rainforests. have been admired for centuries for conditions of the coastal areas where In this extraordinary and varied landscape a long culture of their diversity of materials, techniques, burials were performed. The fibres materiality has been established, with vibrant and distinctive designs and decorative elements. The used by ancient came from styles of work that are recognised as definitive of each region. methods and processes used have been the , , and Peru has some of the most highly acclaimed examples of historic well documented, and many examples vicuñas native to the region. Cotton was woven and knitted cloth in the world. These have been preserved of traditional pieces have survived to the discovered and produced in the drier and treasured, surviving through the centuries due to the dry present day. climate of the coastal areas. Highlighted conditions of the climate, and in burial sites. Over its long history in the exhibition is a diverse range Peru has been ruled by numerous cultures and its artisans have There is a strong national identity in of techniques, including the famous continued to develop the skills of weaving using the backstrap the fibres and fabrics of Peru. These discontinued warp and weft weaving, loom, continuing the traditions of textile arts still found today. textiles illustrate the economic, social, weaving, woven cotton with political and religious development of feathers sewn in rows, textile fragments Weavers of the Clouds aims to widen understanding of the the culture of the nation. The dynasty of cross-knit looping, embroidery, techniques practised in the many differing regions of Peru. of the Incas, centred in the area around appliqué and the knotted cord structure The exhibition encourages us to observe the techniques and Cuzco, near the Andes in south-eastern of the quipu. Examples from the cultures processes, and to respect the loyal keepers of these specialist Peru, ruled in the late fifteenth and of the Huari, Paracas, Chimu and Nazca skills, which have been passed down through the generations. early sixteenth centuries. Textiles were are displayed, each with unique and Textiles are an integral part of a community’s identity, enriching valued as prized possessions, being recognisable characteristics. and educating those from outside the culture. Through viewed as status symbols and critical understanding comes appreciation and preservation. to the Incan sense of identity. The The techniques, materials and motifs patterns of Andean textiles are complex seen here in historic form continue to We examine the cloth from pre-Columbian times and look at signifiers, illuminating the maker’s or inform and inspire Peruvian designers, present-day costumes and accessories. The exhibition celebrates wearer’s place in the cosmos and artists and craftspeople. Many of the the remarkable diversity of applied arts created in a wide range imparting information on ethnic and skills are still used by the indigenous of materials, encompassing numerous symbols and employing a social identities. The preservation of communities throughout Peru, and varietya variety of oftechniques. techniques. many of these extraordinary materials remain a vital link with a vibrant past.

10 Griesinger page: ©Awamaki/Brianna Previous 11 1 5 from barkcloth from the fig tree and 10 Tunic panel Woman’s jacket decorated with vegetable dyes. The cloth Matsés tribe – women’s costume c.800 bc 1988 is fashioned from the inner bark, which Early twenty-first century Camelid fibre Rayon velvet, gold thread, beads is beaten when wet until it is extremely Chambira fibre, beads A Huari culture cloth with a stepped and glass thin and is known locally as llanllama. a. Dress from chambira fibre motif in natural dyes. Jacket from Puno, embellished with The black colour is from pressing the b. Beaded necklaces Collection of Paul Hughes Fine Arts gold embroidery and tasselled trim green fruits of the huito tree (Genipa c. Beaded headband British Museum americana): the liquid is clear when first d. Woven wristbands 2 applied but becomes black as it oxidises e. Half-woven wristband showing the Mantle segment from Paracas, Peru 6 in the air. The designs on the barkcloth weaving process c.300 bc Sequined waistcoat identify different clans. f. Bag woven from chambira fibre Wool 1981 Private collection of Professor Richard g. Woven basket A male front-facing figure is embroidered Cotton, velvet, silk, glass, sequins, metal Bodmer, Director of Fundamazonia and The Matsés, also known as the on a solid plain weave coloured Decorative cotton waistcoat, with a the Museum of Amazonian Indigenous Mayoruna, live along the Yavari River background. design of birds and flowers. The owner’s Cultures, Iquitos, Peru in Peru and are renowned for their Collection of Paul Hughes Fine Arts name ‘ELOY’ is embroidered on the excellent hunting skills. The women garment, which may be part of a dance 8 weave many items from palm fibres, 3 costume. Tie-dye child’s cloth including skirts, wrist bands, bags known Nazca Head cloth British Museum c. ad 800 as hicras, infant slings and hammocks. Cica 200 AD Camelid fibres To make these ornaments, fibres from Camelid fibre. 80 x 57 cm. 7 This cloth of the Huari culture the Astrocaryum palm are collected by Head Cloth, Proto Nazca Culture, Bora and Tikuna tribes demonstrates the technique of tie- the men and the women then peel off Almost originated concurrently with Early twenty-first century dyeing. The textile was woven using a the top layer, dry the fibres in the sun the Chavin civilisation, the Paracas Barkcloth garments weaving method of discontinued warp and finally roll them along their thighs foreshadows some of the most a. Tikuna ceremonial bark tunic with and weft. The design units were woven to form a twine. Matsés women weave celebrated styles in the latter period, symbolic designs separately and held together temporarily ornaments for their husbands and such as Nazca, Wari and Chancay. b. Bora barkcloth skirt with traditional with scaffold threads and then tie-dyed. children. Skirts are worn by women, Centralising on a hybrid creation of three designs The subsequent interlocking of the red headbands by men, and wrist and ankle widely revered motifs— the mythical and indigo blue camelid-fibre warp bands by both sexes. The ornaments being “the Oculate,” the “ecstatic Tikuna bark tunic threads can be seen. last for years, but if a relative dies, the shaman” and the “staff-bearing feline”, This outfit is constructed from a pounded Collection of Paul Hughes Fine Arts family will not wear their ornaments for this mini textile’s intensity of stitchings barkcloth derived from the fig tree. a year as a sign of sadness. The motifs and the vividness of colour presents us A face is painted on the tunic using 9 on a woman’s skirt represent their clan the sense of awe and ecstasy in the vegetable dyes. A vast array of full-body Wari Culture Tunic or family. Andes’ ritualistic vision. outfits are manufactured by the Tikuna Cica 800 AD Collection of Museo Culturas Indigenas Collection of Paul Hughes Fine Arts for use in different ceremonies. This tunic Camelid Fibre Amazonicas, Iquitos symbolises a mythical anteater monkey. Interlocking tapestry with camelid fibres. 4 A curious characteristic is the alternating Inca Culture Tunic Bora bark skirt expansion and contraction of the design Circa 1400 AD The Bora live between the Putumayo and units, as seen on the left. The design Camelid fibres Napo rivers in Loreto, Peru. The typical incorporates heads, spirals and steps Collection of Matt and Oksana Symonds dresses worn by the women and skirts within diagonally-divided squares. worn by the men of the Bora are made Collection of Paul Hughes Fine Arts

12 13 11 Case 2 Textile fragment border tribe – men’s costume Burial doll 200 bc – ad 600 Early twenty-first century ad 900–1430 Camelid fibre Aguaje palm fibres Reed, camelid textile This textile fragment border is worked a. Fibre skirt This burial doll has a reed framework, three-dimensionally in cross-knit b. Fibre headdress and its face is slit tapestry of camelid looping featuring freestanding figures c. Woven fibre bag fibre weft with white cotton. The holding fans and staffs, in the style of The Yaguas live in the Pevas region headband is cross-knit loop stitch the Nazca. of Loreto in Peru. They rely on the and the tunic is camelid fibre. The British Museum (accession date 1933) forest for their native dress, typically doll holds a distaff and child, with referred to as a ‘’, which is a small spindle whorl attached. Nazca feathered fan made from fibres of the aguaje palm British Museum Pre-Columbian (Mauritia flexuosa). They colour the Feathers and vegetable fibre fibres and paint their skin with the Wooden loom Feathered fan with a vegetable-fibre red dye called achiote, which comes Late pre-Inca ad 900–1430 handle ending in short braids that from the fruit of the Bixa orellana Cotton hold the feathers in place tree. This dye is widely used by many From the central coast of Peru, this Private collection indigenous Amazonian societies, wooden loom is set up to weave usually during ceremonies. double cloth. A partially woven textile Case 3 Collection of Museo Culturas with a pattern of felines and stepped Quipu Indigenas Amazonicas, Iquitos frets with scrolls in tan and pale ad 1430–1530 brown is on the loom. Knotted fibre Case 1 British Museum (accession date 1907) A quipu, or knot-record, was Feathered tunic a method used by the Incas to Pre-, culture unknown Four-cornered hat keep records and communicate Feathers on a cotton base ad 600–1000 information; the word ‘quipu’ This tunic or tabard is of featherwork. Cotton with geometric patterns in comes from Quechua language The base is cotton in a plain weave wool; woven and twined fibres (written as khipu) and translates with single warps and paired This hat of the Wari people was as ‘knot’. Quipus were in use from welts. The feathers are sewn on in constructed from a continuous in 2500 bc and continued as a form overlapping rows by the quills. The compactly worked larks-head knots of communication until Spanish feathers are from blue and yellow into which coloured threads were colonisation. macaws found in Amazonia. This inserted to form a pile. The geometric British Museum (accession date 1907) tunic was made in the far south coast designs of small squares containing region in the style of the Nazca. a dot in the middle are characteristic British Museum (accession date 1937) of such hats. British Museum (accession date 1951)

