Chiapas: A Revolution, Some Sheep, and Centuries of Weaving

From Arthur Frederick Community Builders, an organization dedicated to small-scale community development. They have projects in Chiapas.


A decade ago, Chiapas was in the news alot. Not for the abundance of craft production that goes on there, but because of the charismatic leader, El Subcomandante Marcos, the masked poet revolutionary who speaks for the poor in Mexico's most neglected state. I hadn't heard anything in a long time from that part of the world, so I decided to do some internet surfing. Sure, there is plenty, but much of it is over two years old, has broken links, or focuses on coffee production. Chiapas borders Guatemala and the Mayan descendants who live there are experts in many craft techniques. I focus in on the textiles because that is what I do: look for threads! The lack of current information surprised me, but given that other parts of the world are in even more desperate blood baths, perhaps interest has dwindled recently.

To put you in the fiber context, here are a couple of examples of traditional Mayan huipils (woven blouses) from Sna Jolobil, a non-profit working with indigenous women in Chiapas for over thirty years:

Galley image from Sna Jolobil, woven brocade huipil.

Galley image from Sna Jolobil, embroidered brocade huipil.

If you are familiar with Guatemalan textiles, you will see how close they are in style. Although Chiapas has many different non-Spanish speaking Indigenous groups, most descend from the Maya and thus have similar customs.

Map by Jenna Hall for Mujeres de Maiz Opportunity Foundation.

The largest of these groups is Tzotzil, agrarian and sheep herders by tradition. Unesco has an extensive description of the importance of sheep to these people. Wool products account for 36% of the family's income, completely in the domain of the women. The wool from this area is thick, long and rich, easily recognizable once you have seen it and felt it. Sheep are not eaten, in fact, they are considered sacred, as soul mates. Here is a snippet from Grain which carried an interesting article about the importance of these sheep:

"First of all, sheep are part of the culture of the Tzotzils; since they are sacred animals protected by the local religion, it is forbidden to hurt, to kill or to eat them. Secondly, they are also the exclusive responsibility of women, who take every decision over any issue related to these animals and also keep and manage any money derived from their sheep. The Tzotzils believe that every person has an ‘animal companion’ who suffers the same fate as his or her soul mate. When a person is ill or dies so does his or her animal companion. Even when most animal companions are wild animals, it is recognised that sheep can be the secondary soul mates of shamans and healers, and this is the reason for not hurting or killing them. However, it is only sheep that are sacred, and cows, horses or pigs are just domestic animals for the Tzotzils, who raise them, kill them, eat them, or sell them as needed.

The importance of sheep is related to the traditional clothing of the Tzotzils. Clothes for ceremonial or daily use are made out of wool and any visitor to the villages or to the local markets will find men in their heavy black coats or their sleeveless white jackets. Women wear their black woollen skirts and their richly embroidered brown blouses, and they cover themselves with black shawls. Children’s clothes, blankets and bedspreads are woven to blend fleeces of different colours, to create an infinite number of grey and brown shades. These woollen clothes are quite heavy and a hairy finish is highly regarded; they are also waterproof and last a very long time: two or three years of daily use."

Mujeres de Maiz Opportunity Foundation update on weavers and their sheep in Chiapas.

Unfortunately, even though Chiapas is one of the wealthiest states in Mexico in terms of natural resources, the people who live there see little benefit. Hydroelectric power generated in Chiapas powers much of Mexico City. Instead, they are among the poorest of the poor in Mexico. Chris Arsenault wrote an essay in 2005, reflecting on the then ten-year old resistance movement that had sprung up in Chiapas:

"70 percent of Chiapas's dwellings are overcrowded, 51 percent have earthen floors and more than 35 percent lack drainage or electricity, even though Chiapas produces 60 percent of the hydro electric power used in Mexico City. These objective realities, along with 500 years of cultural destruction and humiliation for Mexico's (and Canada's) indigenous, created the conditions for rebellion."

