Guest Curator: Hilary Simon

Head of Exhibitions: Dennis NothdruftExhibition Design: Beth OjariGarment Mounting and Conservation: Gill CochraneExhibitions Coordinator: Marta Martin Soriano

Curator of ‘A Thread: Contemporary Art of Peru’: Claudia Trosso

Graphic Design: HawaiiSet Build and Installation: Setwo LtdGraphic Production: Display WaysHandout Design: Madalena Studio

Head of Commercial and Operations: Melissa FrenchOperations Manager: Charlotte NeepPress and Marketing Officer: Philippa KellyFront of House Coordinator: Vicky StylianidesRetail and Events Officer: Sadie DohertyGallery Invigilation: Abu MusahPR Consultant: Penny Sychrava

WEAVERS OF THE CLOUDS is a Fashion and Textile Museum exhibition

With special thanks to:

Alice Viera Albergaria Costa Borges Annie Hurlbut, Peruvian ConnectionArmando Andrade Camilo Garcia, IAG CargoCarlos Agusto Dammert, Hellmann Worldwide LogisticsCaryn Simonson, Chelsea College of Art H.E Juan Carlos Gamarra Ambassador of Peru to Great BritainJaime Cardenas, Director of Peru Trade and Investment OfficeLeonardo Arana YampeMari Solari Martin MoralesPeruvian Embassy PromperúSamuel Revilla and Luis Chaves, KUNA Soledad MujicaSusana de la Puente

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Women’s Traditional Dress

Ajotas – sandals made from recycled truck tyres.Camisa/blusa – a blouse.Chumpi – a woven belt.Juyuna – wool jackets that are worn under the women’s shoulder cloths, with front panels decorated with white buttons. The jackets are elaborately adorned and commonly turned inside out for everyday use.K’eperina – a larger rectangular carrying cloth worn over the back and knotted in front. Children and goods are securely held inside.Lliclla/manta – a small rectangular handwoven shoulder cloth fastened at the front.Monteras – traditional hats that vary tremendously throughout the communities in the Andes. Often it is possible to identify the village from the type of hat worn. Hats are secured with delicately woven sanq’apa straps adorned with white beads.Montera con cinta labrada – a hat with decorated ribbon.Polleras – colourful skirts 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 skirt is lined with a colourful puyto, 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.

Glossary of Peruvian CostumeMen’s Traditional Dress

Ajotas – sandals made from recycled truck tyres.Buchis – short pants adapted from Spanish costume, which, depending on the area, come to the knee or a little longer.Centillo – finely decorated hat bands.Chalecos – jackets that may be richly decorated.Chulico – a vest or waistcoat made of woollen plain weave cloth or other material, decorated with buttons, embroidery and appliqué.Chullos – knitted hats with earflaps, which are frequently worn.Chumpi – a woven belt.Chuspas – small woven bags used to carry coca leaves.Poncho – the most distinctive part of men’s clothing is the handwoven poncho. Nearly every Quechua man and boy has a poncho, which is generally red in colour and decorated with intricate designs. Each district has a distinctive pattern.Sombrero – a felt hat worn over the top of the chullo.

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KUNAPink sweaterKUNA Millennium collection2019Alpaca, silkKUNA garments are made with wool from alpaca, vicuña, llama and guanaco; KUNA contributes to the care, conservation, breeding and improvement of these species as well as to the preservation of the Andean communities.

KUNAKnitted hat embellished with pom-poms and tasselsKUNA Millennium collection2019AlpacaThis hat is inspired by the ‘chullo’, an Andean knitted hat worn in the Cuzco region of Peru. Tassels and pom-poms are distinctive handmade accessories that are often used to embellish Peruvian dress.

5Costume for Yma Sumac (1923–2008). Dress1953This dress was made in 1953 and was worn in three of Yma Sumac’s four films: Secret of the Incas (1954), Música de Siempre (1958) and Las Canciones Unidas (1960). Courtesy of Damon Devine, Yma Sumac Estate

Headpiece for Yma Sumacc.1950This headdress was worn on the cover of Yma Sumac’s iconic album Voice of the Xtabay. The album has been in continuous production since its release.Courtesy of Damon Devine, Yma Sumac Estate

Earrings for Yma Sumacc.1950The earrings are vintage Peruvian filigree, and were worn by Yma Sumac in photo shoots and concerts around the world. Courtesy of Damon Devine, Yma Sumac Estate

6Photograph of the soprano Yma Sumacc.1950Courtesy of Damon Devine, Yma Sumac Estate

7Photograph of the soprano Yma Sumacc.1950Courtesy of Damon Devine, Yma Sumac Estate

Toni Frissell (1907–1988)Fashion model following women down a street in Peru 1952Fashion photograph featuring actress Barbara Mullen (1914–1979)Published in Harper’s Bazaar, Jan 1952Library of Congress

1Peruvian Connection The Rebel Dance Dress 2019Pima cotton, metallic threadHandloomed body with hand- crocheted cuffs, neckline and hem. Approximately five days are required to make one piece.

Peruvian ConnectionMardi Gras Scarf2019Alpaca and merino woolHandloomed to imitate a woven technique. More than 50 colours are used and each piece takes }approximately four hours to complete.

2Peruvian Connection The Blythewood Cardigan2019Baby alpaca, woolReversible jacquard knit finished with a tubular jacquard borderApproximately three days are required to complete one piece.

Peruvian Connection Condor Belt2019Pima cotton with glass beadsHand crochetEach belt requires five to seven days to complete.

3KUNA ‘Saco Roanoke’ 2019Alpaca, woolA jacket featuring the supernatural and geometric symbolism of Shipibo-Konibo and Xetebo art.

KUNA Blue alpaca sweater2019Alpaca

KUNA Scarf collection Shipibo, Konibo y Xetebo2019Baby alpaca, silk. The ‘Runinka’ stole is from a collection designed by the Shipibo community with KUNA.

4KUNA ShawlKUNA Millennium collection2019Alpaca, silkInspired by Nazca culture, this collection of designs was created to reinvent the textiles and techniques used by the ancient weavers of Peru. The collection explores all aspects of thread and pigment featuring in their traditional works of art.

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The textiles of pre-Columbian cultures have been admired for centuries for their diversity of materials, techniques, designs and decorative elements. The methods and processes used have been well documented, and many examples of traditional pieces have survived to the present day.

There is a strong national identity in the fibres and fabrics of Peru. These textiles illustrate the economic, social, political and religious development of the culture of the nation. The dynasty of the Incas, centred in the area around Cuzco, near the Andes in south-eastern Peru, ruled in the late fifteenth and early sixteenth centuries. Textiles were valued as prized possessions, being viewed as status symbols and critical to the Incan sense of identity. The patterns of Andean textiles are complex signifiers, illuminating the maker’s or wearer’s place in the cosmos and imparting information on ethnic and social identities. The preservation of many of these extraordinary materials

has been made possible by the dry conditions of the coastal areas where burials were performed. The fibres used by ancient Peruvians came from the llamas, alpacas, guanacos and vicuñas native to the region. Cotton was discovered and produced in the drier climate of the coastal areas. Highlighted in the exhibition is a diverse range of techniques, including the famous discontinued warp and weft weaving, tapestry weaving, woven cotton with feathers sewn in rows, textile fragments of cross-knit looping, embroidery, appliqué and the knotted cord structure of the quipu. Examples from the cultures of the Huari, Paracas, Chimu and Nazca are displayed, each with unique and recognisable characteristics.

The techniques, materials and motifs seen here in historic form continue to inform and inspire Peruvian designers, artists and craftspeople. Many of the skills are still used by the indigenous communities throughout Peru, and remain a vital link with a vibrant past.

An ancient artThe nation of Peru covers many different terrains: from coastal plains to highlands, rich vegetation to deserts, lakes to rainforests. In this extraordinary and varied landscape a long culture of materiality has been established, with vibrant and distinctive styles of work that are recognised as definitive of each region. Peru has some of the most highly acclaimed examples of historic woven and knitted cloth in the world. These have been preserved and treasured, surviving through the centuries due to the dry conditions of the climate, and in burial sites. Over its long history Peru has been ruled by numerous cultures and its artisans have continued to develop the skills of weaving using the backstrap loom, continuing the traditions of textile arts still found today.

Weavers of the Clouds aims to widen understanding of the techniques practised in the many differing regions of Peru. The exhibition encourages us to observe the techniques and processes, and to respect the loyal keepers of these specialist skills, which have been passed down through the generations. Textiles are an integral part of a community’s identity, enriching and educating those from outside the culture. Through understanding comes appreciation and preservation.

We examine the cloth from pre-Columbian times and look at present-day costumes and accessories. The exhibition celebrates the remarkable diversity of applied arts created in a wide range of materials, encompassing numerous symbols and employing a variety of techniques.