14 15 1 Women’s skirt Indigenistas Peruanos Reynaldo Luza (1893–1978) 1982 Mapa del Peru Bayeta wool 1942 Full skirt with appliqué design The ‘Indigenismo’ was a literary and than looking to as had been Original illustration, tempura on card; British Museum artistic movement that emerged in Peru the custom. Sabogal, whose father was modern print in the 1930s. Its main representatives Spanish and mother was Peruvian, Collection of Carlos Garcia Montero Luza 5 were the writer José María Arguedas promoted pre-Columbian culture and Francisco Javier Cortés (1770?–1841) (1911–1969), photographer Martín aesthetics. A six-month stay in Cuzco 2 Tapada Chambi (1891–1973), painter José prompted his interest in Indigenismo, José Sabogal (1888–1956) c.1827–38 Sabogal (1888–1956) and composer and encouraged him to depict the Paisaje Original illustration, watercolour and Daniel Alomía Robles (1871–1942). historic city and its inhabitants. In 1919 1930 tempera on paper; modern print his paintings of the area attracted critical From an original oil painting Cortés painted street scenes of daily After a visit to Mexico in 1922 where attention at an exhibition in . Sabogal painted landscapes and life in Peru, including illustrations of the Jose Sabogal met muralists Diego portraits of Indigenous communities. Tapadas Limeñas. Image courtesy of Rivera (1886–1957), José Clemente Sabogal and Codesido produced a series He was influenced by Diego Rivera Museo Arte de Lima-MALI Orozco (1883–1949) and David Alfaro of watercolours illustrating the traditional (1886–1957) and the muralists Siqueiros (1896–1974), Sabogal – an costumes of the region of Cuzco. Both of Mexico. 6 artist, teacher and later the Director of artists became known for their portraits Image courtesy of Museo Arte de Pancho Fierro (1807–1879) the Escuela Nacional de Bellas Artes in and landscapes of Peru. This new visual Lima-MALI Tapada Lima – led a group of fellow students interpretation of indigenous communities 1858 at the art school, including Julia and cultures generated much interest, 3 Original illustration, watercolour Codesido (1883–1979) and Camilo which was reflected in the work of other Women’s jacket on paper; modern print Blas (1903–1985), to promote Peruvian artists and designers of the era. 1982 Pancho Fierro, like Francisco Javier art to international audiences. Wool bayeta Cortés, documented daily life and Elena Izcue (1889–1970), an artist A traditional jacket with blue appliqué activities in Peru. He made a series Sabogal was inspired by this important and designer who studied at Escuela and scalloped trim of work about the Tapadas Limeñas. period in Mexican art, when artists Nacional de Bellas Artes Bellas, carried British Museum Image courtesy of Museo Arte de were creating contemporary murals on the interest and fascination with pre- Lima-MALI reflecting the history of the indigenous Columbian artefacts. She became an Women’s skirt people. Many artists were exploring their ambassador for , writing and 1982 7 immediate environment and experiencing illustrating two books that were published Wool bayeta Reynaldo Luza (1893–1978) the richness of their own culture, rather by Rafael Larco Herrera. Izcue’s career Pleated skirt, worn as part of daily dress For Elsa Schiaparelli was international and her work met with in the central highlands of Peru November 1937 commercial success in France and the British Museum Published in Harper’s Bazaar USA. Reynaldo Luza (1893–1978) was Luza was a successful illustrator for an important illustrator and artist whose 4 international publications and was a work frequently appeared in Vogue and Women’s jacket friend of Elsa Schiaparelli (1890–1973). other international publications in the 1982 He illustrated the designer’s ‘Peruvian 1930s. Luza was a friend and colleague Wool bayeta Magic’ collection, which was inspired of Elsa Schiaparelli (1890–1973), Jacket with synthetic thread trim on the by the Tapadas Limeña of Peru. arguably the most famous and influential scalloped edge and chest decoration Collection of Terence Pepper couturière in Paris during that decade. British Museum

16 17 8 1951 16 spinning, and the regional costumes Photograph of Reynaldo Luza and Original illustration, watercolour on Reynaldo Luza (1893–1978) are depicted. Elsa Schiaparelli paper; modern print Untitled Image courtesy of Museo Arte de c.1930 Image courtesy of Armando Andrade c.1940–42 Lima-MALI Collection of Carlos Garcia Montero Luza and Museo Nacional de la Cultura Original oil painting Peruana, Lima This image was displayed in the 20 9 window of the Bonwit Teller building Elena Izcue (1889–1970) Julia Codesido (1883–1979) 13 in . Boceto par Les Enfants du soleil India José Sabogal (1888–1956) Collection of Carlos Garcia Montero Luza c.1935–39. 1932 Alcade de Pisac Original watercolour illustration; From an original oil painting 1951 17 modern print. Codesido studied at the Escuela Original watercolour illustration; modern Reynaldo Luza (1893–1978) Izcue produced a series of illustrations Nacional Superior Autónoma de print José Sabogal (1888–1956) Tapada on the techniques of weaving. Here, Bellas Artes in Lima and was an and Julia Codesido (1883–1979) c.1940 she focuses on a close-up of an artisan important member of the artistic documented indigenous costume in Peru Original oil painting weaving with a backstrap loom, while group ‘Indigenistas Peruanos’. with their collection of watercolours, on Collection of Carlos Garcia Montero Luza the woman in the foreground is spinning. Image courtesy of Museo Arte de which they collaborated as lead artists Image courtesy of Museo Arte de Lima-MALI in the group ‘Indigenistas Peruanos’. 18 Lima-MALI Sabogal had taught Codesido at the Reynaldo Luza (1893–1978) 10 Escuela Nacional Superior Autónoma La Frutera 21 Julia Codesido (1883–1979) de Bellas Artes, Lima. 1942 Elena Izcue (1889–1970) Indio de Tinta, Image courtesy of Armando Andrade and Original illustration, watercolour Maternidad 1950 Museo Nacional de la Cultura Peruana, and tempera on board. c.1923 Original watercolour illustration; modern Lima Collection of Carlos Garcia Montero Luza From an original oil painting print Image courtesy of Museo Arte de Image courtesy of Armando Andrade 14 19 Lima-MALI and Museo Nacional de la Cultura José Sabogal (1888–1956) Elena Izcue (1889–1970) Peruana, Lima India de Moche, Trujillo Escena Campestre 22 1950 c.1935–39 Leonor Vinatea Cantuarias 11 Original watercolour illustration; Original watercolour illustration; (1897–1968) Julia Codesido (1883–1979) modern print modern print Pastoras Cholita de Huarez Image courtesy of Armando Andrade and Elena Izcue (1889–1970) worked with 1944 1951 Museo Nacional de la Cultura Peruana, her twin sister, Victoria, in a successful From an original oil painting Original watercolour illustration; Lima partnership; Elena was the artist and Little is known about the artist Cantaurias, modern print designer and Victoria the artisan. Elena who studied at the Escuela Nacional Image courtesy of Armando Andrade 15 designed block-printed textiles and Superior Autónoma de Bellas Artes, Lima. and Museo Nacional de la Cultura José Sabogal (1888–1956) prints alongside her work as a painter This painting of a group of people in the Peruana, Lima India Huanca, Junin and illustrator. Andes is one of her few known works, 1950 Izcue was well known for her textile which was much acclaimed at the time 12 Original illustration, watercolour designs and her illustrated studies of of its making and was purchased by the Julia Codesido (1883–1979) on paper; modern print. museum objects. She also was interested Museo de la Nación. Unco, Paucartambo, Cusco Image courtesy of Armando Andrade and in the process of weaving. This illustration Image courtesy of Museo de la Museo Nacional de la Cultura Peruana, Lima of a country scene features a woman Nación, Lima