The revolt was led by El Subcomandante Marcos, a figure who, like Che Guevara, has captured the romantic dreams of the oppressed and turned them into poetic action. Although we never see his face, he speaks with a directness that is infectuous. How can he not be the most beautiful man under that mask?



Wikipedia has an interesting story on who this Marcos might be, so hop on over if you want to know more (AFTER you finish with my story!!!!)

A member of Mujures por la dignidad (women for dignity) a 1,000 member Zapatista cooperative, weaving art-crafts.
Photo: James Daria

In the same article, Arsenault attributes the growth of women's textile cooperatives to the rebellion without mentioning that many other non-governmental and non-profit organizations have been in the area for decades. I did not see any clear evidence in my surfing that the handsome masked man has greatly improved the conditions of the poor in Chiapas. Instead, I did see that Lucia and Ernestina, in the photo on the left, and others like them, have benefitted from these other organizations who have helped them improve their farming techniques, given them access to larger markets and to financial opportunity through micro-credit approaches. The video below is one such example:



I consider myself a pacifist (or, maybe I am just a coward). I have absolutely no idea if I would remain such if I had been born into a society where my life chances were so minimal, but I like to think that economic development is a much better way to go than through violence. And, I also will support any effort where communities can engage in handicraft and textile production in order to better their lives. This, I will do to the end of my days. With some access to credit, a hard working woman can buy some land. She can feed her children and have her sheep soul mates. Clinics and schools and infrastructure will come as they pool their resources. Above all, she will have her dignity.

Visit my other blog, Artezano Links for more resources on the handicrafts in Chiapas.

Chiapas: A Revolution, Some Sheep, and Centuries of Weaving

The Tarahumara Race is On: Woven Destinies

Tarahumara Men costumed for Pre-Easter Rituals

"A People Apart", National Geographic November 2008
Photograph by Robb Kendrick

The latest issue of National Geographic features the Tarahumara who live in the Sierra Madre Mountains of Mexico. Famed in athletic circles for their running endurance, the Tarahumara call themselves "Raramuri", or "the one who walks well". The article, of course, explores the tension between traditional ways of life collapsing as modernity infringes on Tarahumara land. Isn't that the story of all indigenous groups around the world?

Tarahumara Woman and Children
"A People Apart", National Geographic November 2008
Photograph by Robb Kendrick

The Tarahumara live in remote mountainous areas which have been difficult to access and have little arable land. The Copper Canyon Mountains cover part of the area. Mining and logging have long brought industrialists into Tarahumara country, but now they are also seen as a resource in themselves and efforts to capitalize on their colorful costumes and handicrafts threaten to further erase their autonomy. Cynthia Gorney, author of the article, focused on the life of one Tarahumara woman who had left her village because she wanted to study. She became a nurse and serves as a bi-lingual health care practioner for her people. She lives in town, has modern amenities, and wants to see the Tarahumara access more of these resources for themselves. Gorney explores some of the loss that modernization brings. Sure, everyone wants running water, electricity, appliances, and less back breaking demands. Unfortunately, with it comes drug addiction, alcoholism, depression, and other negative influences that can often devastate Native communities.

I first learned about the Tarahumara about 20 years ago. A friend of mine, Ginger Blossom, sells their baskets, ceramic pots, dolls, and some textiles. She has been travelling down to the Copper Canyon for years, often taking medical supplies coveted by the people she supports. Ginger has a website where she occasionally reports on her travels. Her store is in Richmond, IL, just an hour and a half north of Chicago, definitely worth the trip!