IntroductionThe nation of Peru covers many different terrains: from coastal plains to highlands, rich vegetation to deserts, lakes to rainforests. In this extraordinary and varied landscape a long culture of materiality has been established, with vibrant and distinctive styles of work that are recognised as definitive of each region. Peru has some of the most highly acclaimed examples of historic woven and knitted cloth in the world. These have been preserved and treasured, surviving through the centuries due to the dry conditions of the climate, and in burial sites. Over its long history Peru has been ruled by numerous cultures and its artisans have continued to develop the skills of weaving using the backstrap loom, continuing the traditions of textile arts still found today.

Weavers of the Clouds aims to widen understanding of the techniques practised in the many differing regions of Peru. The exhibition encourages us to observe the techniques and processes, and to respect the loyal keepers of these specialist skills, which have been passed down through the generations. Textiles are an integral part of a community’s identity, enriching and educating those from outside the culture. Through understanding comes appreciation and preservation.

We examine the cloth from pre-Columbian times and look at present-day costumes and accessories. The exhibition celebrates the remarkable diversity of applied arts created in a wide range of materials, encompassing numerous symbols and employing a variety of techniques.

Introduction

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from barkcloth from the fig tree and decorated with vegetable dyes. The cloth is fashioned from the inner bark, which is beaten when wet until it is extremely thin and is known locally as llanllama. The black colour is from pressing the green fruits of the huito tree (Genipa americana): the liquid is clear when first applied but becomes black as it oxidises in the air. The designs on the barkcloth identify different clans.Private collection of Professor Richard Bodmer, Director of Fundamazonia and the Museum of Amazonian Indigenous Cultures, Iquitos, Peru

8Tie-dye child’s clothc. ad 800Camelid fibresThis cloth of the Huari culture demonstrates the technique of tie-dyeing. The textile was woven using a weaving method of discontinued warp and weft. The design units were woven separately and held together temporarily with scaffold threads and then tie-dyed. The subsequent interlocking of the red and indigo blue camelid-fibre warp threads can be seen.Collection of Paul Hughes Fine Arts

9Wari Culture TunicCica 800 ADCamelid FibreInterlocking tapestry with camelid fibres. A curious characteristic is the alternating expansion and contraction of the design units, as seen on the left. The design incorporates heads, spirals and steps within diagonally-divided squares.Collection of Paul Hughes Fine Arts

10Matsés tribe – women’s costumeEarly twenty-first centuryChambira fibre, beadsa. Dress from chambira fibre b. Beaded necklacesc. Beaded headbandd. Woven wristbandse. Half-woven wristband showing the weaving processf. Bag woven from chambira fibreg. Woven basketThe Matsés, also known as the Mayoruna, live along the Yavari River in Peru and are renowned for their excellent hunting skills. The women weave many items from palm fibres, including skirts, wrist bands, bags known as hicras, infant slings and hammocks. To make these ornaments, fibres from the Astrocaryum palm are collected by the men and the women then peel off the top layer, dry the fibres in the sun and finally roll them along their thighs to form a twine. Matsés women weave ornaments for their husbands and children. Skirts are worn by women, headbands by men, and wrist and ankle bands by both sexes. The ornaments last for years, but if a relative dies, the family will not wear their ornaments for a year as a sign of sadness. The motifs on a woman’s skirt represent their clan or family.Collection of Museo Culturas Indigenas Amazonicas, Iquitos

1Tunic panelc.800 bcCamelid fibreA Huari culture cloth with a stepped motif in natural dyes.Collection of Paul Hughes Fine Arts

2Mantle segment from Paracas, Peruc.300 bcWoolA male front-facing figure is embroidered on a solid plain weave coloured background. Collection of Paul Hughes Fine Arts

3Nazca Head clothCica 200 AD Camelid fibre. 80 x 57 cm. Head Cloth, Proto Nazca Culture, Almost originated concurrently with the Chavin civilisation, the Paracas foreshadows some of the most celebrated styles in the latter period, such as Nazca, Wari and Chancay.Centralising on a hybrid creation of three widely revered motifs— the mythical being “the Oculate,” the “ecstatic shaman” and the “staff-bearing feline”, this mini textile’s intensity of stitchings and the vividness of colour presents us the sense of awe and ecstasy in the Andes’ ritualistic vision. Collection of Paul Hughes Fine Arts

4Inca Culture TunicCirca 1400 ADCamelid fibresCollection of Matt and Oksana Symonds

5Woman’s jacket1988Rayon velvet, gold thread, beads and glassJacket from Puno, embellished with gold embroidery and tasselled trimBritish Museum

6Sequined waistcoat1981Cotton, velvet, silk, glass, sequins, metalDecorative cotton waistcoat, with a design of birds and flowers. The owner’s name ‘ELOY’ is embroidered on the garment, which may be part of a dance costume.British Museum

7Bora and Tikuna tribesEarly twenty-first centuryBarkcloth garmentsa. Tikuna ceremonial bark tunic with symbolic designsb. Bora barkcloth skirt with traditional designs

Tikuna bark tunicThis outfit is constructed from a pounded barkcloth derived from the fig tree. A face is painted on the tunic using vegetable dyes. A vast array of full-body outfits are manufactured by the Tikuna for use in different ceremonies. This tunic symbolises a mythical anteater monkey.

Bora bark skirtThe Bora live between the Putumayo and Napo rivers in Loreto, Peru. The typical dresses worn by the women and skirts worn by the men of the Bora are made

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Textile fragment border200 bc – ad 600 Camelid fibreThis textile fragment border is worked three-dimensionally in cross-knit looping featuring freestanding figures holding fans and staffs, in the style of the Nazca.British Museum (accession date 1933)

Nazca feathered fanPre-ColumbianFeathers and vegetable fibreFeathered fan with a vegetable-fibre handle ending in short braids that hold the feathers in placePrivate collection

Case 3Quipuad 1430–1530Knotted fibreA quipu, or knot-record, was a method used by the Incas to keep records and communicate information; the word ‘quipu’ comes from Quechua language (written as khipu) and translates as ‘knot’. Quipus were in use from 2500 bc and continued as a form of communication until Spanish colonisation.British Museum (accession date 1907)

11Yagua tribe – men’s costumeEarly twenty-first centuryAguaje palm fibresa. Fibre skirtb. Fibre headdressc. Woven fibre bagThe Yaguas live in the Pevas region of Loreto in Peru. They rely on the forest for their native dress, typically referred to as a ‘grass skirt’, which is made from fibres of the aguaje palm (Mauritia flexuosa). They colour the fibres and paint their skin with the red dye called achiote, which comes from the fruit of the Bixa orellana tree. This dye is widely used by many indigenous Amazonian societies, usually during ceremonies.Collection of Museo Culturas Indigenas Amazonicas, Iquitos

Case 1Feathered tunicPre-Hispanic, culture unknown Feathers on a cotton baseThis tunic or tabard is of featherwork. The base is cotton in a plain weave with single warps and paired welts. The feathers are sewn on in overlapping rows by the quills. The feathers are from blue and yellow macaws found in Amazonia. This tunic was made in the far south coast region in the style of the Nazca.British Museum (accession date 1937)

Case 2Burial dollad 900–1430Reed, camelid textileThis burial doll has a reed framework, and its face is slit tapestry of camelid fibre weft with white cotton. The headband is cross-knit loop stitch and the tunic is camelid fibre. The doll holds a distaff and child, with a small spindle whorl attached.British Museum

Wooden loomLate pre-Inca ad 900–1430 CottonFrom the central coast of Peru, this wooden loom is set up to weave double cloth. A partially woven textile with a pattern of felines and stepped frets with scrolls in tan and pale brown is on the loom.British Museum (accession date 1907)

Four-cornered hatad 600–1000 Cotton with geometric patterns in wool; woven and twined fibresThis hat of the Wari people was constructed from a continuous yarn in compactly worked larks-head knots into which coloured threads were inserted to form a pile. The geometric designs of small squares containing a dot in the middle are characteristic of such hats.British Museum (accession date 1951)

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1Reynaldo Luza (1893–1978)Mapa del Peru1942Original illustration, tempura on card; modern printCollection of Carlos Garcia Montero Luza

2José Sabogal (1888–1956)Paisaje1930From an original oil paintingSabogal painted landscapes and portraits of Indigenous communities. He was influenced by Diego Rivera (1886–1957) and the muralists of Mexico. Image courtesy of Museo Arte de Lima-MALI

3Women’s jacket1982Wool bayetaA traditional jacket with blue appliqué and scalloped trimBritish Museum

Women’s skirt1982Wool bayetaPleated skirt, worn as part of daily dress in the central highlands of PeruBritish Museum

4Women’s jacket1982Wool bayetaJacket with synthetic thread trim on the scalloped edge and chest decorationBritish Museum

Women’s skirt1982Bayeta woolFull skirt with appliqué designBritish Museum

5Francisco Javier Cortés (1770?–1841)Tapadac.1827–38Original illustration, watercolour and tempera on paper; modern print Cortés painted street scenes of daily life in Peru, including illustrations of the Tapadas Limeñas. Image courtesy of Museo Arte de Lima-MALI

6Pancho Fierro (1807–1879)Tapada1858Original illustration, watercolour on paper; modern printPancho Fierro, like Francisco Javier Cortés, documented daily life and activities in Peru. He made a series of work about the Tapadas Limeñas.Image courtesy of Museo Arte de Lima-MALI

7Reynaldo Luza (1893–1978)For Elsa SchiaparelliNovember 1937Published in Harper’s BazaarLuza was a successful illustrator for international publications and was a friend of Elsa Schiaparelli (1890–1973). He illustrated the designer’s ‘Peruvian Magic’ collection, which was inspired by the Tapadas Limeña of Peru.Collection of Terence Pepper

The ‘Indigenismo’ was a literary and artistic movement that emerged in Peru in the 1930s. Its main representatives were the writer José María Arguedas (1911–1969), photographer Martín Chambi (1891–1973), painter José Sabogal (1888–1956) and composer Daniel Alomía Robles (1871–1942).