18 19 Woven in the sky

Traditional handwoven fabrics embody Columbian civilisations, and continue to the living history and heritage of the be an important symbol of Quechuan Peruvian highlands. Intricate textile cultural identity. patterns with expressive names such as Mayu Qenqo (meandering river) or The region of Chinchero, at 3,780 Pumac Makin (puma footprints) tell metres above sea level in the province tales of the geography and events of of Urubamba, is home to several the Andean region and its history over Quechua communities. The women of thousands of years. In 1528 the Spanish Chinchero proudly wear their handwoven colonisation of the destroyed textiles and clothing on a daily basis; and eradicated all written records of these differentiate the identity of Incan culture, which were the only their communities from others in the palpable accounts of Quechua customs highlands. The men farm the land and and folklore. Now, the only surviving harvest potatoes, barley and to testament is found between the threads feed their families and to sell at nearby of intricate textile designs woven by markets, while the women raise llamas indigenous communities of the Puna and and alpacas, which in the Andean highlands. provide textile fibres for weaving. Alpaca and llama threads are lanolin- To this day, Quechuan communities free, making them soft and insulating are the keepers of tradition and have regardless of the climate. sustained their ancient yet arduous way of life. They live and work in harmony Women spin on simple drop spindles with Mother Earth, whom they call and weave their colourful yarn on . Their unique weaving traditional backstrap looms while tending practices and patterns date back to pre- to their flock of alpacas or cooking

©Museo de la Nacion la de ©Museo 21 1 3 A backstrap loom from Cota, Awamaki Dye samples Date unknown 2019 their family’s food over a fire, just as Today – although few in number – there Alpaca, sheep’s wool Alpaca their forebears did for centuries. The are still communities that remain largely Private Collection of Mari Solari, The alpaca yarn is hand dyed with Chinchero women are regarded as unchanged in the face of globalisation. In the Las Pallas natural materials, including nogal, walnt, guardians of the cultural identity of less accessible areas of the highlands, some qaqa sunkha and lichen, creating many their communities. At the tender age villages are winning the battle to preserve 2 tones of each colour. The are then of seven, Chinchero girls begin to their customs despite the increasing Manta fixed and dipped into a hot dye bath. learn the elaborate process of weaving difficulties they face. They hold firm against 2018 Collection of Awamaki from their mothers and other women the tide of modernity, passing down their Alpaca in their families. The balance between intangible heritage and knowledge from A traditional manta woven on a 4 the financial sustainability, quality of life older to younger generations, from mother backstrap loom in the village of Huilloc, Awamaki and protection of the heritage of the to daughter, through spoken word and , in collaboration with Cochineal (cochinilla) and indigo (anil) is a delicate one. ancient craftsmanship. Awamaki. Awamaki is a cooperative 2019 – Marta Tucci that offers day visits to weaving villages A strong blood-red colour is produced to encourage and promote the work from the crushed shells of cochineal of indigenous weavers. Visitors can beetles, which lives on the Opuntia experience demonstrations of dying, cactus (Prickly Pear). Adding different spinning and weaving as well as enjoy agents adjusts the intensity of the red to a meal in an artisan homestay. varying hues of purples and pinks. The Collection of Fashion and Textile indigo plant (Indigofera tinctoria) is used Museum for a range of blues. The cloth is placed in a vat with the indigo and initially becomes green in colour. With oxidation, it changes to a dark blue; the length of time the cloth is in the dye alters the strength and the tones of the colour.

©Marta Tucci 23 Tradition and timelessness costumes of Peru

‘It is a cloth made thread by thread, by The Spanish authorities brought a general the hands of people. Each piece has its dress code to Peru, ushering in a new own life, a reflection of the spirit, skill, style of dressing among the indigenous and personal history of its maker.’ Nilda communities. These costumes were Callañaupa Alvarez also influenced by the materials and techniques that came with the Spanish The traditional costumes of Peru display colonists. A hybridisation of established a diverse range of skills, and individual traditions of weaving and contemporary garments may feature a variety of methods and textiles was seen. techniques. Each community or region Traditional techniques were valued and can be identified by the style and design continued to be practised, while Spanish of the clothing; these also indicate a textiles offered innovative ideas along person’s marital status, occupation, with the introduction of sheep’s wool and artistic skill and economic status. Daily cotton. A full costume consists of many dress differs greatly from the more garments, each of which may have its elaborate designs created for special own unique embellishment or decorative occasions, such as festivals, weddings motif. and dances. The European style of hat was introduced and popularised; these were adapted by the addition of flowers, woven braids, beads, sequins, appliqué, hand and machine embroidery, ribbons and tassels. The skirts, known as polleras, are highly decorated with embroidery and may also be bordered with woven trim. A large Andean flower is featured in embroidery in certain regions, often resembling the floral motifs seen in Far Eastern embroidery. Similarly, jackets are frequently embellished with machine embroidery, buttons, braids.

24 ©Hannah Rae Porst Hannah Rae Porst 2 4 6 Photographic hanging panels Sebastian Castañeda Vita Filigranas Peruanas Max Milligan (b.1965) 2018 Colca Traje de Chinchero (Women’s costume Untitled Porst, founder and Director of Peruvian c.2018 from Chinchero) 2003 NGO Willka Yachay, took these Photographic print Late twentieth century. Photographic print photographs of the area around her in This image features a row of women Alpaca, sheep’s wool, acrylic A close-up of women from Patacancha, Q’eros. Porst’s work in Q’eros began from Colca, southern Peru, a region of This costume comprises a montera, in the region of Cuzco. The women are in 2010 when she lived among its spectacular landscapes where visitors lliclla tejida, camisa, chaqueta, wearing hats with hand-beaded head people researching the intersection go to see the flight of the condor in principal, pollera interior, tupu and a straps, which each of them has made of indigenous culture and global the canyon near Arequipa. The clothes chumpi. Chinchero had the status of a for herself. Before marriage young girls development. She returned to help the and hats worn by inhabitants of this royal town and was fortified to defend spend much of their time decorating community with a school, and continues region are embellished with machine itself from the incursions of the enemies their personal clothes, to show off to develop innovative incentives to embroidery. of the Inca. The women of Chinchero their skills. restore and assist the community. Image courtesy of Sebastian are well known for their thousands of Image courtesy of Max Milligan Images courtesy of Hannah Rae Porst Castañeda Vita little braids that cover their backs with the famous llicllas de pallay loraipo, a 7 1 3 tissue technique of Inca origin. They also Max Milligan (b.1965) Sebastian Castañeda Vita Filigranas Peruanas commonly wear a wide black skirt and Untitled Takanakuy Traje de Acopia (Women’s costume a red wool embossed jacket, together 2001 c.2014 from Acopia) with a blue woven manta edged with a Photographic print Photographic print. Late twentieth century regional design. Chinchero is famous The chullo and headwear are a As a journalist, Castaneda Vita has Alpaca, sheep’s wool, acrylic for its high standard of weaving and its mix of Andean and Spanish traditions. covered conflicts, political and social This costume includes a sombrero, Sunday market. Collection of Leonardo The profile and shape of this man’s face crises, environmental problems and camisa, unkuna, manta, chumpi, pollera de Yampe display the pure-blooded features of natural disasters in America and the principal and pollera interior. Acopia is a true Runa, the name the Quecha- Middle East, as well as the Rohingya located on the banks of the Asnaq Qocha 5 speaking people call themselves. humanitarian crisis in Bangladesh. He lagoon, in the province of Acomayo. It Filigranas Peruanas Published in Realm of the Incas has documented a series of topics in is the birthplace of the famous Valerina, Traje de Pisaq (Women’s costume by Max Milligan Peru including: illegal mining in the known for her tragic love tale, in which a from Pisaq). Image courtesy of Max Milligan Amazon; Shining Path; the earthquake in song was written namedValicha . Late twentieth century 2007; Qoyllur R’iti; Takanakuy; shamans The costume’s skirt displays complex Alpaca, sheep’s wool, acrylic 8 of the Huaringas; and the pilgrimage to multicoloured embroidery, There is A costume including a montera, lliclla Filigranas Peruanas Cautivo de Ayabaca. Castaneda Vita’s also a long manta that hangs within tejida, chaqueta, camisa, pollera Traje de Qatsqa (Men’s costume photos have been exhibited at the Visa the smaller manta on the back; the principal, pollera interior and tupu. from Qatsqa) Pour l’Image festival in Perpignan, France, former is decorated with silver thread Pisaq is a district in the province of Late twentieth century and Photoville in New York, USA. Image on embroidered flowered cloth and Calca in the of the Incas. Alpaca, sheep’s wool, acrylic courtesy of Sebastian Castañeda Vita has braided ribbon. A sheep’s-wool It is famous for its terraces – a feat of A unique men’s fiesta costume handmade sombrero with a braid engineering – which are crowned by the consisting ofmontera con cinta labrada, completes the outfit. Inca metropolis of Inti Watana (Machu chullo, poncho, tabla casaca, chaleco, Collection of Leonardo Arana Yampe Picchu). It is also noted for its Sunday pantalon, and chumpi. The hat is woven fairs in the main square, where all the velvet with a straw base worn with a women from the area gather dressed special multicolouredchullo with an in their region’s costume. original design. The jacket and waistcoat

