When you journey back to colonial Latin America 300 years ago, you will encounter exquisite textiles and clothing akin to haute couture. What people wore was dictated not just by their financial means, but also by their social class and ethnicity.

Heritage textiles from South America serve as a visual testament to traditions that are still nurtured, preserved, and utilised by local communities. The earliest textiles in the region date back around 12,000 years and were discovered in the Guitarrero Cave in Peru. These woven fabrics are believed to have been used by early inhabitants for wall coverings and baskets.

History of Traditional Textiles in Peru

Pre-Columbian civilisations in Peru, such as the Waris and the Paracas, produced some of the most remarkable textiles ever created. These textiles appear strikingly modern today, thanks to their intricate geometric designs, complex dyeing techniques, and unique aesthetics. In fact, they served as a direct inspiration for several modernist movements, including Germany’s Bauhaus school in the early 20th century.

Descendants of these master textile artisans continue to practice their craft today. However, they often reside in remote areas of the Andes, where they face challenges like extreme weather conditions and limited access to healthcare and education. The need to preserve this handcrafted art form is emphasised by the fact that weaving often serves as the primary source of income for these families.

In Peru, textiles have been an integral part of the culture for about a thousand years. They were used for more than just clothing and status symbols; they also served spiritual purposes, such as burial shrouds for the deceased.

Over the centuries, weavers developed distinctive styles, designs, and techniques, making textiles the dominant art form of the region. Some weavers have modernised traditional styles to meet contemporary demands. Creating these textile masterpieces required an immense amount of labour and material. Bright colours feature prominently in Peruvian textiles, aligning with Andean aesthetics, and are often seen in everyday garments.

The hub of Peru’s textile industry is located in the towns surrounding Cusco, a city in the Peruvian Andes that was once the capital of the Inca Empire. Here, fibres like alpaca and llama wool were in high demand, as in the past, weavers utilised alpaca, llama, and vicuna as sources of natural fibres. However, the advent of acrylic yarn in the 20th century led to a shift, as it was easier to work with, more affordable, and offered a wider colour range. As a result, many weavers switched to acrylic yarn or blends of alpaca and synthetic materials, which are less expensive than pure natural fibres like baby alpaca wool.

Latin American Textiles Market Analysis

The textile industry has made a significant impact in nearly every South American country. The Latin American textile market is projected to reach $33.60 billion1 by the end of 2023 and is expected to grow at a compound annual growth rate (CAGR) of 4.67 per cent to reach $42.21 billion by 2028.

Several significant textile-producing countries are located in Latin America, including Peru, Brazil, and Colombia. Peru is South America’s largest exporter of clothing and takes pride in its unique native raw materials, particularly alpaca fibre and Tanguis cotton. Brazil, one of the BRICS nations, shows substantial growth potential in its textile supply chains for both natural and synthetic fibres. Colombia is also expected to experience notable growth in the textile and fashion sectors. The CAFTA-DR nations—Costa Rica, the Dominican Republic, El Salvador, Guatemala, Honduras, and Nicaragua—are actively competing with Haiti for market share in the US.

Traditional Textiles in South America

Embroidery has played a pivotal role in South American history from prehistoric times to the present day. This rich and varied tradition testifies to the remarkable skill and innovation that generations have inherited and further developed. Below are some notable examples of traditional textiles:

Needlework

Over the years, South American needlework has evolved into a vibrant visual language with multiple functions. Not only does it identify individuals with their native regions, but it also serves as a medium for storytelling. This form of embroidery is characterised by intense colours, dense fibres, and rich narratives.

Some of the earliest examples of this craft can be traced back to pre-Columbian burials on the Paracas Peninsula, dating from around 500 to 100 BC. Discovered in the 1920s, these mass graves contained bodies swathed in intricately detailed fabrics, many of which featured hand-embroidered elements. These textile pieces have remarkably well-preserved details, including an embroidered panel housed in the V&A Museum that depicts a hovering shaman with a severed skull. The richness of colours in this panel exemplifies the variety of dyes that were available in ancient Peru, as well as the quality of their fabrics.