Corn cob dolls by the Tarahumara available at Native Seeds

Bernard Fontana wrote a beautiful book about the Tarahumara in the 1970's, "Tarahumara: Where Night is the Day of the Moon" (see slide show at the end of this post). Although thirty years have passed, the book still seems current as even then, Fontana spoke of the threats the Tarahumara faced with modernization. Here are a couple of excerpts related to their handicrafts:

"When Father Fonte first met the Tarahumaras in 1607 they made all of their clothing with the materials at hand, largely from plant fibers but no doubt from hides of wild animals as well. A short time after the introduction of sheep, and still in the seventeenth century, wool began to substitute plant fiber, with the Tarahumaras, principally the women, weaving the wool and shaping the clothing. Precisely when Tarahumaras first began to acquire woven cotton cloth and other imported textiles is difficult to say, although the process doubtless began sometime in the 1600s. By the 1930s, most Tarahumara clothing was sewn from muslin and from other cloth manufactured elsewhere, but the sewing was done by the women. This continues today. Women enhance their sewing by doing lovely embroidery, chiefly on blouses, loincloths and cottons. The designs, in a full range of colors provided by commercial embroidery yarns, emphasize life forms: floral, human and other animal, and include geometric figures which may represent such entities as the sun and moon. Embroidery is one of the more important Tarahumara art forms. Their embroidery designs have a charm and naivete that are unique." (page 46).

Tarahumara baskets available at the Sierra Madre Trading Company

"If pottery is inorganic, and I am not altogether sure that is the right way to think of it, then basketry is most certainly organic. Nearly every Tarahumara woman, and many of the men, knows how to make baskets using the leaves of beargrass or of palm trees (found in the barrancas). Some basket makers even use pine needles.

On all our trips into the Sierra Tarahumara we have seen basket makers at work. It is something that can be done when one is sitting down to tend the flocks. It can be done at home in between other chores, the materials set aside to be picked up again when it is convenient.

Like Tarahumara pottery, their basketry is the essence of simplicity. There are no decorations woven in; the beauty lies in the form and in the sense of utility conveyed.

All Tarahumara baskets are plaited. Both the lidless guari basket and the lid-covered petacas, like the petate (a mat), are twill paited. Most are single weave, but in the barrancas and in parts of eastern Tarahumara country baskets are made in a double weave, especially the petacas." (page 91)

I have been working with handicrafts from around the world for over 20 years now. My entry into a new culture often comes through the craft connection. I see something, it captures my eye, I look at the technique, the materials used, and soon I want to know more about who made it. Now, after all these years, I can say with certainty, "I know a little about a lot!" Each culture would take a lifetime of study to even begin to understand the relationships between the people and their connection to nature, religion, each other and us, the outsiders. Learning about the Tarahumara was my first real exposure to all the other indigenous cultures who live in Mexico. Each is fascinating to me and if I could, I would have married my interest in the handicrafts to anthropology, roaming around and documenting people and their crafts. (A little jealousy here of some National Geographic assignments?)

Over 100 years ago, Carl Lumholtz lived this dream out. Hired by the American Museum of Natural History to explore the Sierra Madre in Mexico, Lumholz spent several years with several indigenous groups, including the Tarahumara. He collected samples of handicrafts, native plants, took hundreds of photos, and made illustrations of what he saw. He documented his experiences in two volumes called "Unknown Mexico" (see slideshow at the end of this post) which remain to this date authoritative in the depth and scope of information gathered. The books have over 300 photos plus 91 drawings and is a fascinating read. Much of it seems current and even back then, Lumholtz urged:

"When we thus consider the reciprocal influence conquerors and conquered exert upon each other- furthermore, the ever-growing expansion of commerce into the farthest corners of the globe- and finally the rapid development of means of communication in a degree that we probably can but faintly realise, we are able to perceive how nations and tribes, whether they want to or not, will be stibulated to gradual progess, on lines and by methods that in the natural evolution of things become general. A certain difference in men will always remain, dependent on environment, but surely the general trend of human destiny is toward unity. Civilised mankind is already beginning to have a social and aesthetic solidarity. ... If the Louvre, with its priceless art treasures, should burn, cultivated people of every nation would feel the loss as if it were their own. Undoubtedly this feeling of unity will grow immensely as the centuries pass by. The backward races have much to learn from us, but we have also much to learn from them- not only new art designs, but certain moral qualities. Hypocrisy will be done away with as civilization advances, and the world will be the better for it.