After a visit to Mexico in 1922 where Jose Sabogal met muralists Diego Rivera (1886–1957), José Clemente Orozco (1883–1949) and David Alfaro Siqueiros (1896–1974), Sabogal – an artist, teacher and later the Director of the Escuela Nacional de Bellas Artes in Lima – led a group of fellow students at the art school, including Julia Codesido (1883–1979) and Camilo Blas (1903–1985), to promote Peruvian art to international audiences.

Sabogal was inspired by this important period in Mexican art, when artists were creating contemporary murals reflecting the history of the indigenous people. Many artists were exploring their immediate environment and experiencing the richness of their own culture, rather

than looking to Europe as had been the custom. Sabogal, whose father was Spanish and mother was Peruvian, promoted pre-Columbian culture and aesthetics. A six-month stay in Cuzco prompted his interest in Indigenismo, and encouraged him to depict the historic city and its inhabitants. In 1919 his paintings of the area attracted critical attention at an exhibition in Lima.

Sabogal and Codesido produced a series of watercolours illustrating the traditional costumes of the region of Cuzco. Both artists became known for their portraits and landscapes of Peru. This new visual interpretation of indigenous communities and cultures generated much interest, which was reflected in the work of other artists and designers of the era.

Elena Izcue (1889–1970), an artist and designer who studied at Escuela Nacional de Bellas Artes Bellas, carried on the interest and fascination with pre-Columbian artefacts. She became an ambassador for Peruvian art, writing and illustrating two books that were published by Rafael Larco Herrera. Izcue’s career was international and her work met with commercial success in France and the USA. Reynaldo Luza (1893–1978) was an important illustrator and artist whose work frequently appeared in Vogue and other international publications in the 1930s. Luza was a friend and colleague of Elsa Schiaparelli (1890–1973), arguably the most famous and influential couturière in Paris during that decade.

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16Reynaldo Luza (1893–1978)Untitledc.1940–42Original oil paintingThis image was displayed in the window of the Bonwit Teller building in New York City. Collection of Carlos Garcia Montero Luza

17Reynaldo Luza (1893–1978)Tapadac.1940Original oil paintingCollection of Carlos Garcia Montero Luza

18Reynaldo Luza (1893–1978)La Frutera1942Original illustration, watercolour and tempera on board. Collection of Carlos Garcia Montero Luza

19Elena Izcue (1889–1970)Escena Campestre c.1935–39Original watercolour illustration; modern printElena Izcue (1889–1970) worked with her twin sister, Victoria, in a successful partnership; Elena was the artist and designer and Victoria the artisan. Elena designed block-printed textiles and prints alongside her work as a painter and illustrator.Izcue was well known for her textile designs and her illustrated studies of museum objects. She also was interested in the process of weaving. This illustration of a country scene features a woman

spinning, and the regional costumes are depicted. Image courtesy of Museo Arte de Lima-MALI

20Elena Izcue (1889–1970)Boceto par Les Enfants du soleilc.1935–39. Original watercolour illustration; modern print.Izcue produced a series of illustrations on the techniques of weaving. Here, she focuses on a close-up of an artisan weaving with a backstrap loom, while the woman in the foreground is spinning.Image courtesy of Museo Arte de Lima-MALI

21Elena Izcue (1889–1970)Maternidad c.1923From an original oil painting Image courtesy of Museo Arte de Lima-MALI

22Leonor Vinatea Cantuarias (1897–1968)Pastoras1944From an original oil paintingLittle is known about the artist Cantaurias, who studied at the Escuela Nacional Superior Autónoma de Bellas Artes, Lima. This painting of a group of people in the Andes is one of her few known works, which was much acclaimed at the time of its making and was purchased by the Museo de la Nación. Image courtesy of Museo de la Nación, Lima

8Photograph of Reynaldo Luza and Elsa Schiaparellic.1930Collection of Carlos Garcia Montero Luza

9Julia Codesido (1883–1979)India Huanca1932From an original oil paintingCodesido studied at the Escuela Nacional Superior Autónoma de Bellas Artes in Lima and was an important member of the artistic group ‘Indigenistas Peruanos’. Image courtesy of Museo Arte de Lima-MALI

10Julia Codesido (1883–1979)Indio de Tinta, Cusco1950Original watercolour illustration; modern print Image courtesy of Armando Andrade and Museo Nacional de la Cultura Peruana, Lima

11Julia Codesido (1883–1979)Cholita de Huarez1951Original watercolour illustration; modern print Image courtesy of Armando Andrade and Museo Nacional de la Cultura Peruana, Lima

12Julia Codesido (1883–1979)Unco, Paucartambo, Cusco

1951Original illustration, watercolour on paper; modern print Image courtesy of Armando Andrade and Museo Nacional de la Cultura Peruana, Lima

13José Sabogal (1888–1956)Alcade de Pisac1951Original watercolour illustration; modern print José Sabogal (1888–1956) and Julia Codesido (1883–1979) documented indigenous costume in Peru with their collection of watercolours, on which they collaborated as lead artists in the group ‘Indigenistas Peruanos’. Sabogal had taught Codesido at the Escuela Nacional Superior Autónoma de Bellas Artes, Lima. Image courtesy of Armando Andrade and Museo Nacional de la Cultura Peruana, Lima

14José Sabogal (1888–1956)India de Moche, Trujillo1950Original watercolour illustration; modern print Image courtesy of Armando Andrade and Museo Nacional de la Cultura Peruana, Lima

15José Sabogal (1888–1956)India Huanca, Junin1950Original illustration, watercolour on paper; modern print.Image courtesy of Armando Andrade and Museo Nacional de la Cultura Peruana, Lima

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Traditional handwoven fabrics embody the living history and heritage of the Peruvian highlands. Intricate textile patterns with expressive names such as Mayu Qenqo (meandering river) or Pumac Makin (puma footprints) tell tales of the geography and events of the Andean region and its history over thousands of years. In 1528 the Spanish colonisation of the Inca Empire destroyed and eradicated all written records of Incan culture, which were the only palpable accounts of Quechua customs and folklore. Now, the only surviving testament is found between the threads of intricate textile designs woven by indigenous communities of the Puna and Altiplano in the Andean highlands.

To this day, Quechuan communities are the keepers of tradition and have sustained their ancient yet arduous way of life. They live and work in harmony with Mother Earth, whom they call Pachamama. Their unique weaving practices and patterns date back to pre-

Columbian civilisations, and continue to be an important symbol of Quechuan cultural identity.

The region of Chinchero, at 3,780 metres above sea level in the province of Urubamba, is home to several Quechua communities. The women of Chinchero proudly wear their handwoven textiles and clothing on a daily basis; these differentiate the identity of their communities from others in the highlands. The men farm the land and harvest potatoes, barley and quinoa to feed their families and to sell at nearby markets, while the women raise llamas and alpacas, whichprovide textile fibres for weaving. Alpaca and llama threads are lanolin-free, making them soft and insulating regardless of the climate.

Women spin on simple drop spindles and weave their colourful yarn on traditional backstrap looms while tending to their flock of alpacas or cooking

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1A backstrap loom from Cota, CajamarcaDate unknownAlpaca, sheep’s woolPrivate Collection of Mari Solari, Las Pallas

2Manta2018AlpacaA traditional manta woven on a backstrap loom in the village of Huilloc, Ollantaytambo, in collaboration with Awamaki. Awamaki is a cooperative that offers day visits to weaving villages to encourage and promote the work of indigenous weavers. Visitors can experience demonstrations of dying, spinning and weaving as well as enjoy a meal in an artisan homestay.Collection of Fashion and Textile Museum

3AwamakiDye samples2019AlpacaThe alpaca yarn is hand dyed with natural materials, including nogal, walnt, qaqa sunkha and lichen, creating many tones of each colour. The yarns are then fixed and dipped into a hot dye bath.Collection of Awamaki

4AwamakiCochineal (cochinilla) and indigo (anil)2019A strong blood-red colour is produced from the crushed shells of cochineal beetles, which lives on the Opuntia cactus (Prickly Pear). Adding different agents adjusts the intensity of the red to varying hues of purples and pinks. The indigo plant (Indigofera tinctoria) is used 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.

their family’s food over a fire, just as their forebears did for centuries. The Chinchero women are regarded as guardians of the cultural identity of their communities. At the tender age of seven, Chinchero girls begin to learn the elaborate process of weaving from their mothers and other women in their families. The balance between the financial sustainability, quality of life and protection of the heritage of the Quechua people is a delicate one.