26 27 are encrusted with white buttons and 11 ribbons. The poncho is woven with a Filigranas Peruanas Las Vitrinas distinctive design and the trousers are Traje Varon De Fiesta de Tinta fastened with a sash. This type of outfit (Men’s costume from Tinta) is worn for the legendary pilgrimage of Late twentieth century with gold thread. 9 12 & 13 15 the Sanctuary of the Lord of Qoyllurit’i Alpaca, sheep’s wool, acrylic 1 Private Collection of (the Lord of the Snows). This costume is worn for religious 5 7 Mari Solari, Las Pallas Collection of Leonardo Arana Yampe and social festivities,fiestas , in the 3 province of Q’uanchis; it comprises six 4 9 components, including a chullo, poncho, 6 Wooden spindles with Jungles in Paris saco, chulico, pantalon and chumpi. yarn 16 10 The Seven Day Scarf This men’s costume is one of the most 2019 14 2015 recognised in the Cuzco region. It Wood and fibre Directed by Guille Isa and Billy Silva, The features a colourful chullo whose edges 2 A spindle is part of Seven Day Scarf is a film that celebrates are adorned with ornaments in various daily life and is carried Incan textile traditions. It is framed colours. The chulico is embroidered 8 everywhere so that 4 by the sprawling slopes of a valley in using the makinasqa technique, spinning can be done southern Peru where the small village over which is a white poncho with while walking around 11 of Patacancha and its customs have multicoloured embellishments. or between other jobs. remained unaltered for centuries. The Collection of Leonardo Arana Yampe Children learn to spin from sight of a dishevelled alpaca marks the 1 together with a pin, worn a young age. Spinning beginning of the weaving process for the 12 A collection of chumpis over a jacket and blouse. involves holding the yarn villagers. Skilled female weavers dye the Filigranas Peruanas Twentieth century Mantas feature a variety and gently twisting it in the wool and later criss-cross the threads to Traje Feminino de Tinta Alpaca, sheep’s wool of woven motifs, including hand as the wheel rotates, create elaborate, multicoloured textiles (Women’s costume from Tinta) The chumpi is a belt people, flowers, spiders, so as to thin the thread using the ancestral knowledge of the 1980 worn by both men and birds, fish, the sun or and make it ready for Incas. Alpaca fibre, sheep’s wool, acrylic women around the waist. moon, lizards, snakes and weaving. Courtesy of Nowness This costume is worn for religious and These examples are from llamas. Private Collection Collection of Fashion and social festivities, fiestas, in the province Cotabambas, in Apuirmac. of Mari Solari, Las Pallas 10 of Q’uanchis; it comprises seven Private Collection of Mari Mario Testino (b.1954) garments, including a montera, lliclla Solari, Las Pallas 3 5 ALTA MODA tejida, chaqueta chumpi, two pollera and Festival waistcoat from A collection of chuspas 2007–10 tupu. 2 Junin Late twentieth century Photograph The jacket and the manta that covers Women’s mantas Twentieth century Alpaca, sheep’s wool Peruvian photographer Mario Testino the head have intricate embroidery Late twentieth century Wool, metallic threads, The chuspa (Quecha for made a series of images called made using the technique known as Alpaca, sheep’s wool sequins, stones purse or bag) is a small ALTA MODA, highlighting the costumes makinasqa. The outfit is worn with a A collection of women’s Made from red wool bag that can be tucked from the region of Cuzco. rectangular hat adorned with assorted mantas, mainly from with a purple border, this into the waistband or British Museum ribbons with gold stamped designs. the regions of Puno waistcoat features highly belt. It may be knitted or Collection of Leonardo Arana Yampe and Cuzco. Mantas are detailed embroidery, with woven and decorated with worn in everyday life. two peacocks forming the tassels. Highly decorated They are wrapped over central motif within a floral chuspas are reserved for the shoulders and held design and embellished festivals, while simpler

28 29 ones are used every day, with the artist Frida Kahlo 9 12 9 12 & 13 15 primarily for coca leaves. (1907–1954), who1 owned Dolls Silver pins (tupu) 5 Private Collection of Mari a large collection of them. c.1950s 7 Early twentieth century Solari, Las Pallas Private Collection of Mari Alpaca,3 sheep’s wool Silver Solari, Las Pallas These knitted male and Tupu is a Quechua term 6 6 female dolls are in full for pin (alfiler in Spanish). shawl 7 costume, and carry a baby 16 Women in the Andes 10 c.1930–40s Backstrap loom and a panpipe instrument. 14 have used these pins to Cotton This small loom is from Dolls, as toys or as fasten their garments for 2 The pana, or panos, is a the area of Ollantaytambo, magical-religious objects, centuries, and especially shawl woven in the region where the cooperative have been known in Peru to secure their mantas. 8 of Cajamarca. These Awamaki works with for4 thousands of years. Collection of Hilary Simon rare garments are found groups of artisan weavers. Even when they were only in this northern area Courtesy of Awamaki intended as playthings, 11 13 of Peru, and are woven the dolls also had an Milagro with ikat designs. Ikat is 8 educational function. Early twentieth century a resist dyeing technique Women’s hats They were differentiated Hat Hat Silver used on the yarns prior 2018 by gender, age and social Early twenty-first century Early twenty-first century A milagro, also known to weaving to create Alpaca, sheep’s wool, hierarchy, and represented Sheep’s wool, braids, Felt with cotton as an ex-voto, is a patterns in the textiles. cotton, silver braid everyday activities. hessian embroidery and braids religious folk charm that The pana may have a long These women’s hats Collection of Fashion and A flat hat from Huilloc, of synthetic thread. This is traditionally used for fringe made with a (monteras) from Pitumarca Textile Museum with an upturned red wool decorative structured hat healing purposes and as a knotted lace technique, are adapted from Spanish brim. The top of the hat from the Ayachucho region votive offering in areas of and personalised with the styles. The size, shape and 10 has a central cross and features an upturned front and parts of name of the owner and decoration vary from one Hat braids. brim. Collection of Martin the Iberian Peninsula. They her special dates, along place to another. Simple Early twenty-first century Collection of Martin Morales are frequently attached to with heart motifs. It is a hats are worn during Felt, embroidery threads Morales altars, shrines and sacred special token of affection daily activities, while This hat from the Colca 11 objects found in places given to a loved one. A highly decorated versions region is made from Hat Sandals of worship, and may be pana is characteristically are reserved for special machine-embroidered Early twenty-first century 2018 purchased in churches cream on indigo or indigo occasions and festival felt and has the small brim Felt Rubber and cathedrals or from on cream, often with days. Collection of Fashion typical of the area. It forms This hat is in stiff brown These sandals, known as street vendors. Collection repeated floral designs. and Textile Museum part of the traditional felt with coloured ajotas, are worn by both of Dennis Nothdruft This type of shawl is also outfit, which is also heavily trimmings, and its shape men and women; they are found in and in machine embroidered. is designed to protect the made from used tyres and Mexico, where it is known Collection of Martin wearer from the sun, wind other kinds of recycled as a . The rebozo Morales and rain. rubber. Collection of is commonly identified Collection of Martin Fashion and Textile Morales Museum