In the period before written language, ancient Peruvians relied on thread to convey stories. Recognisable shapes, symbols, and themes were woven into textiles, allowing stories and traditions to be passed down through generations.

Today, needlework remains a vital part of South American culture. Various ethnic groups across the continent have cultivated their own unique embroidery traditions, often manifested in their clothing. For instance, woven bags often featured regional themes such as local wildlife and star patterns, serving to identify the wearer’s place of origin. Another example is the Manta cloak, which originated in Peru and has since gained widespread popularity. Made from a square of fabric, it is now commonly used as a poncho by men, women, and children alike.

Mola

The mola is a traditional South American short-sleeved blouse featuring intricate embroidery on both the front and back, originating in Panama. Generally worn by women, mola artistry is thought to have its roots in the native Kuna culture. Kuna women initially painted their bare bodies with elaborate patterns, which closely resemble the designs now seen in mola embroidery.

In recent times, this indigenous needlework has undergone a revival and reinterpretation at the hands of various designers, manufacturers, and artists. One notable individual is Sheila Hicks, a contemporary American fibre artist. Drawing inspiration from the tactile embroideries of ancient Peru, Hicks blends these traditional motifs with a modern abstract vocabulary.

Similarly, the modern clothing brand Oropendola aims to honour and preserve the rich tradition of South American needlework for future generations. Collaborating with skilled artisans from Medellin, Colombia, the brand promotes the burgeoning slow fashion movement. In doing so, the company not only ensures fair trade and sustainable employment but also contributes to the enduring legacy of regionally handcrafted, deeply cherished traditions.

Manta

‘Manta’ is the Spanish term for a cloak, and in the context of traditional South American textiles, it refers to a garment that is usually square or rectangular in shape and draped over the back. These mantas are often made from indigenous materials such as cotton, wool, or alpaca. In various regions of Peru, men wear embroidered mantas during dances that honour regional Roman Catholic saints.

While standard mantas are generally simple, their festive counterparts are far more elaborate. These feature vibrant imagery inspired by comic books, historical events, mythology, and stylised flora and fauna. Crafted from cotton or velvet, these festive mantas are intricately embellished with applique, braids, sequins, glass beads, and mirrors. The embroidery is typically done with brightly coloured silk or metallic threads, employing an ‘alto relieve’ technique similar to the stump work seen on some Spanish church vestments. During festivals, it is common for men to also embroider matching mantas for their horses.

In addition to these, there are special mantas commissioned by Peruvian women for a costume dance known as ‘chonguinada’. In this dance, participants wear masks and colonial-style garments to portray Spanish ladies and gentlemen. The women’s mantas for this event feature intricate flower-themed embroidery and are worn over skirts. These are made from cotton and are embroidered with silk thread, further adorned with glass beads and sequins.

The term ‘manta’ is also sometimes used to describe a poncho, another traditional Andean garment. This is particularly true in rural areas of South America and Mexico.

Chancay Open Weave Darning

The Chancay civilisation, which thrived in Peru between 900 and 1430 AD, is believed to have originated the technique of Chancay open weave darning. This textile art form was discovered during burial excavations carried out in the Pacasmayo Valley in the late 19th and early 20th centuries. The fabric often features motifs of cats and fish, which are arranged in alternating diagonal rows.

In Chancay open weave darning, open-weave gauze is adorned with both thick and thin white cotton threads. The gauze serves as the ground fabric, into which individual pattern outlines are woven. These outlines are created using a long stem stitch, which wraps a thick thread around the intersections of the ground mesh.