Today – although few in number – there are still communities that remain largely unchanged in the face of globalisation. In the less accessible areas of the highlands, some villages are winning the battle to preserve their customs despite the increasing difficulties they face. They hold firm against the tide of modernity, passing down their intangible heritage and knowledge from older to younger generations, from mother to daughter, through spoken word and ancient craftsmanship. – Marta Tucci

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Tradition and timelessness costumes of Peru

‘It is a cloth made thread by thread, by the hands of people. Each piece has its own life, a reflection of the spirit, skill, and personal history of its maker.’ Nilda Callañaupa Alvarez

The traditional costumes of Peru display a diverse range of skills, and individual garments may feature a variety of techniques. Each community or region can be identified by the style and design of the clothing; these also indicate a person’s marital status, occupation, artistic skill and economic status. Daily dress differs greatly from the more elaborate designs created for special occasions, such as festivals, weddings and dances.

The Spanish authorities brought a general dress code to Peru, ushering in a new style of dressing among the indigenous communities. These costumes were also influenced by the materials and techniques that came with the Spanish colonists. A hybridisation of established traditions of weaving and contemporary methods and textiles was seen. Traditional techniques were valued and continued to be practised, while Spanish textiles offered innovative ideas along with the introduction of sheep’s wool and cotton. A full costume consists of many garments, each of which may have its own unique embellishment or decorative motif.

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.

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4Filigranas PeruanasTraje de Chinchero (Women’s costume from Chinchero)Late twentieth century. Alpaca, sheep’s wool, acrylicThis costume comprises a montera, lliclla tejida, camisa, chaqueta, pollera principal, pollera interior, tupu and a chumpi. Chinchero had the status of a royal town and was fortified to defend itself from the incursions of the enemies of the Inca. The women of Chinchero are well known for their thousands of little braids that cover their backs with the famous llicllas de pallay loraipo, a tissue technique of Inca origin. They also commonly wear a wide black skirt and a red wool embossed jacket, together with a blue woven manta edged with a regional design. Chinchero is famous for its high standard of weaving and its Sunday market. Collection of Leonardo de Yampe

5Filigranas PeruanasTraje de Pisaq (Women’s costume from Pisaq). Late twentieth centuryAlpaca, sheep’s wool, acrylicA costume including a montera, lliclla tejida, chaqueta, camisa, pollera principal, pollera interior and tupu. Pisaq is a district in the province of Calca in the Sacred Valley of the Incas. It is famous for its terraces – a feat of engineering – which are crowned by the Inca metropolis of Inti Watana (Machu Picchu). It is also noted for its Sunday fairs in the main square, where all the women from the area gather dressed in their region’s costume.

6Max Milligan (b.1965)Untitled2003Photographic printA close-up of women from Patacancha, in the region of Cuzco. The women are wearing hats with hand-beaded head straps, which each of them has made for herself. Before marriage young girls spend much of their time decorating their personal clothes, to show off their skills.Image courtesy of Max Milligan

7Max Milligan (b.1965)Untitled2001Photographic printThe chullo and trilby headwear are a mix of Andean and Spanish traditions. The profile and shape of this man’s face display the pure-blooded features of a true Runa, the name the Quecha-speaking people call themselves. Published in Realm of the Incas by Max MilliganImage courtesy of Max Milligan

8Filigranas PeruanasTraje de Qatsqa (Men’s costume from Qatsqa)Late twentieth centuryAlpaca, sheep’s wool, acrylicA unique men’s fiesta costume consisting of montera con cinta labrada, chullo, poncho, tabla casaca, chaleco, pantalon, and chumpi. The hat is woven velvet with a straw base worn with a special multicoloured chullo with an original design. The jacket and waistcoat

Hannah Rae PorstPhotographic hanging panels2018Porst, founder and Director of Peruvian NGO Willka Yachay, took these photographs of the area around her in Q’eros. Porst’s work in Q’eros began in 2010 when she lived among its people researching the intersection of indigenous culture and global development. She returned to help the community with a school, and continues to develop innovative incentives to restore and assist the community.Images courtesy of Hannah Rae Porst 1Sebastian Castañeda VitaTakanakuyc.2014Photographic print.As a journalist, Castaneda Vita has covered conflicts, political and social crises, environmental problems and natural disasters in America and the Middle East, as well as the Rohingya humanitarian crisis in Bangladesh. He has documented a series of topics in Peru including: illegal mining in the Amazon; Shining Path; the earthquake in 2007; Qoyllur R’iti; Takanakuy; shamans of the Huaringas; and the pilgrimage to Cautivo de Ayabaca. Castaneda Vita’s photos have been exhibited at the Visa Pour l’Image festival in Perpignan, France, and Photoville in New York, USA. Image courtesy of Sebastian Castañeda Vita

2Sebastian Castañeda VitaColcac.2018Photographic printThis image features a row of women from Colca, southern Peru, a region of spectacular landscapes where visitors go to see the flight of the condor in the canyon near Arequipa. The clothes and hats worn by inhabitants of this region are embellished with machine embroidery.Image courtesy of Sebastian Castañeda Vita

3Filigranas PeruanasTraje de Acopia (Women’s costume from Acopia)Late twentieth centuryAlpaca, sheep’s wool, acrylicThis costume includes a sombrero, camisa, unkuna, manta, chumpi, pollera principal and pollera interior. Acopia is located on the banks of the Asnaq Qocha lagoon, in the province of Acomayo. It is the birthplace of the famous Valerina, known for her tragic love tale, in which a song was written named Valicha.The costume’s skirt displays complex multicoloured embroidery, There is also a long manta that hangs within the smaller manta on the back; the former is decorated with silver thread on embroidered flowered cloth and has braided ribbon. A sheep’s-wool handmade sombrero with a braid completes the outfit.Collection of Leonardo Arana Yampe

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1A collection of chumpisTwentieth centuryAlpaca, sheep’s woolThe chumpi is a belt worn by both men and women around the waist. These examples are from Cotabambas, in Apuirmac. Private Collection of Mari Solari, Las Pallas

2Women’s mantasLate twentieth centuryAlpaca, sheep’s woolA collection of women’s mantas, mainly from the regions of Puno and Cuzco. Mantas are worn in everyday life. They are wrapped over the shoulders and held

together with a pin, worn over a jacket and blouse. Mantas feature a variety of woven motifs, including people, flowers, spiders, birds, fish, the sun or moon, lizards, snakes and llamas. Private Collection of Mari Solari, Las Pallas

3Festival waistcoat from JuninTwentieth centuryWool, metallic threads, sequins, stonesMade from red wool with a purple border, this waistcoat features highly detailed embroidery, with two peacocks forming the central motif within a floral design and embellished

with gold thread.Private Collection of Mari Solari, Las Pallas

4Wooden spindles with yarn2019Wood and fibreA spindle is part of daily life and is carried everywhere so that spinning can be done while walking around or between other jobs. Children learn to spin from a young age. Spinning involves holding the yarn and gently twisting it in the hand as the wheel rotates, so as to thin the thread and make it ready for weaving.Collection of Fashion and Textile Museum

5A collection of chuspasLate twentieth centuryAlpaca, sheep’s woolThe chuspa (Quecha for purse or bag) is a small bag that can be tucked into the waistband or belt. It may be knitted or woven and decorated with tassels. Highly decorated chuspas are reserved for festivals, while simpler

Las Vitrinasare encrusted with white buttons and ribbons. The poncho is woven with a distinctive design and the trousers are fastened with a sash. This type of outfit is worn for the legendary pilgrimage of the Sanctuary of the Lord of Qoyllurit’i (the Lord of the Snows).Collection of Leonardo Arana Yampe

9Jungles in ParisThe Seven Day Scarf2015Directed by Guille Isa and Billy Silva, The Seven Day Scarf is a film that celebrates Incan textile traditions. It is framed by the sprawling slopes of a valley in southern Peru where the small village of Patacancha and its customs have remained unaltered for centuries. The sight of a dishevelled alpaca marks the beginning of the weaving process for the villagers. Skilled female weavers dye the wool and later criss-cross the threads to create elaborate, multicoloured textiles using the ancestral knowledge of the Incas. Courtesy of Nowness

10Mario Testino (b.1954)ALTA MODA2007–10PhotographPeruvian photographer Mario Testino made a series of images called ALTA MODA, highlighting the costumes from the region of Cuzco.British Museum

11Filigranas PeruanasTraje Varon De Fiesta de Tinta (Men’s costume from Tinta)Late twentieth centuryAlpaca, sheep’s wool, acrylicThis costume is worn for religious and social festivities, fiestas, in the province of Q’uanchis; it comprises six components, including a chullo, poncho, saco, chulico, pantalon and chumpi.This men’s costume is one of the most recognised in the Cuzco region. It features a colourful chullo whose edges are adorned with ornaments in various colours. The chulico is embroidered using the makinasqa technique, over which is a white poncho with multicoloured embellishments.Collection of Leonardo Arana Yampe