30 31 13 15 Filigranas Peruanas Filigranas Peruanas Traje Chawaytire (Women’s costume Traje de Chumbivilcas (Women’s from Chawaytire) costume from Chumbivilcas) 14 15 16 Late twentieth century Late twentieth century Festival jacket from Junin from Puno Hat Alpaca, sheep’s wool, acrylic Alpaca, sheep’s wool, acrylic Date unknown 2018 Early twenty-first century A costume including a montero con This fiesta costume includes amontera, Velvet, cotton, metallic Stiffened material, rayon Felt sarcillos, lliclla tejida, chaquet, blusa, lliclla tejida, chaqueta, pollera, chumpi threads trim In the chumpi, pollera principal, pollera interior and a fine wovenmanta , typical of the Made from wine-coloured This type of hat is worn by bowler, known as a and tupu. The region of Chawaytire is area. The jacket is bordered with braids; velvet and featuring a two- (the vast majority bombín, has been worn nestled in the high mountain ranges, the hat is distinctive in its flat shape with headed condor coming of Spanish-speaking Latin by Quecha women since where the young women and men opening on the front brim. The manta out of a heart (Corazon), Americans are regarded the 1920s, when it was sing songs to nature with verses about is worn under the hat, covering the hair. this jacket is heavily as mestizos, or multiracial). introduced by British suffering from the cold and the icy wind A plain skirt, edged with pink trim, embroidered throughout The hats are widely worn railway workers. The at high altitude. This is afiesta outfit is worn with a white underskirt. with metallic thread and is in the regions of Cuzco style is commonly worn worn by the women of Chawaytire. Collection of Leonardo Arana Yampe decorated with a tasselled and Puno by women who throughout Peru Machine embroidery edges the jacket silver border. The cowl own a more Westernised as standard dress. and there is an embroidered cloth with 16 neck is in grey velvet mix of clothing. Collection of Martin a fringed edge that lies over the hat, Filigranas Peruanas with petals and flowers. Collection of Hilary Simon Morales which has numerous beaded straps. Traje de Pitumarca (Women’s costume Private Collection of Collection of Leonardo Arana Yampe from Pitumarca) Mari Solari, Las Pallas Late twentieth century 14 Alpaca fibre, sheep’s wool, acrylic Filgranas Peruanas A woman’s costume comprising a Traje de Tambobamba (Women’s montero con sarcillos and cinta labrada, costume from Tambobamba) lliclla tejida, chaqueto bordado with Late twentieth century pins, pollera principal, pollera interior Alpaca fibre, sheep’s wool, acrylic and tupu. This costume has a detail of This costume consists of a sombrero, beads sewn diagonally on the jacket lliclla tejida, chaqueta, chumpi, pollera sleeves and front panels. The coned principal, pollera interior and tupu. flat hat has straps edged with beads Tambobamba is the capital of the and is worn with a large manta with province of Cotabambas in the Apurímac border designs. During the Inca period, region. The cream wool hat is worn with textile art played an essential role in an intricately patternedmanta . The establishing trade relations: the fine jacket is embellished with small coloured cloth called cumbi or ccompi, produced buttons and edged with embroidery. by the weavers of Pitumarca, was used There is a wide woven belt, a blouse with to reward outstanding individuals. For a frilled front and hem, and a skirt with the Inca, the weavings constituted a a patterned border. There is a large pin significant tribute and therefore they to hold the manta in place. were worked on by both men and Collection of Leonardo Arana Yampe women. These textiles reached a high

32 33 level of technological sophistication. The main fibres of the region – cabuya, Martín Chambi: the camelid and cotton – as well the designs and the use of the backstrap looms, photographer of the people helped to produce very fine fabrics. Collection of Leonardo Arana Yampe (1891–1973)

17 Francisco González Gamarra (1890–1972) Born into a Quechua-speaking that his first postcards were published. A selection of watercolour illustrations; community in Puno, southern Peru, In 1920 he relocated to Cuzco and modern prints Martín Chambi (1891-1973) was one of established the Chambi studio. Here he c.1930 the first photographers to make portraits photographed the contrasting worlds Francisco González Gamarra was a of the of the Peruvian of aristocratic, wealthy families and painter, composer and humanist. Born Andes. These images, along with his indigenous people wearing traditional in Cuzco, Gamarra’s family was involved photographs of Andean landscapes, were costumes. He travelled frequently to the in the arts: his father was a painter and sold in the form of postcards. Andes and photographed the everyday his mother a musician. Gamarra first life of the communities as well as Incan studied at the Universidad Nacional Chambi’s father went to work in a gold ruins and Andean natural landscapes. His San Antonio de Abad in Cuzco. In 1910 mine in Carabaya (a small province in pioneering work revealed Andean culture he won a competition to work as a Puno) and Chambi accompanied him. A to the world, and was noteworthy for the cartoonist for the magazine Variedades documentary photographer was located dignity with which he portrayed the in Lima. There he continued his studies at the site. Chambi took an interest in the people. at the Universidad Mayor de San Marcos photographer’s work and learned basic de Lima. He served as President of photographic techniques from him. This During his lifetime, Chambi exhibited his the Sociedad Peruana de Bellas Artes early experience led to Chambi pursuing work in a number of galleries in Lima and between 1939 and 1945, and actively photography as both a passion and a Arequipa; he also had exhibitions in La promoted the arts in Lima. In the 1950s profession. Paz, (1925) and Santiago, Gamarra was appointed Director of the (1936). He worked as a photojournalist for Escuela Nacional de Bellas Artes de In 1908 Chambi moved to the city of the Peruvian newspaper La Crónica, for Lima. In 1937 he proposed the ‘Teoría Arequipa, where he was apprenticed to the Variedades and Mundial magazines, del Arte Peruano’, a statement of love for the photographer Max T. Vargas (1874– and for the Argentinian newspaper La the Peruvian arts. As part of his love for 1959). Chambi opened his own studio in Nación. In February 1938 he published the traditions and culture of the arts of Sicuani in 1917, the same year photographs in the National Geographic his native country, Gamarra painted a set magazine. Chambi’s images gained much of illustrations depicting the indigenous recognition after his death. In 1979 the peoples of the Cuzco region. Museum of Modern Art (MoMA) in New Private Collection York held a retrospective of his work. Today his work is held in the Martín Chambi Archivo Fotografico, based in Cuzco, and continues to be exhibited.

34 35 1 4 5 6 Martín Chambi (1891–1973) Men’s costume Women’s costume Men’s costume A collection of original postcards Twentieth century Twentieth century c.1930–50 c.1920s–40s Cotton, palm leaf fibre Cotton, beads, metal ornaments Cotton All the images on these postcards are This men’s costume from the Ashaninka This women’s costume is from the This long tunic from the Amazonian gelatin silver prints by the acclaimed consists of a woven cottoncushma and a Shipibo-Konibo people and includes region is called a cushma, and is worn photographer Martin Chambí, who woven palm leaf fibre headdress. a traditional Shipibo-style blouse and with a headdress. The Shipibo-Konibo sold and distributed the postcards to The cushma is traditionally woven woven skirt. On display here are two are an indigenous people who live the tourist trade in the Cuzco region. by women on a backstrap loom. This styles of Shipibo headdress, a beaded along the Ucayali River in the Amazon Collection of Bill Blair intricate garment can often take up to neckband, a beaded breast plate rainforest. Formerly two groups, the three months to complete. The cotton is necklace with metal ornaments, beaded Shipibo and the Konibo, they eventually 2 either grown in gardens or collected from and woven wrist bands, and a woven bag. became one distinct tribe through Paul Yule (b.1956) the forest. Both sexes of the Ashaninka The skirt, or chitonti in Shipibo, is a intermarriage and communal ritual. Martín Chambi and the Heirs of the Incas wear cushmas: a man’s cushma has a woman’s most traditional item of clothing. Collection of Chiara Macchiavello 1986 triangular neckline, whereas a woman’s It is made from handwoven cotton and Film has an oval opening that cuts across the decorated with personal motifs. As with This BBC documentary about the life shoulders facilitating breastfeeding. a man’s cushma, it is produced on a 7 and work of Martin Chambí (1891–1973) The Ashaninkas decorate their cushmas horizontal loom and decorated with Women’s costume features some of his most stunning with a variety of seeds and other items. either painted or embroidered motifs. Early twentieth century photographs. Paul Yule has made To the Ashaninka, wearing a cushma is The blouse is a self-tailored Spanish Synthetic materials, cotton, metallic numerous films, includingIquitos (1988) what makes them human and is the fur of design made from commercial cotton braids and Our God the Condor (1987), about the human body, akin to the coat of the fabric. The blouses that are worn today This costume is from Lampa, Puno, and Peru and its traditions. jaguar or the patterned skin of the boa. reflect the influence of missionaries, and consists of a jacket, skirt and hat, all of Courtesy of Paul Yule Cushmas go through life cycles, with a the women like to wear them in bright which are appliquéd. new one having a white or natural cotton contrasting colours, which symbolise the Collection of Mari Solari, Las Pallas 3 colour, which in mid-life is then dyed sun and the moon. Women’s costume brown, while the oldest are dyed black. The belt is made from white glass beads Early twenty-first century The flat palm-leaf headdress is worn only that are strung on several long lengths of Synthetic material, cotton by men. cord bound at both ends to form rings This machine-embroidered costume Collection of Professor Richard Bodmer with which to fasten it around the waist. from the Colca region was acquired by Symbolising wealth and motherhood, it is Soledad Mujica, the Director of Intangible generally worn by women after puberty. Heritage at the Ministry of Culture, in Collection of Professor Richard Bodmer Peru. Mujica inaugurated Ruraq Maki: Hecho a Mano, the most important artisan fair in Peru, which brings together 130 collectives of master craftsmen twice a year to sell their popular and traditional art. The aim of the fair is to highlight the unique value of each artisan piece, its history and its meaning. Collection of Soledad Mujica