To secure the top and bottom of the triangles in the pattern, thin embroidery threads are employed. These threads stitch together the intersections of the ground mesh, forming triangles in a zigzag pattern that includes a small loop. A second zigzag line can be created parallel to the first, producing a string of asymmetrical diamonds. These diamonds are then used to fill in the specific motifs by fitting themselves within the shapes.

This intricate form of embroidery was practised by the Chancay people, who resided in various valleys along the central coast of Peru.

Chinchero Weaving

Chinchero is a vibrant small town in Peru renowned for its handicrafts. The traditional weaving method used by Chinchero artisans is known as ‘doble cara’, or the two-sided warp-faced technique. In contrast, the ‘ley’, or single-sided additional warp technique, was introduced to weavers along with new patterns from different cultures. Today, Chinchero weavers continue to produce textiles strictly using traditional designs and techniques.

Traditional blankets from Chinchero, known as ‘lliklla’, feature large, symmetrical design sections woven in simple blue, red, or green hues. However, the use of indigo dye waned in the 20th century due to the development of synthetic dyes. As a result, black dye began to replace natural indigo. Many early 20th-century Chinchero blankets woven in the traditional blue were consequently altered to black. Nowadays, Chinchero weavers are returning to the use of natural dyes like indigo blue, cochineal red, and chilka green.

One distinctive feature that Chinchero weavers take great pride in is the unique border technique called ‘nawi awapa’. In this method, the border is attached to the main textile fabric using the weft threads from the border weaving itself.

Meeting the Modern Demands

In the early 20th century, synthetic materials like acrylic yarn began to replace natural fibres. Among Andean weavers, pre-spun acrylic yarn has become the preferred choice in recent years because it is less expensive, easier to work with, and available in a broader spectrum of vibrant colours. While chemical dyes, particularly neons, have gained traction, natural fibres continue to offer more traditionally subdued hues.

Today, the Peruvian market is awash with a vast array of products that go beyond traditional textiles like the liqlla (blanket), jakima (small ribbon), and chullo (knitted men’s hat). Various textiles have been transformed into bags, purses, and shoes to cater to modern fashion tastes.

Recognising the power of weaving to uplift indigenous communities has become the cornerstone for several significant businesses. Companies like Made by VOZ in Chile, Mercado Global in Guatemala, and Fabrica Social in Mexico are partnering with these communities to gain access to international fashion markets. These firms are battling the pervasive influence of the fast fashion industry to revive lost traditions and provide stable incomes for weaving communities.

However, there are significant cultural and economic challenges to consider. Keeping pace with the modern fashion calendar often proves difficult, and both brands and their artisan partners must also navigate the pitfalls of cheap factory ‘knockoffs’ and the ever-present threat of cultural appropriation.

One of the most compelling aspects of purchasing a hand-woven item is its intrinsic value as a unique piece of art. Not only does acquiring such an item provide aesthetic pleasure, but it also directly supports the artisans and their creative endeavours.

Ending Note

Many fashion brands in Latin America now possess certifications such as GOTS, which regulates the production and processing of organic cotton, Certified Wildlife Friendly Fibres, or Fair Trade. These certifications ensure ethical labour practices and are increasingly accessible to local manufacturers. Employing limited resources and time-honoured techniques, these local producers are committed to preserving ancestral practices in fabric-making, natural dyeing, weaving, and braiding.

Nearly all indigenous communities and local artisans favour sustainable textiles native to Latin America, including some of the world’s most luxurious fabrics like vicuna, high-quality pima cotton, and merino wool. Additionally, many mass-produced eco-friendly fashion labels in Latin America are opting for these sustainable, biodegradable, and environmentally friendly materials.

Modern designers are breathing new life into ancient decorative techniques and hand-weaving processes. They are also embracing minimalism, the zero-waste concept, and other environmentally friendly practices that also generate local employment. The old stereotype that sustainable fashion is dull and unglamorous is being overturned. Designers are now utilising traditional textiles to create collections that are not only aesthetically pleasing and functional but also sustainable and environmentally beneficial.