12Filigranas PeruanasTraje Feminino de Tinta (Women’s costume from Tinta)1980Alpaca fibre, sheep’s wool, acrylicThis costume is worn for religious and social festivities, fiestas, in the province of Q’uanchis; it comprises seven garments, including a montera, lliclla tejida, chaqueta chumpi, two pollera and tupu.The jacket and the manta that covers the head have intricate embroidery made using the technique known as makinasqa. The outfit is worn with a rectangular hat adorned with assorted ribbons with gold stamped designs.Collection of Leonardo Arana Yampe

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ones are used every day, primarily for coca leaves.Private Collection of Mari Solari, Las Pallas

6Ikat shawlc.1930–40sCottonThe pana, or panos, is a shawl woven in the region of Cajamarca. These rare garments are found only in this northern area of Peru, and are woven with ikat designs. Ikat is a resist dyeing technique used on the yarns prior to weaving to create patterns in the textiles. The pana may have a long lace fringe made with a knotted lace technique, and personalised with the name of the owner and her special dates, along with heart motifs. It is a special token of affection given to a loved one. A pana is characteristically cream on indigo or indigo on cream, often with repeated floral designs. This type of shawl is also found in Ecuador and in Mexico, where it is known as a rebozo. The rebozo is commonly identified

with the artist Frida Kahlo (1907–1954), who owned a large collection of them. Private Collection of Mari Solari, Las Pallas

7Backstrap loomThis small loom is from the area of Ollantaytambo, where the cooperative Awamaki works with groups of artisan weavers. Courtesy of Awamaki

8Women’s hats 2018Alpaca, sheep’s wool, cotton, silver braidThese women’s hats (monteras) from Pitumarca are adapted from Spanish styles. The size, shape and decoration vary from one place to another. Simple hats are worn during daily activities, while highly decorated versions are reserved for special occasions and festival days. Collection of Fashion and Textile Museum

9Dollsc.1950sAlpaca, sheep’s woolThese knitted male and female dolls are in full costume, and carry a baby and a panpipe instrument. Dolls, as toys or as magical-religious objects, have been known in Peru for thousands of years. Even when they were intended as playthings, the dolls also had an educational function. They were differentiated by gender, age and social hierarchy, and represented everyday activities.Collection of Fashion and Textile Museum

10HatEarly twenty-first centuryFelt, embroidery threadsThis hat from the Colca region is made from machine-embroidered felt and has the small brim typical of the area. It forms part of the traditional outfit, which is also heavily machine embroidered.Collection of Martin Morales

HatEarly twenty-first centurySheep’s wool, braids, hessianA flat hat from Huilloc, with an upturned red wool brim. The top of the hat has a central cross and braids.Collection of Martin Morales

HatEarly twenty-first centuryFeltThis hat is in stiff brown felt with coloured trimmings, and its shape is designed to protect the wearer from the sun, wind and rain.Collection of Martin Morales

HatEarly twenty-first centuryFelt with cotton embroidery and braids of synthetic thread. This decorative structured hat from the Ayachucho region features an upturned front brim. Collection of Martin Morales

11Sandals 2018RubberThese sandals, known as ajotas, are worn by both men and women; they are made from used tyres and other kinds of recycled rubber. Collection of Fashion and Textile Museum

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12Silver pins (tupu)Early twentieth centurySilverTupu is a Quechua term for pin (alfiler in Spanish). Women in the Andes have used these pins to fasten their garments for centuries, and especially to secure their mantas. Collection of Hilary Simon

13MilagroEarly twentieth centurySilver A milagro, also known as an ex-voto, is a religious folk charm that is traditionally used for healing purposes and as a votive offering in areas of Latin America and parts of the Iberian Peninsula. They are frequently attached to altars, shrines and sacred objects found in places of worship, and may be purchased in churches and cathedrals or from street vendors. Collection of Dennis Nothdruft

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13Filigranas PeruanasTraje Chawaytire (Women’s costume from Chawaytire)Late twentieth centuryAlpaca, sheep’s wool, acrylicA costume including a montero con sarcillos, lliclla tejida, chaquet, blusa, chumpi, pollera principal, pollera interior and tupu. The region of Chawaytire is nestled in the high mountain ranges, where the young women and men sing songs to nature with verses about suffering from the cold and the icy wind at high altitude. This is a fiesta outfit worn by the women of Chawaytire. Machine embroidery edges the jacket and there is an embroidered cloth with a fringed edge that lies over the hat, which has numerous beaded straps.Collection of Leonardo Arana Yampe 14Filgranas PeruanasTraje de Tambobamba (Women’s costume from Tambobamba)Late twentieth centuryAlpaca fibre, sheep’s wool, acrylicThis costume consists of a sombrero, lliclla tejida, chaqueta, chumpi, pollera principal, pollera interior and tupu. Tambobamba is the capital of the province of Cotabambas in the Apurímac region. The cream wool hat is worn with an intricately patterned manta. The jacket is embellished with small coloured buttons and edged with embroidery. There is a wide woven belt, a blouse with a frilled front and hem, and a skirt with a patterned border. There is a large pin to hold the manta in place.Collection of Leonardo Arana Yampe

15Filigranas PeruanasTraje de Chumbivilcas (Women’s costume from Chumbivilcas)Late twentieth centuryAlpaca, sheep’s wool, acrylicThis fiesta costume includes a montera, lliclla tejida, chaqueta, pollera, chumpi and a fine woven manta, typical of the area. The jacket is bordered with braids; the hat is distinctive in its flat shape with opening on the front brim. The manta is worn under the hat, covering the hair. A plain skirt, edged with pink trim, is worn with a white underskirt.Collection of Leonardo Arana Yampe

16Filigranas PeruanasTraje de Pitumarca (Women’s costume from Pitumarca)Late twentieth centuryAlpaca fibre, sheep’s wool, acrylicA woman’s costume comprising a montero con sarcillos and cinta labrada, lliclla tejida, chaqueto bordado with pins, pollera principal, pollera interior and tupu. This costume has a detail of beads sewn diagonally on the jacket sleeves and front panels. The coned flat hat has straps edged with beads and is worn with a large manta with border designs. During the Inca period, textile art played an essential role in establishing trade relations: the fine cloth called cumbi or ccompi, produced by the weavers of Pitumarca, was used to reward outstanding individuals. For the Inca, the weavings constituted a significant tribute and therefore they were worked on by both men and women. These textiles reached a high

14Festival jacket from JuninDate unknownVelvet, cotton, metallic threadsMade from wine-coloured velvet and featuring a two-headed condor coming out of a heart (Corazon), this jacket is heavily embroidered throughout with metallic thread and is decorated with a tasselled silver border. The cowl neck is in grey velvet with petals and flowers.Private Collection of Mari Solari, Las Pallas

15Top hat from Puno2018Stiffened material, rayon trimThis type of hat is worn by mestizos (the vast majority of Spanish-speaking Latin Americans are regarded as mestizos, or multiracial). The hats are widely worn in the regions of Cuzco and Puno by women who own a more Westernised mix of clothing.Collection of Hilary Simon

16HatEarly twenty-first centuryFeltIn South America the bowler, known as a bombín, has been worn by Quecha women since the 1920s, when it was introduced by British railway workers. The style is commonly worn throughout Peru as standard dress.Collection of Martin Morales

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Born into a Quechua-speaking community in Puno, southern Peru, Martín Chambi (1891-1973) was one of the first photographers to make portraits of the indigenous peoples of the Peruvian Andes. These images, along with his photographs of Andean landscapes, were sold in the form of postcards.

Chambi’s father went to work in a gold mine in Carabaya (a small province in Puno) and Chambi accompanied him. A documentary photographer was located at the site. Chambi took an interest in the photographer’s work and learned basic photographic techniques from him. This early experience led to Chambi pursuing photography as both a passion and a profession.

In 1908 Chambi moved to the city of Arequipa, where he was apprenticed to the photographer Max T. Vargas (1874–1959). Chambi opened his own studio in Sicuani in 1917, the same year

that his first postcards were published. In 1920 he relocated to Cuzco and established the Chambi studio. Here he photographed the contrasting worlds of aristocratic, wealthy families and indigenous people wearing traditional costumes. He travelled frequently to the Andes and photographed the everyday life of the communities as well as Incan ruins and Andean natural landscapes. His pioneering work revealed Andean culture to the world, and was noteworthy for thedignity with which he portrayed the people.

During his lifetime, Chambi exhibited his work in a number of galleries in Lima and Arequipa; he also had exhibitions in La Paz, Bolivia (1925) and Santiago, Chile (1936). He worked as a photojournalist for the Peruvian newspaper La Crónica, for the Variedades and Mundial magazines, and for the Argentinian newspaper La Nación. In February 1938 he published photographs in the National Geographic magazine. Chambi’s images gained much recognition after his death. In 1979 the Museum of Modern Art (MoMA) in New 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.