36 37 38 39 1 A Rum Fellow Contemporary fashion Toni Frissell (1907-1988) Wall hanging, commissioned for Model with llamas – Cuzco, Peru Weavers of the Clouds 1952 2019 Like the Indigenistas Peruanos, embellishments such as buttons, woven Fashion photograph Sheep’s wool contemporary Peruvian fashion designers trim and beads, which can be transferred Published in Harper’s Bazaar. Jan 1952 A Rum Fellow designed this geometric have looked to their own culture for and made fashionable in a context that Library of Congress wall hanging with the cooperative inspiration. Unlike those associated with attracts new customers and highlights Threads of Peru in Cuzco, together with earlier movements, these designers work indigenous and historic crafts. 2 artisans in the region. This is an example with indigenous artisans, collaborating A Rum Fellow of the numerous collaborations in which in and engaging with traditional skills In a fast-changing world, the challenge Cushions commisioned for A Rum Fellow is involved, creating works shared from a rich culture and heritage. is how to sustain a cultural and visual Weavers of the Clouds of art by bringing together the talents By investing in local craftsmanship, identity that has been historically well Cloud Fall 2 of artists and artisans. these contemporary creatives are documented. In an industry that relies Woven by Herminia Sayo Huaman and Collection of A Rum Fellow providing a valuable source of income on novelty and change, these designers Deonicia Quispe in communities, which is revitalising the are attempting to encourage artisan Hand dyed sheep's wool 3 historic crafts of Peru and producing a communities to preserve traditional and A Rum Fellow is a -based studio Meche Correa distinctive approach to Peruvian design. sustainable methods and to empower the dedicated to artisan textiles and to Ensemble emerging talent to continue using these creating statement pieces for interiors. 2013 The designs shown here have developed labour-intensive skills. The world is Founded by designers Caroline Lindsell Net, cotton, silk from the wealth of inspiration provided looking to the fashion industry to and Dylan O’Shea, the studio explores This ensemble features a black dress with by experienced practitioners and take responsibility for the fast-fashion the heritage craft techniques of Peru and an elaborate encrusted embroidered numerous artisans. Each region’s movement that is destroying communities reinterprets them in their house style of wrap, shown with a black tulle skirt distinctive skill set, incorporating specific and the environment. Here we have intricate pattern and vibrant colour. and a flowered headband. Correa is an handmade practices, contributes to an alternative approach for the ethical Courtesy of A Rum Fellow ambassador for Peruvian fashion; she these contemporary looks while being production of clothing. actively promotes art and culture, and unique to Peru. Collections have explored A Rum Fellow encourages the development of working embroidery, specialist weaving from a Wall hanging commisioned for relationships with artisans in many certain area, knitwear, crochet, beading Weavers of the Clouds diverse communities throughout Peru. and appliqué techniques. Commonly Cloud Fall 1 Collection of Meche Correa featuring in Peruvian costume are Woven by Hilda Tito and Gregoria Mamani 4 Hand dyed sheep's wool Meche Correa A Rum Fellow designed the interior Ensemble for Casita Andina restaurant in Soho, 2013 London, for Martin Morales, founder Cotton, net of the Ceviche and Andina restaurant This dress design is a classic, with large groups. The theme for Casita Andina was Andean flowers on the wide border of its Peruvian textiles, which are used for the skirt; a bag and bright felt hat complete seating and tables. The lampshades have the look. Correa aims to combine the woven trim borders, which are echoed essence of Peruvian traditional clothes here in this setting. with a contemporary approach. Courtesy of A Rum Fellow Collection of Meche Correa

40 Griesinger page: ©Awamaki/Brianna Previous 41 5 8 ESCUDO label, which uses Peruvian designers and consumers craving the Meche Correa Mozh Mozh raw materials, with the aim of helping to look and feel of natural fibres in lieu Ensemble Ensemble rescue the textile heritage of Peru. of chemical-laden synthetics. 2013 2018 Autumn/Winter collection Collection of ESCUDO-Chiara Collection of Alessandra Petersen Cotton, net Alpaca, cotton, beads, sheep’s wool Macchiavello Correa’s look consists of a skirt with The jacket is of wool, woven in the multicoloured embroidery, a plain top south of Peru, featuring a patchwork 11 Dress and a floral headband. of different colours and weaves. The Chiara Macchiavello 2018 Spring/Summer collection Collection of Meche Correa trousers are woven in cotton on a Ensemble Organic cotton backstrap loom in Cajamarca, where 2019 A hand-knitted organic cotton macramé 6 the weaving is of the highest quality. Cotton, baby alpaca dress that took two women artisans in Meche Correa The crew-neck jumper, hand spun and A look consisting of theElena dress in Peru six days to complete. Ensemble dyed with natural plants in Lambayeque, a two-tone knit, and theTucan jacket, a Collection of AYNI 2013 has a beaded flower design by the knitted, fringed cardigan. Macchiavello Net, brocade, embroidery with gold Shipibo women of the Amazon. combines traditional techniques with 14 thread Collection of MOZH MOZH by contemporary designs that have a Gabriella Cortese (b.1965). An extravagant look comprising a wrap Mozhdeh Matin worldwide following. Ensemble embroidered with large flowers in gold Collection of ESCUDO-Chiara 2010 Autumn/Winter collection thread, worn with a skirt of black tulle 9 Macchiavello Alpaca and a golden floral headband. Mozh Mozh This ensemble by Cortese for her label Collection of Meche Correa Ensemble 12 Antik consists of a knitted cardigan, 2018 Spring/Summer collection Chiara Macchiavello knitted dress, bag and Peruvian hat. All 7 Cotton Ensemble of Cortese’s knitwear is knitted by hand Mozh Mozh This look from Mozh Mozh features a 2019 in Peruvian workshops using materials Ensemble poncho, woven on a backstrap loom, with Cotton like cotton and alpaca fibres. Cortese 2018 Autumn/Winter collection a design of small flowers. The beaded top The Urpi cardigan is handwoven in and photographer Thierry Le Gouès Cotton, baby alpaca was made using a macramé technique, cotton with fringing on the front seams; travelled to Peru to photograph the An ensemble of a long jacket, trousers inspired by the work of the Shipibo. it is worn with the Pancha skirt. label’s Autumn/Winter 2010 collection. and bag. The jacket and trousers were Collection of MOZH MOZH by Collection of ESCUDO-Chiara This resulted in a colourful editorial woven on a backstrap loom and feature Mozhdeh Matin Macchiavello campaign with models interacting with a rainbow colourway with a dark over- local children, men and women around lining. The jacket’s lapels have frayed 10 13 Cuzco and Lake Titicaca. edges, stitching details and a rainbow Chiara Macchiavello Alessandra Petersen Collection of Antik Batik underlay. The bag is edged with baby Ensemble Jacket alpaca, and the embroidered trees and 2019 2018 15 flowers in the centre have been created Suri alpaca, wool, cotton Alpaca Vivienne Westwood (b.1941) using a patchwork technique named This women’s ensemble consists of a The Hawk is an ombré jacket of 20 Ashaninka-inspired cushma with hat arpillera. chillon gillet in a handwoven material colours. Alessandra Petersen participated and bag Collection of MOZH MOZH by that has been hand embroidered. It is in the pop-up shop ‘Passport to Peru’ 2015 Mozhdeh Matin worn with bomba trousers and a bomba at Bergdorf Goodman, New York, in Cotton, fibre hat top. Designer Chiara Macchiavello October 2018, along with ESCUDO, This look from Vivienne Westwood’s studied at Central St Martins School Meche Correa and AYNI. Alpaca has Gold Label Show was inspired by her of Art in London. She founded the emerged as a viable alternative for time in the rainforest with the Cool Earth

