The Latin American surface pattern, between tradition and cultural significance
Textiles decorated with traditional surface patterns have been part of the daily lives of the peoples of Latin America since pre-Columbian civilizations. Even today, the beauty and diversity of textile arts in South America fascinate, inspire and constitute a precious support for collective memory. Let's discover a considerable cultural heritage, in a rich mix of styles and techniques where shapes and colors vibrate in unison.
The origins of South American surface patterns
Latin America stretches from Mexico to Tierra del Fuego. In this vast territory, high mountains rub shoulders with arid deserts as well as pampas and tropical forests. Indigenous peoples demonstrated a wealth of textile creativity very early on, despite an often harsh environment and limited resources. Over the ages, a large number of distinctive cultures developed there, without any external influence until the Portuguese and Spanish colonization in the 16th century.
The most notable are undoubtedly the pre-Columbian Mayan (forests of Guatemala and Chiapas), Aztec (central Mexico) and Inca (Andes, from Ecuador to Chile) civilizations, large organized societies in which textile arts were particularly flourishing. Smaller-scale societies were not left out. The numerous textile remains discovered in Mesoamerica (Mexico and Central America) as well as in the northern and central Andes thus testify to the diversity and sophistication of weaving and embroidery techniques in this region of the world, well before its colonization.
Mesoamerica
In Mexico, different varieties of white or caramel brown cotton were woven, as well as agave and yucca fibers. Textiles were dyed using dyes of plant origin (indigo, Brazilwood or logwood) or animal origin (cochineal, crustaceans).
The fabrics were decorated with surface patterns of checks, bands or stripes, mainly created on backstrap looms. Once finished, the fabric could be printed using terracotta stamps and cylinders. In the Yucatan region, the batik process was probably applied very early. Textiles could also be decorated with embroidery, freehand painting, applications of feathers, shells, bells, etc.
Depending on the region, women's daily clothing consisted of a sleeveless tunic called a huipil or a closed cape (quechquemitl), accompanied by a draped skirt, a belted scarf at the waist and a cape. Men wore loincloths wrapped around the hips, belt-scarves, aprons, woven or net capes. Men and women completed their outfits with often spectacular hairstyles.
In the Aztec economy, based on barter, the most beautiful textiles were considered a currency. They served as payment as well as a dowry, shroud or offerings to the deities. Among the Aztecs and Mayans, the opulence of clothing reinforced the status of priests, nobles and warriors.
Pre-Hispanic South America (Andes)
A large part of the pre-Columbian textiles discovered in South America come from Peru. On the coast, cotton, natural or dyed, was cultivated and used to make textiles decorated with geometric patterns and stylized characters as early as 3,000 BC. At high altitudes, Andean weavers worked camelid wool (llama, alpaca, vicuna, etc.). Indigenous peoples were already dyeing this wool in a very wide range of bright or subtle shades well before our era. The Chibchas, a community from the Colombian and Peruvian highlands, produced finely woven textiles, decorated with warp patterns and painted designs.
Furthermore, all the artisanal weaving techniques known to date were already in use four centuries before the Christian era. The fabrics could be embellished with embroidery (southern coast of Peru), representing small figures, animals, birds and different surface patterns worked in interlaced loops. Embroidery was gradually replaced by tapestry from the 7th century. Five centuries later, the Inca people still used this technique to make cumbi or qompi, fine and luxurious textiles decorated with stylized geometric, animal or vegetal surface patterns reserved for the nobility.
At its peak, the Inca civilization, whose influence extended along the Andes and almost the entire west coast of the South American continent in the 15th century, gave a central role to textiles. These were systematically associated with rituals associated with the major stages of an individual's life, from birth to death. They also reflected social status and regional origin.
Photograph of a fragment of polychrome wool fabric depicting a mythical anthropo-zoomorphic character with a snake belt. © Musée du quai Branly - Jacques Chirac
Colonial influence on textiles and surface patterns
When European settlers arrived in the 16th century, only the remote populations living in the highlands and tropical plains had preserved their traditional lifestyles.
The introduction of new fibers and techniques changed the textile landscape. Sheep's wool and the pedal loom, among others, but also knitting, which became very popular in southern Peru and Bolivia. Most local traditions merged with European influences. The form of indigenous clothing evolved, becoming simpler and more modest to adapt to European costume, with some survivals from the pre-Hispanic period.
However, traditional textiles, clothing, and symbols have retained most of their meaning, especially among rural populations. The taste for ornamentation has remained intact, perpetuated by the transmission and maintenance of ancient know-how.
Some communities have taken care to preserve their textiles since the colonial period and still use them during ceremonies and major events (births, marriages, deaths, etc.)
Ultimately, far from disappearing or remaining static, the repertoires of traditional Latin American surface patterns have integrated new European designs without ever losing their identity. This is how themes from Christian iconography (crosses, representations of saints, biblical scenes) have been added to the vast repertoire of surface patterns used during the pre-Hispanic period: geometric patterns, mythical creatures, naturalistic representations of plants, humans or animals (snakes, jaguars, turtles, birds, etc.)
Traditional textiles in the 20th century
After centuries of Spanish domination, the 20th century marked a period of renewal in Latin American textile arts and a renewed interest in indigenous traditions. This desire to preserve ancient traditions and rediscover a cultural identity has been carried by certain artists, the most emblematic being undoubtedly Frida Kahlo.