Martín Chambi: the photographer of the people (1891–1973)

level of technological sophistication. The main fibres of the region – cabuya, camelid and cotton – as well the designs and the use of the backstrap looms, helped to produce very fine fabrics.Collection of Leonardo Arana Yampe 17Francisco González Gamarra (1890–1972)A selection of watercolour illustrations; modern printsc.1930Francisco González Gamarra was a painter, composer and humanist. Born in Cuzco, Gamarra’s family was involved in the arts: his father was a painter and his mother a musician. Gamarra first studied at the Universidad Nacional San Antonio de Abad in Cuzco. In 1910 he won a competition to work as a cartoonist for the magazine Variedades in Lima. There he continued his studies at the Universidad Mayor de San Marcos de Lima. He served as President of the Sociedad Peruana de Bellas Artes between 1939 and 1945, and actively promoted the arts in Lima. In the 1950s Gamarra was appointed Director of the Escuela Nacional de Bellas Artes de Lima. In 1937 he proposed the ‘Teoría del Arte Peruano’, a statement of love for the Peruvian arts. As part of his love for the traditions and culture of the arts of his native country, Gamarra painted a set of illustrations depicting the indigenous peoples of the Cuzco region.Private Collection

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5Women’s costumeTwentieth centuryCotton, beads, metal ornamentsThis women’s costume is from the Shipibo-Konibo people and includes a traditional Shipibo-style blouse and woven skirt. On display here are two styles of Shipibo headdress, a beaded neckband, a beaded breast plate necklace with metal ornaments, beaded and woven wrist bands, and a woven bag. The skirt, or chitonti in Shipibo, is a woman’s most traditional item of clothing. It is made from handwoven cotton and decorated with personal motifs. As with a man’s cushma, it is produced on a horizontal loom and decorated with either painted or embroidered motifs. The blouse is a self-tailored Spanish design made from commercial cotton fabric. The blouses that are worn today reflect the influence of missionaries, and the women like to wear them in bright contrasting colours, which symbolise the sun and the moon. The belt is made from white glass beads that are strung on several long lengths of cord bound at both ends to form rings with which to fasten it around the waist. Symbolising wealth and motherhood, it is generally worn by women after puberty.Collection of Professor Richard Bodmer

6Men’s costumec.1930–50CottonThis long tunic from the Amazonian region is called a cushma, and is worn with a headdress. The Shipibo-Konibo are an indigenous people who live along the Ucayali River in the Amazon rainforest. Formerly two groups, the Shipibo and the Konibo, they eventually became one distinct tribe through intermarriage and communal ritual.Collection of Chiara Macchiavello

7Women’s costumeEarly twentieth centurySynthetic materials, cotton, metallic braidsThis costume is from Lampa, Puno, and consists of a jacket, skirt and hat, all of which are appliquéd.Collection of Mari Solari, Las Pallas

1Martín Chambi (1891–1973)A collection of original postcardsc.1920s–40sAll the images on these postcards are gelatin silver prints by the acclaimed photographer Martin Chambí, who sold and distributed the postcards to the tourist trade in the Cuzco region. Collection of Bill Blair

2Paul Yule (b.1956)Martín Chambi and the Heirs of the Incas1986FilmThis BBC documentary about the life and work of Martin Chambí (1891–1973) features some of his most stunning photographs. Paul Yule has made numerous films, including Iquitos (1988) and Our God the Condor (1987), about Peru and its traditions. Courtesy of Paul Yule

3Women’s costumeEarly twenty-first centurySynthetic material, cottonThis machine-embroidered costume from the Colca region was acquired by Soledad Mujica, the Director of Intangible Heritage at the Ministry of Culture, in 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

4Men’s costumeTwentieth centuryCotton, palm leaf fibreThis men’s costume from the Ashaninka consists of a woven cotton cushma and a woven palm leaf fibre headdress. The cushma is traditionally woven by women on a backstrap loom. This intricate garment can often take up to three months to complete. The cotton is either grown in gardens or collected from the forest. Both sexes of the Ashaninka wear cushmas: a man’s cushma has a triangular neckline, whereas a woman’s has an oval opening that cuts across the shoulders facilitating breastfeeding. The Ashaninkas decorate their cushmas with a variety of seeds and other items. To the Ashaninka, wearing a cushma is what makes them human and is the fur of the human body, akin to the coat of the jaguar or the patterned skin of the boa. Cushmas go through life cycles, with a new one having a white or natural cotton colour, which in mid-life is then dyed brown, while the oldest are dyed black. The flat palm-leaf headdress is worn only by men.Collection of Professor Richard Bodmer

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1Toni Frissell (1907-1988)Model with llamas – Cuzco, Peru1952Fashion photographPublished in Harper’s Bazaar. Jan 1952Library of Congress

2A Rum FellowCushions commisioned for Weavers of the Clouds Cloud Fall 2Woven by Herminia Sayo Huaman and Deonicia QuispeHand dyed sheep's woolA Rum Fellow is a London-based studio dedicated to artisan textiles and to creating statement pieces for interiors. Founded by designers Caroline Lindsell and Dylan O’Shea, the studio explores the heritage craft techniques of Peru and reinterprets them in their house style of intricate pattern and vibrant colour.Courtesy of A Rum Fellow

A Rum FellowWall hanging commisioned for Weavers of the Clouds Cloud Fall 1Woven by Hilda Tito and Gregoria MamaniHand dyed sheep's woolA Rum Fellow designed the interior for Casita Andina restaurant in Soho, London, for Martin Morales, founder of the Ceviche and Andina restaurant groups. The theme for Casita Andina was Peruvian textiles, which are used for the seating and tables. The lampshades have woven trim borders, which are echoed here in this setting.Courtesy of A Rum Fellow

A Rum FellowWall hanging, commissioned for Weavers of the Clouds2019Sheep’s woolA Rum Fellow designed this geometric wall hanging with the cooperative Threads of Peru in Cuzco, together with artisans in the region. This is an example of the numerous collaborations in which A Rum Fellow is involved, creating works of art by bringing together the talents of artists and artisans. Collection of A Rum Fellow

3Meche CorreaEnsemble2013Net, cotton, silkThis ensemble features a black dress with an elaborate encrusted embroidered wrap, shown with a black tulle skirt and a flowered headband. Correa is an ambassador for Peruvian fashion; she actively promotes art and culture, and encourages the development of working relationships with artisans in many diverse communities throughout Peru. Collection of Meche Correa

4Meche CorreaEnsemble2013Cotton, netThis dress design is a classic, with large Andean flowers on the wide border of its skirt; a bag and bright felt hat complete the look. Correa aims to combine the essence of Peruvian traditional clothes with a contemporary approach.Collection of Meche Correa

Like the Indigenistas Peruanos, contemporary Peruvian fashion designers have looked to their own culture for inspiration. Unlike those associated with earlier movements, these designers work with indigenous artisans, collaborating in and engaging with traditional skills shared from a rich culture and heritage. By investing in local craftsmanship, these contemporary creatives are providing a valuable source of income in communities, which is revitalising the historic crafts of Peru and producing a distinctive approach to Peruvian design.

The designs shown here have developed from the wealth of inspiration provided by experienced practitioners and numerous artisans. Each region’s distinctive skill set, incorporating specific handmade practices, contributes to these contemporary looks while being unique to Peru. Collections have explored embroidery, specialist weaving from a certain area, knitwear, crochet, beading and appliqué techniques. Commonly featuring in Peruvian costume are

embellishments such as buttons, woven trim and beads, which can be transferred and made fashionable in a context that attracts new customers and highlights indigenous and historic crafts.

In a fast-changing world, the challenge is how to sustain a cultural and visual identity that has been historically well documented. In an industry that relies on novelty and change, these designers are attempting to encourage artisan communities to preserve traditional and sustainable methods and to empower the emerging talent to continue using theselabour-intensive skills. The world is looking to the fashion industry to take responsibility for the fast-fashion movement that is destroying communities and the environment. Here we have an alternative approach for the ethical production of clothing.