42 43 project. ‘We combined it with influences alpacas, birds, ducks, bats, turkeys, deer, of the Ashaninka tribe in Peru, which condors, houses, cornflowers, stars, we visited in 2013. They are wonderful eyes, foxes, native plants, mountains, people who care about the forest, which lagoons, parrots, dogs, Andean geese is their home. They are kind and elegant.’ Huallata, hummingbirds and owls. – (Vivienne Westwood, 2015) Collection of Awamaki Collection of Vivienne Westwood 19 16 Mario Testino (b.1954) Naeem Khan (b.1958) Trail Blazers 2018 2008 Silk satin, velvet, beads Photographic print From the Qosqo Collection Testino photographed a series of fashion Naeem Khan visited Peru during 2017 photographs in Cuzco with the models as a guest of Lima Fashion Week at the Lily Donaldson and Daria Webowy. invitation of Prom Perú. The New York- Collection of Beatriz Barclay based designer presented his Cuzco- inspired collection at New York Fashion 20 Week. Toni Frissell (1907–1988) Collection of Naeem Khan 1952 Frissell travelled throughout Peru 17 and Mexico. Her fashion shoots Naeem Khan (b.1958) mixing contemporary styles with the 2018 landscapes, urban settings and people Silk, sequins, beads of these countries were highly regarded. From the Qosqo Collection Published in Harper’s Bazaar, 1952 Naeem Khan is an Indian-American Collection of Terence Pepper fashion designer best known for his ornate and intricately detailed gowns. 21 Khan’s designs are a fixture on the Ester Ventura red and he has dressed many Homenaje al Magnífico pavo real celebrities. (Homage to the Magnificent Peacock) Collection of Naeem Khan 2018 Silver, turquoise beads, coconut 18 This necklace is made from tulle Kelkanka community textile woven in silver, embellished with finely 2019 polished coconut sheets and tiny Alpaca turquoise beads. Ventura’s work reflects Project of 21 weavers in the community many aspects of Peruvian culture and of Wakanquilla Kelkanca her designs have been at the forefront Each of the 21 weavers took images from of Peruvian style. their daily life and wove a piece that Collection of Ester Ventura illustrates them. Images include llamas,

44 Congress ©Library of 45 Awamaki

Awamaki is a non-profit organisation in Awamaki was founded to give these Peru that connects artisan women in women the opportunity to earn a living the Andes to global markets. Awamaki while encouraging them to continue provides training in product development, practising traditional crafts. business skills and leadership. Artisans have the opportunity to share their Today, the majority of artisans who have culture and sell their crafts to tourists been in the programme for at least seven through Awamaki’s sustainable years earn the same or more than their tourism programme. They collaborate husbands. They invest in the health with international designers to make and education of their families, and are contemporary handmade accessories building a prosperous, sustainable future and to access markets throughout the for Quechua villages in Peru. world. Awamaki’s guiding principle is that income in the hands of women is Awamaki is based in Ollantaytambo, Peru, the best way to help families to be self- in the heart of the Sacred Valley of the sufficient. In the rural Quechua villages Inca. It welcomes volunteers, tourists and where Awamaki is established, men others in support of its work. leave to work in the tourism economy, – Kennedy Leavens, Founder of Awamaki while women stay in the village to care for farms, homes and children. Although highly skilled in traditional crafts, most women do not read, write, speak Spanish or have any way of earning money. Meanwhile, as the rural economy has shifted towards paid labour, traditional textile arts such as spinning, plant dyeing and weaving have experienced a decline.

46 Griesinger ©Awamaki/Brianna 47 1 3 Echoes of Peru Cecilia Paredes (b.1950) Maricruz Arribas (b.1954) Celestial Blue Sculptural piece 2016 2019 Many contemporary artists and designers Maricruz Arribas is an artist and Feathers Yarn, wool, metal are in a continuous dialogue with Peru’s sculptor known for her contemporary For millennia feathers have been a Arribas, a sculptor and painter, creates rich heritage of textiles. Responding to interpretation of the ancient form of significant material in Peru: in the works exploring Peruvian identity. He freely this history in their work, they can explore the quipu. Arribas’s quipu is made with rainforest areas for dress, and in the interprets Peruvian elements from different and experience their culture. Reflecting cords, threads and recycled materials. pre-Columbian tunics of Nazca. This contexts, combining the contemporary with Peruvian culture, the pieces on display The quipu played an important part sculptural work by Peredes reflects the pre-Columbian. The artist has spent here have been influenced by these in communication within indigenous Peruvian culture and traditions. much time developing works on the theme textile traditions, each artist and designer communities. A pattern of knots was Collection of Cecilia Paredes of the quipu. Collection of Maricruz Arribas interpreting them through their own made along lengths of cords; these preferred medium. patterns would be read and understood. 2 4 This method of knotted records was used Ena Andrade, Chiara Macchiavello Vacide Erda Zimic Cecilia Paredes is a Peruvian multimedia by the Incas and other ancient Andean Tapadas Limeñas – Ladies of Untitled artist currently living in Philadelphia, cultures to document and to preserve Lima Dress 1560–1850 Sculptural piece where she is a visiting professor at the records, and to communicate social and Photographic print and three 2019 University of Pennsylvania. Peredes’s political information. Felt, beads, stones, threads, cotton art references the feathers that are 2019 In this work, Zimic has responded to a components of the tunics of the Nazca Vacide Erda Zimic is a sculptor and ‘This project looks into the identity of the fragment of pre-Columbian border textile, and the costumes of the Amazonian jeweller who works with felt. She has covered women of Lima at the time of worked three-dimensionally in cross-knit rainforest. On display here is a piece from studied three-dimensional cross-knit the viceroyalty of Peru and the first years looping. Her artistic practice includes a series of works titled ‘Celestial Blue’. fragments from Nazca that were typically of the Republic. They became known jewellery and textile design, ceramics and used along borders and often feature by this name because of the silk shawls painting. Collection of Vacide Erda Zimic figures, animals, birds and flowers. The with which they covered their heads graphic designer Ena Andrade draws and faces, exposing only one eye. First On staircase: inspiration from the Tapadas Limeñas, documented in 1560, the style extended Marilya Hinostroza Gonzalez a group of women in Lima whose well into the nineteenth century. In Wamlas de Wacrapuquio – Girls of distinguishing garment was a black shawl. the body of the Tapadas Limeñas, the Huacrapuquio (in Huancayo region, These shawls covered the face and head feminine revolution of the freedom of Central Andes) 2010 completely apart from one eye. Andrade’s action and expression is produced, Oil on canvas work reconceptualises the iconic shawl political positions are communicated, Marilya Hinostroza Gonzalez was born in for contemporary life. and restrictive challenges attributed to Huaylarsh, an area in the southern part of gender (sex) and the identity of their the Mantaro Valley. The painting shows two time are challenged. It could be said that salerosas, happy, proud women of their through the tapada the woman found an land, wearing the typical costume of the object for social discourse.’. region. The outfits worn by theWamlas Creative Director: Ena Andrade and feature magnificent hand-embroidered Chiara Macchiavello. Photographer: Ivan flora and fauna, as is characteristic of the Salinero. Stylist: Lía Lazaro. Collection of embroidery of this area. Such outfits are Ena Andrade and Chiara Macchiavello worn during the carnival season in February and March. Collection of Martin Morales