Shaped by history, culture and customs, maintaining the link between the past and the future, textile specialties are associated with different techniques and surface patterns that vary according to communities and geographical areas. Each region therefore has its own forms of artistic expression. The representations traditionally used constitute the vocabulary of a language common to the entire continent. True to its roots, this language speaks of man, of his relationship with nature which is associated among many peoples with Mother Earth (Pachamama).
This mixture of styles proves to be of considerable richness, from an iconographic and more broadly historical point of view.
Native American woman weaving, 1935 © Musée du quai Branly - Jacques Chirac
Textile embroidery in Latin America
Practiced very long ago on the continent, particularly in Mexico, Guatemala and Peru, the art of embroidery was somewhat neglected in favor of tapestry during the Inca period.
Spanish domination gave a new lease of life to embroidered patterns, allowing the assimilation of new materials (silk, cotton, wool, then artificial silk, acrylic, metallic thread and lurex, etc.) and developing the use of techniques such as plumetis, running stitch and cross stitch. The sewing machine - first hand-cranked, then pedal-operated, and finally industrial - allowed textile production to evolve and it is not uncommon for them to combine hand embroidery and machine embroidery.
In Mexico and Central America, bodices, huipils, traditional skirts, bags, scarves and shawls are often covered with embroidered floral patterns or with embroidered geometric or animal designs, sometimes embellished with glass beads. Roses, daisies, animals, baroque surface patterns: these surface patterns combine stylized figurative elements of European inspiration with ancestral embroidery techniques brought up to date. The tenango from the state of Hidalgo is a good example.
In Peru, each region has its own embroidery style and technique. For example, in Arequipa, Makinasqa embroidery is worked on a sewing machine, to create typical regional surface patterns on skirts, chumpi (belt scarf), blouses, vests and hats. In Junin, plumillado is practiced by machine, moving the fabric stretched on a frame by hand to create complex lace-effect patterns. Talaqueado is also very popular: this machine embroidery technique by filling allows to create large, joyfully colored decorations composed of flowers, birds or insects. Other less widespread varieties of Peruvian embroidery, such as uvado or picateada, are based on techniques close to boutis, or reverse appliqué.
Peruvian wool fabric © Musée du quai Branly - Jacques Chirac
Some examples of Latin American textile arts, by region
Central America: Mexico and Guatemala
In addition to embroidery, this region of Latin America can boast many textile specialties based on weaving. While artisans in Chiapas and Oaxaca weave colorful textiles decorated with geometric or floral patterns, the Mayan communities of Guatemala practice the art of weaving on a back-belt loom to make huipiles and cortes (skirts) in vibrant colors and symbolic patterns, but also ornaments for headdresses (toyocal) and hats, collars, shirt edging, etc.
Caribbean: Panama, Darién, Colombia
Among the most famous textile specialties of the Circum Caribbean are the Molas, emblematic creations of the Cuna tribes of Panama and Darièn. These multi-colored fabric panels are created using the appliqué technique: cutting out shapes and surface patterns from an assembly of several layers of superimposed colored fabrics, making each mola a unique piece.
In Colombia, the bags of the Wayuu and Arhuaco women are called mochillas. They are woven or crocheted and decorated with ecru and black geometric patterns, or very colorful ones. The spiral, a symbol of life, is a surface pattern frequently represented on these small bucket bags.
Amazonia: Peru
The Shipibo-konibos people make fabrics painted or embroidered with colored threads decorated with labyrinthine geometric surface patterns. These representations are inspired by the spiritual visions of shamans.
Andes: Peru, Bolivia, Ecuador
On the Andean highlands, the art of weaving wool fibers (sheep and alpaca) already practiced by pre-Columbian populations has lost none of its splendor. The reputation of Andean weavings - especially Quechua weaving -, with their complex geometric surface patterns and shimmering colors is now international, and many efforts are being made to revitalize traditional production.
Southern Cone Region: Argentina and Chile
The Mapuche community has ancient textile traditions that are still represented today. Their sheep wool weavings are decorated with zigzags and herringbones.
Women's headband with geometric and zoomorphic surface patterns (horses, birds) from the Andean region © Musée du quai Branly - Jacques Chirac
In conclusion, Latin American textiles represent a true cultural treasure, combining ancestral traditions and innovative techniques that span the centuries. From the star patterns of the Andes to the intricate embroidery of the peoples of the Amazon region, each region of the continent has developed a distinct style, marked by an incredible diversity of colors and shapes. Textile craftsmanship is therefore omnipresent in the daily lives of the indigenous peoples of Latin America, it represents much more than a simple economic activity: craftsmanship reflects a deep connection with nature and spirituality, notably through the representations of Pachamama (Mother Earth). Whether hand-woven fabrics or machine-embroidered, the manufacturing techniques of these products vary according to the regions, offering an incomparable richness in the styles and materials used. From northern Mexico to the starry lands of Peru, women play a central role in the creation of these textiles, often adorned with symbolic patterns that tell stories and celebrate their culture.
Today, although many pieces are still handmade by artisans, some modern techniques such as machine knitting have truly become part of textile craftsmanship, allowing for growing demand in international markets. The traditional scarf, the huipil or even woolen bags are evidence of the resilience of these traditions, perpetuating age-old know-how.
As a result, homes around the world are incorporating these unique creations into their decor, adopting these products that combine aesthetics and history. Whether through home fabrics or fashion accessories, Latin American textiles, with their bright colors and star patterns, continue to be objects of fascination and inspiration. This rich heritage, inherited from civilizations such as the Incas, remains a pillar of the cultural and artistic identity of this region, always moving towards the future.