Contemporary fashion

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ESCUDO label, which uses Peruvian raw materials, with the aim of helping to rescue the textile heritage of Peru.Collection of ESCUDO-Chiara Macchiavello

11Chiara MacchiavelloEnsemble2019Cotton, baby alpacaA look consisting of the Elena dress in a two-tone knit, and theTucan jacket, a knitted, fringed cardigan. Macchiavello combines traditional techniques with contemporary designs that have a worldwide following. Collection of ESCUDO-Chiara Macchiavello

12Chiara MacchiavelloEnsemble2019CottonThe Urpi cardigan is handwoven in cotton with fringing on the front seams; it is worn with the Pancha skirt.Collection of ESCUDO-Chiara Macchiavello

13Alessandra PetersenJacket2018AlpacaThe Hawk is an ombré jacket of 20 colours. Alessandra Petersen participated in the pop-up shop ‘Passport to Peru’ at Bergdorf Goodman, New York, in October 2018, along with ESCUDO, Meche Correa and AYNI. Alpaca has emerged as a viable alternative for

designers and consumers craving the look and feel of natural fibres in lieu of chemical-laden synthetics. Collection of Alessandra Petersen

AYNIDress2018 Spring/Summer collectionOrganic cottonA hand-knitted organic cotton macramé dress that took two women artisans in Peru six days to complete. Collection of AYNI

14Gabriella Cortese (b.1965). Ensemble2010 Autumn/Winter collectionAlpacaThis ensemble by Cortese for her label Antik Batik consists of a knitted cardigan, knitted dress, bag and Peruvian hat. All of Cortese’s knitwear is knitted by hand in Peruvian workshops using materials like cotton and alpaca fibres. Cortese and photographer Thierry Le Gouès travelled to Peru to photograph the label’s Autumn/Winter 2010 collection. This resulted in a colourful editorial campaign with models interacting with local children, men and women around Cuzco and Lake Titicaca. Collection of Antik Batik

15Vivienne Westwood (b.1941)Ashaninka-inspired cushma with hat and bag2015Cotton, fibre hatThis look from Vivienne Westwood’s Gold Label Show was inspired by her time in the rainforest with the Cool Earth

5Meche CorreaEnsemble2013Cotton, netCorrea’s look consists of a skirt with multicoloured embroidery, a plain top and a floral headband. Collection of Meche Correa

6Meche CorreaEnsemble2013Net, brocade, embroidery with gold threadAn extravagant look comprising a wrap embroidered with large flowers in gold thread, worn with a skirt of black tulle and a golden floral headband. Collection of Meche Correa

7Mozh MozhEnsemble2018 Autumn/Winter collectionCotton, baby alpacaAn ensemble of a long jacket, trousers and bag. The jacket and trousers were woven on a backstrap loom and feature a rainbow colourway with a dark over-lining. The jacket’s lapels have frayed edges, stitching details and a rainbow underlay. The bag is edged with baby alpaca, and the embroidered trees and flowers in the centre have been created using a patchwork technique named arpillera.Collection of MOZH MOZH by Mozhdeh Matin

8Mozh MozhEnsemble2018 Autumn/Winter collectionAlpaca, cotton, beads, sheep’s woolThe jacket is of wool, woven in the south of Peru, featuring a patchwork of different colours and weaves. The trousers are woven in cotton on a backstrap loom in Cajamarca, where the weaving is of the highest quality. The crew-neck jumper, hand spun and dyed with natural plants in Lambayeque, has a beaded flower design by the Shipibo women of the Amazon.Collection of MOZH MOZH by Mozhdeh Matin

9Mozh MozhEnsemble2018 Spring/Summer collectionCottonThis look from Mozh Mozh features a poncho, woven on a backstrap loom, with a design of small flowers. The beaded top was made using a macramé technique, inspired by the work of the Shipibo.Collection of MOZH MOZH by Mozhdeh Matin

10Chiara MacchiavelloEnsemble2019Suri alpaca, wool, cottonThis women’s ensemble consists of a chillon gillet in a handwoven material that has been hand embroidered. It is worn with bomba trousers and a bomba top. Designer Chiara Macchiavello studied at Central St Martins School of Art in London. She founded the

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project. ‘We combined it with influences of the Ashaninka tribe in Peru, which we visited in 2013. They are wonderful people who care about the forest, which is their home. They are kind and elegant.’ – (Vivienne Westwood, 2015)Collection of Vivienne Westwood

16Naeem Khan (b.1958)2018Silk satin, velvet, beadsFrom the Qosqo CollectionNaeem Khan visited Peru during 2017 as a guest of Lima Fashion Week at the invitation of Prom Perú. The New York-based designer presented his Cuzco-inspired collection at New York Fashion Week.Collection of Naeem Khan

17Naeem Khan (b.1958)2018Silk, sequins, beadsFrom the Qosqo CollectionNaeem Khan is an Indian-American fashion designer best known for his ornate and intricately detailed gowns. Khan’s designs are a fixture on the red carpets and he has dressed many celebrities.Collection of Naeem Khan

18Kelkanka community textile2019AlpacaProject of 21 weavers in the community of Wakanquilla KelkancaEach of the 21 weavers took images from their daily life and wove a piece that illustrates them. Images include llamas,

alpacas, birds, ducks, bats, turkeys, deer, condors, houses, cornflowers, stars, eyes, foxes, native plants, mountains, lagoons, parrots, dogs, Andean geese Huallata, hummingbirds and owls.Collection of Awamaki

19Mario Testino (b.1954)Trail Blazers2008Photographic printTestino photographed a series of fashion photographs in Cuzco with the models Lily Donaldson and Daria Webowy.Collection of Beatriz Barclay

20Toni Frissell (1907–1988)1952Frissell travelled throughout Peru and Mexico. Her fashion shoots mixing contemporary styles with the landscapes, urban settings and people of these countries were highly regarded.Published in Harper’s Bazaar, 1952Collection of Terence Pepper

21Ester VenturaHomenaje al Magnífico pavo real (Homage to the Magnificent Peacock)2018Silver, turquoise beads, coconutThis necklace is made from tulle woven in silver, embellished with finely polished coconut sheets and tiny turquoise beads. Ventura’s work reflects many aspects of Peruvian culture and her designs have been at the forefront of Peruvian style.Collection of Ester Ventura

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Awamaki is a non-profit organisation in Peru that connects artisan women in the Andes to global markets. Awamaki provides training in product development, business skills and leadership. Artisans have the opportunity to share their culture and sell their crafts to tourists through Awamaki’s sustainable tourism programme. They collaborate with international designers to make contemporary handmade accessories and to access markets throughout the world. Awamaki’s guiding principle is that income in the hands of women is the best way to help families to be self-sufficient. In the rural Quechua villages where Awamaki is established, men leave to work in the tourism economy, 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.

Awamaki was founded to give these women the opportunity to earn a living while encouraging them to continue practising traditional crafts.

Today, the majority of artisans who have been in the programme for at least seven years earn the same or more than their husbands. They invest in the health and education of their families, and are building a prosperous, sustainable future for Quechua villages in Peru.

Awamaki is based in Ollantaytambo, Peru, in the heart of the Sacred Valley of the Inca. It welcomes volunteers, tourists and others in support of its work. – Kennedy Leavens, Founder of Awamaki

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1Cecilia Paredes (b.1950)Celestial Blue 2016FeathersFor millennia feathers have been a significant material in Peru: in the rainforest areas for dress, and in the pre-Columbian tunics of Nazca. This sculptural work by Peredes reflects Peruvian culture and traditions.Collection of Cecilia Paredes

2Ena Andrade, Chiara MacchiavelloTapadas Limeñas – Ladies of Lima Dress 1560–1850Photographic print and three headscarves2019‘This project looks into the identity of the covered women of Lima at the time of the viceroyalty of Peru and the first years of the Republic. They became known by this name because of the silk shawls with which they covered their heads and faces, exposing only one eye. First documented in 1560, the style extended well into the nineteenth century. In the body of the Tapadas Limeñas, the feminine revolution of the freedom of action and expression is produced, political positions are communicated, and restrictive challenges attributed to gender (sex) and the identity of their time are challenged. It could be said that through the tapada the woman found an object for social discourse.’. Creative Director: Ena Andrade and Chiara Macchiavello. Photographer: Ivan Salinero. Stylist: Lía Lazaro. Collection of Ena Andrade and Chiara Macchiavello

3Maricruz Arribas (b.1954)Sculptural piece2019Yarn, wool, metalArribas, a sculptor and painter, creates works exploring Peruvian identity. He freely interprets Peruvian elements from different contexts, combining the contemporary with the pre-Columbian. The artist has spent much time developing works on the theme of the quipu. Collection of Maricruz Arribas

4Vacide Erda ZimicUntitledSculptural piece2019Felt, beads, stones, threads, cottonIn this work, Zimic has responded to a fragment of pre-Columbian border textile, worked three-dimensionally in cross-knit looping. Her artistic practice includes jewellery and textile design, ceramics and painting. Collection of Vacide Erda Zimic

On staircase: Marilya Hinostroza GonzalezWamlas de Wacrapuquio – Girls of Huacrapuquio (in Huancayo region, Central Andes) 2010Oil on canvasMarilya Hinostroza Gonzalez was born in Huaylarsh, an area in the southern part of the Mantaro Valley. The painting shows two salerosas, happy, proud women of their land, wearing the typical costume of the region. The outfits worn by the Wamlas feature magnificent hand-embroidered flora and fauna, as is characteristic of the embroidery of this area. Such outfits are worn during the carnival season in February and March. Collection of Martin Morales

Many contemporary artists and designers are in a continuous dialogue with Peru’s rich heritage of textiles. Responding to this history in their work, they can explore and experience their culture. Reflecting Peruvian culture, the pieces on display here have been influenced by these textile traditions, each artist and designer interpreting them through their own preferred medium.

Cecilia Paredes is a Peruvian multimedia artist currently living in Philadelphia, where she is a visiting professor at the University of Pennsylvania. Peredes’s art references the feathers that are components of the tunics of the Nazca and the costumes of the Amazonian rainforest. On display here is a piece from a series of works titled ‘Celestial Blue’.