48 49 1 4 Chelsea College Ella Wall Kaidi Ning KUNA winner in Knit The Lines of Art and KUNA Walls 2018 2018 Alpaca, sheep’s wool Knitted panels Inspired by the landscape, rock The innovative and internationally Students were introduced to the Inspired by stonework at Sacsayhuamán, formations and the brown hues of Cuzco, recognised textile course at the Chelsea exhibition and project by the curator of where the blocks fit perfectly next to one the collection reflects the ecology and College of Arts encompasses a range of Weavers of the Clouds, Hilary Simon. another, form, shape and structure are rural landscape of the Peruvian Andes. techniques – weave, knit, stitch and print The panel of judges included the explored through knit. The colour palette – and engages in projects around the former Peruvian Ambassador Susana combines the vibrancy of traditional 5 world. In celebration of Weavers of the de la Puente, Dame Zandra Rhodes and Peruvian dress with the more muted Yujiao Kong Clouds, a special project was developed Riccardo Rami, Director of Riccardo Rami tones of the landscape. Frills to explore Peruvian culture and the Studio, Italy. 2018 alpaca fibres that are a feature of the 2 Alpaca, sheep’s wool textiles of the region. A large number of Chelsea students took Naphat Sinitrat Dragon-scale patterns, such as those part in the project; the outcomes were KUNA winner in Weave seen on fire figures in ancient Chinese The project was supported by KUNA wide-ranging, deeply researched and Amazon paintings, are combined with Peru’s Incalpaca, world leaders in the well-thought-out. The high standard of 2018 traditional frilled skirts. The bag is an production and manufacturing of work and the huge diversity impressed Woven samples important item in Peru and the colour garments made from alpaca and vicuña. the judges, who reached a unanimous Playful combinations of weave, dye palette explores the relationship between The company is based in Arequipa, Peru, decision resulting in the selection of and print processes, such as ikat and black and other colours. and company directors Samuel Revilla Naphat Sintrirat, working in weave, sublimation print, create a new layered and Luis Chavez provided alpaca fibres and Ella Wall, working in knit, as the visual language that communicates 6 for the student work and offered the two prizewinners. Eleven students’ work was concerns about deforestation and Eloise Mercer selected winners a month’s internship chosen to be displayed in the Weavers species extinction and suggests In Praise of Shadows with KUNA in Arequipa. of the Clouds exhibition. As well as alternative narratives. 2018 the work by Sintrirat and Wall, the Alpaca, sheep’s wool projects include Eloise Mercer’s weave 3 Using ancient Incan constellations and interpretation titled In Praise of Shadow; Anggraini Stiady the notion of tracking the movements of Madison McGlennon’s research inspired -inspired Knitting the sun with lines, this project explores by the floating islands of Lake Titicaca; 2018 tonality and gradation, asymmetry, stripe Anggraini Stiady’s knitted cardigan and Alpaca, sheep’s wool and block to create light and shadow Kaidi Ning’s knitted piece depicting the Constructed knits in alpaca and vicuña, compositions: both luminous and dark. landscape, reflecting the tradition of inspired by the Moray landscape and knit in Peruvian culture; Yujiao Kong’s the Inca’s experimental agricultural intricately constructed bag; Lucy White’s techniques, which make use of subtly painted backdrops inspired by the different levels of altitude and Martín Chambi; Yanyu Shu’s art book; Lily microclimates to create vibrantly Way’s designs featuring woven trim; and coloured harvests. Cordelia Blair- Strickland’s embroidered floral designs on fine trim.

50 51 7 10 Lily Way Madison McGlennon A Thread: Communicate Hidden in Plain Sight 2018 2018 Contemporary Art of Peru Alpaca, sheep’s wool Alpaca, sheep’s wool Taking inspiration from the ‘quipu’, A striped alphabet, as a woven code, used by the Inca people as a means raises awareness of the negative of collecting and recording data before impact of tourism on Lake Titicaca’s This display in Weavers of the Clouds The viewer is invited to enter a dream written language existed, Way explores fishing industry. The peak season features the artwork of 17 Peruvian state through the creations of talented, modern methods of communication results in overpopulation and leads artists who either work with weaving multidisciplinary artists who find their through signage and patterns found to uncontrollable waste and heavy and embroidery techniques or interpret inspiration from numerous sources: from in everyday life. pollution of the lake, as well as the aesthetic of Peruvian textiles and the most basic traditional craftsmanship endangering native fish. costumes in their own artistic medium. to the elaborate ceremonial mantle 8 or folkloric costume. Their creative Cordelia Blair-Strickland 11 Peruvian textiles are part of a legacy process becomes a representation which Order and Disorder Lucy White that dates back more than 7,000 years. recreates a poetic language of great 2018 Line Their fineness and quality are a testimony expressiveness. Alpaca, sheep’s wool 2018 to the patience and skill of the ancient Felt-backed embroidery samples with Alpaca, sheep’s wool weavers. It is with this same patience Alongside examples of traditional weaving sketchbook watercolour painting Inspired by the backdrop of Martín and skill that contemporary artists have and costumes that are still worn in Blair-Strickland combines the strong Chambi’s Cuzco photography studio, created a new language that combines Peruvian regions, sculpture, painting, linear designs, patterns and textures Line observes and values the nuanced traditional techniques with contemporary photography, installation, mixed media found in traditional Peruvian woven beauty brought about by time and materials such as nylon, copper, wire, and tapestry have been grouped to show textiles with studies of Peruvian tradition, drawing on patterns and photographic paper and thread. how versatile contemporary art can be wild flowers, dye plants and qualities that repeat throughout the when inspired by ancient textiles from stitch techniques. photographer’s work and the lives the pre-Columbian period. of the people of Cuzco. 9 This exhibition allows us to reflect on Yanyu Shu the practice of weaving and embroidery, After Life the manipulation and transformation 2018 of textiles, the flexibility of non-textile Alpaca, sheep’s wool materials, and the artistic techniques Inspired by Peruvian burial culture during that contemporary Peruvian artists the pre-Columbian period, the funerary implement to create a new medium. objects represent ancient Peruvian We may also begin to understand the views on the ‘afterlife’. Shu uses modern value of traditional textiles and costumes, physics theory, such as four-dimensional which are still such an important legacy space and time travel, to imagine what in many communities in Peru today. the ‘afterlife’ will look like.

52 53 1 6 12 Love what Coming Soon: Mariella Agois Leslie Spak Ximena Garrido Lecca 2019 2018 2013 we do? Make Zandra Rhodes – Manto Girls A Gross of Chullos a difference: 50 Years of Fabulous Acrylic on canvas Woven threads Hand-coloured photocopy on accountancy paper. 2 7 Series of 144, each one The Fashion and Textile Museum 27 September 2019 – 26 January 2020 Lizi Sanchez Nani Cardenas unique receives no public funding. We In celebration of five decades of iconic 2019 2018 offer a programme of changing design, the Fashion and Textile Museum Extranjera, Extrana, Metal Bodies: 13 exhibitions, courses and events is proud to present Zandra Rhodes: Stranger Tights I and II Marina Garcia Burgos relying on self-generated income 50 Years of Fabulous – the largest-ever Acrylic on aluminium foil Woven stainless steel 2015 to continue our work. homage to a member of British design Fiesta de Moquegua royalty and founder of The Fashion and 3 8 Digital print on How can you help the Museum? Textile Museum, Dame Zandra Rhodes. Jesus Pedraglio Ishmael Randall Weeks Hanhnemuhle cotton – Join our mailing list 2019 2017 paper – Donate £1 in our foyer box This comprehensive retrospective will Inka space Excavation Annotations – Say ‘thank you’ to one of our traverse fifty years of a fascinating and Thread and copper Acrylic Gel Transfers, 14 40 volunteers varied career. Mineral Copper and Ana Cecilia Farah 4 Silver, Electroplated 2019 Follow us: Kylla Piqueras Copper and Wood Contemporary Textile II @FashionTextile 2015 Print on bronze sheet @fashiontextilemuseum Dark night of the soul 9 /fashionandtextilemuseum Mixed media on traditional Marisol Malatesta 15 sheep’s wool skein 2019 Cristina Colichon ftmlondon.org Series Primitive Passions 2018 5 Two woven, painted Unraveled serie Ana Teresa Barboza papers, Two glazed Woven alpaca and copper 2019 terracotta Trama Discontinua 16 Woven on loom with 10 Cecilia Paredes cotton threads dyed Fatima Rodrigo 2018 with natural dyes, digital 2019 Flying South photography on cotton New Tendecies Pheasant feather dress paper Woven in beads 17 11 Silvana Pestana Alice Wagner 2017 2015 Paiche mantle Untitled Woven Paiche fish flakes Heat-sealed, inflatable plastic toy and fretwork

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