Maricruz Arribas is an artist and sculptor known for her contemporary interpretation of the ancient form of the quipu. Arribas’s quipu is made with cords, threads and recycled materials. The quipu played an important part in communication within indigenous communities. A pattern of knots was made along lengths of cords; these patterns would be read and understood. This method of knotted records was used by the Incas and other ancient Andean cultures to document and to preserve records, and to communicate social and political information.

Vacide Erda Zimic is a sculptor and jeweller who works with felt. She has studied three-dimensional cross-knit fragments from Nazca that were typically used along borders and often feature figures, animals, birds and flowers. The graphic designer Ena Andrade draws inspiration from the Tapadas Limeñas, a group of women in Lima whose distinguishing garment was a black shawl. These shawls covered the face and head completely apart from one eye. Andrade’s work reconceptualises the iconic shawl for contemporary life.

Echoes of Peru

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The innovative and internationally recognised textile course at the Chelsea College of Arts encompasses a range of techniques – weave, knit, stitch and print – and engages in projects around the world. In celebration of Weavers of the Clouds, a special project was developed to explore Peruvian culture and the alpaca fibres that are a feature of the textiles of the region.

The project was supported by KUNA Incalpaca, world leaders in the production and manufacturing of garments made from alpaca and vicuña. The company is based in Arequipa, Peru, and company directors Samuel Revilla and Luis Chavez provided alpaca fibres for the student work and offered the two selected winners a month’s internship with KUNA in Arequipa.

Students were introduced to the exhibition and project by the curator of Weavers of the Clouds, Hilary Simon. The panel of judges included the former Peruvian Ambassador Susana de la Puente, Dame Zandra Rhodes and Riccardo Rami, Director of Riccardo Rami Studio, Italy.

A large number of Chelsea students took part in the project; the outcomes were wide-ranging, deeply researched and well-thought-out. The high standard of work and the huge diversity impressed the judges, who reached a unanimous decision resulting in the selection of Naphat Sintrirat, working in weave, and Ella Wall, working in knit, as the prizewinners. Eleven students’ work was chosen to be displayed in the Weavers of the Clouds exhibition. As well as the work by Sintrirat and Wall, the projects include Eloise Mercer’s weave interpretation titled In Praise of Shadow; Madison McGlennon’s research inspired by the floating islands of Lake Titicaca; Anggraini Stiady’s knitted cardigan and Kaidi Ning’s knitted piece depicting the landscape, reflecting the tradition of knit in Peruvian culture; Yujiao Kong’s intricately constructed bag; Lucy White’s subtly painted backdrops inspired by Martín Chambi; Yanyu Shu’s art book; Lily Way’s designs featuring woven trim; and Cordelia Blair- Strickland’s embroidered floral designs on fine trim.

Chelsea College of Art and KUNA

1Ella WallKUNA winner in Knit Walls 2018Knitted panelsInspired by stonework at Sacsayhuamán, where the blocks fit perfectly next to one another, form, shape and structure are explored through knit. The colour palette combines the vibrancy of traditional Peruvian dress with the more muted tones of the landscape.

2Naphat SinitratKUNA winner in WeaveAmazon2018Woven samplesPlayful combinations of weave, dye and print processes, such as ikat and sublimation print, create a new layered visual language that communicates concerns about deforestation and species extinction and suggests alternative narratives.

3Anggraini StiadyMoray-inspired Knitting 2018Alpaca, sheep’s woolConstructed knits in alpaca and vicuña, inspired by the Moray landscape and the Inca’s experimental agricultural techniques, which make use of the different levels of altitude and microclimates to create vibrantly coloured harvests.

4Kaidi NingThe Lines 2018Alpaca, sheep’s woolInspired by the landscape, rock formations and the brown hues of Cuzco, the collection reflects the ecology and rural landscape of the Peruvian Andes.

5Yujiao KongFrills2018Alpaca, sheep’s woolDragon-scale patterns, such as those seen on fire figures in ancient Chinese paintings, are combined with Peru’s traditional frilled skirts. The bag is an important item in Peru and the colour palette explores the relationship between black and other colours.

6Eloise MercerIn Praise of Shadows 2018Alpaca, sheep’s woolUsing ancient Incan constellations and the notion of tracking the movements of the sun with lines, this project explores tonality and gradation, asymmetry, stripe and block to create light and shadow compositions: both luminous and dark.

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7Lily WayCommunicate2018Alpaca, sheep’s woolTaking inspiration from the ‘quipu’, used by the Inca people as a means of collecting and recording data before written language existed, Way explores modern methods of communication through signage and patterns found in everyday life.

8Cordelia Blair-StricklandOrder and Disorder2018Alpaca, sheep’s woolFelt-backed embroidery samples with sketchbook watercolour paintingBlair-Strickland combines the strong linear designs, patterns and textures found in traditional Peruvian woven textiles with studies of Peruvian wild flowers, dye plants and stitch techniques.

9Yanyu ShuAfter Life 2018Alpaca, sheep’s woolInspired by Peruvian burial culture during the pre-Columbian period, the funerary objects represent ancient Peruvian views on the ‘afterlife’. Shu uses modern physics theory, such as four-dimensional space and time travel, to imagine what the ‘afterlife’ will look like.

10Madison McGlennonHidden in Plain Sight2018Alpaca, sheep’s woolA striped alphabet, as a woven code, raises awareness of the negative impact of tourism on Lake Titicaca’s fishing industry. The peak season results in overpopulation and leads to uncontrollable waste and heavy pollution of the lake, as well as endangering native fish.

11Lucy WhiteLine2018Alpaca, sheep’s woolInspired by the backdrop of Martín Chambi’s Cuzco photography studio, Line observes and values the nuanced beauty brought about by time and tradition, drawing on patterns and qualities that repeat throughout the photographer’s work and the lives of the people of Cuzco.

This display in Weavers of the Clouds features the artwork of 17 Peruvian artists who either work with weaving and embroidery techniques or interpret the aesthetic of Peruvian textiles and costumes in their own artistic medium.

Peruvian textiles are part of a legacy that dates back more than 7,000 years. Their fineness and quality are a testimony to the patience and skill of the ancient weavers. It is with this same patience and skill that contemporary artists have created a new language that combines traditional techniques with contemporary materials such as nylon, copper, wire, photographic paper and thread.

The viewer is invited to enter a dream state through the creations of talented, multidisciplinary artists who find their inspiration from numerous sources: from the most basic traditional craftsmanship to the elaborate ceremonial mantle or folkloric costume. Their creative process becomes a representation which recreates a poetic language of great expressiveness.

Alongside examples of traditional weaving and costumes that are still worn in Peruvian regions, sculpture, painting, photography, installation, mixed media and tapestry have been grouped to show how versatile contemporary art can be when inspired by ancient textiles from the pre-Columbian period.

This exhibition allows us to reflect on the practice of weaving and embroidery, the manipulation and transformation of textiles, the flexibility of non-textile materials, and the artistic techniques that contemporary Peruvian artists implement to create a new medium. We may also begin to understand the value of traditional textiles and costumes, which are still such an important legacy in many communities in Peru today.

A Thread:Contemporary Art of Peru

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1Mariella Agois2019MantoAcrylic on canvas

2Lizi Sanchez2019Extranjera, Extrana, StrangerAcrylic on aluminium foil

3Jesus Pedraglio2019Inka spaceThread and copper

4Kylla Piqueras2015Dark night of the soul Mixed media on traditional sheep’s wool skein

5Ana Teresa Barboza2019Trama DiscontinuaWoven on loom with cotton threads dyed with natural dyes, digital photography on cotton paper

6Leslie Spak2018GirlsWoven threads

7Nani Cardenas2018Metal Bodies: Tights I and II Woven stainless steel

8Ishmael Randall Weeks2017Excavation AnnotationsAcrylic Gel Transfers, Mineral Copper and Silver, Electroplated Copper and Wood

9Marisol Malatesta2019Series Primitive PassionsTwo woven, painted papers, Two glazed terracotta

10Fatima Rodrigo2019New TendeciesWoven in beads

11Alice Wagner2015UntitledHeat-sealed, inflatable plastic toy and fretwork

12Ximena Garrido Lecca2013A Gross of ChullosHand-coloured photocopy on accountancy paper. Series of 144, each one unique

13Marina Garcia Burgos2015 Fiesta de MoqueguaDigital print on Hanhnemuhle cotton paper

14Ana Cecilia Farah2019Contemporary Textile IIPrint on bronze sheet

15Cristina Colichon2018Unraveled serieWoven alpaca and copper

16Cecilia Paredes2018Flying SouthPheasant feather dress

17Silvana Pestana2017Paiche mantleWoven Paiche fish flakes

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Coming Soon: Zandra Rhodes – 50 Years of Fabulous

27 September 2019 – 26 January 2020In celebration of five decades of iconic design, the Fashion and Textile Museum is proud to present Zandra Rhodes: 50 Years of Fabulous – the largest-ever homage to a member of British design royalty and founder of The Fashion and Textile Museum, Dame Zandra Rhodes.

This comprehensive retrospective will traverse fifty years of a fascinating and varied career.

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