It is unnatural to be without a special love to the country of one's birth, just as a man has more affection for his famiy than for other families. But let our allegiance extend to the whole globe on which we travel through the universe, and let us try to serve mankind rather than our country right or wrong." (page 483, volume 2)

Tarahumara men in handwoven wool garments Photo by Carl Lumholtz

Lumholtz was perhaps naive in thinking that hypocrisy would fall away as civilization "progresses". He would probably be shocked at the double talk and nastiness we see today coming from political leaders around the world today. Some things never change.... But, others do, greatly. His sensibility and obvious care for the people he documented shows throughout the stories Lumholtz relates in his books. But, there are occasions, when his language and behavior absolutely shocked my socks off. One of the objects he desired from every area he went to was a skull, or as many as he could get. At that time there was much interest in examining skulls from different cultures to determine intelligence. A skull was the same to him, as a textile, and he apparently had no shame in how he collected either. This exchanged happened with a Huichol group:

"The native authorities, as well as the people themselves, were very nice to me and all contributed toward making my stay among them profitable. As this was my last opportunity to secure ethnological specimens from the tribe, I was anxious to complete my collections. The women here excel in making shirts and tunics, which they richly embroider with ancient designs. Through the kindness of the alcalde I obtained several of these valuable garments, with which the people themselves were loath to part. ... Being desirous of securing here some skulls from an ancient burial-place in a distant valley, but unable to make the trip myself, I persuaded the Indians to go alone to fetch them for me. They brought the precious load back safely in two bags which I had lent to them. This was remarkable in proving that the Huichols are not afraid of dead who passed out of life long enough ago." (page 285, volume 2)

In another incident, villagers kept their favorite dead relative's skulls in their homes. Lumholtz wanted a certain one that he saw in a man's house, but the man refused to give it to him because it was of his father. Lumholtz learned that the man had never married because he had a serious case of hemorrhoids. He ordered medication for him, which he traded for the skull. The man replaced his Dad with another favorite uncle... The books are packed with such stories. I treasure them immensely!

The National Geographic article stated that because of junk food, incoming roads and better transportation, many Tarahumara are already slowing down as runners. Yes, we want life to be easier, but it is a shame that in the trade we make for that ease, we lose so much that makes us special as a group. I am a mut with no particular ethnic ties, except that I physically look like a Viking. So, it's easy for me to choose which cultural influences I want to adopt, even if it is only in outward manifestations like food or clothing. But, for all of these Native peoples who are confronted with industrialization, we can only hope that they will be allowed to retain the values and important things that they choose to hang on to. We are one world, but our differences also make for interesting weavings! May the Tarahumara walk well towards the destiny of their choice!

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The Tarahumara Race is On: Woven Destinies

Symbolism of Day of the Dead Altars

Exhibit of altars at Museums of Port Isabel.

Today and tomorrow are big days of celebration in Mexico. The Day of the Dead honors those who have passed on to the other way, but also acknowledges the fine line between the living and the dead, a line of perceived reality where the dead still walk among us. This time of passage is historically connected to Aztec practices of harvest and transition. Synchrotism under the Roman Catholic Church moved the date to the current holiday, making it coincide with All Saint's Day, or Halloween.

Creating an altar to honor the dead is a central part of the celebration. These are erected both at home and at the cemetery. The altar's decorations all have deep symbolic meaning explained well in this video while "Llorona" (the crier) is sung plaintively in the background:


Jim and Mindy, two Americans living in Veracruz, Mexico, document their life there through their blog, Solarhaven. They photographed this altar in 2007:


As explained in the video, Mexican altars have several symbols found commonly on the altars. Go Mexico has a wonderful guide on how to make your own altar. The most used symbolic elements include:

• An arch: This is the portal to help the dead through. Traditionally, sugar cane stalks are used.
  
• Photos: Images of the beloved and other deceased icons (often famous artists, actors and musicians)
  
• Water: The source of life, refreshes the spirits. The video also showed leaving soap and a towel so that the spirits could dust themselves off after such a long journey.
  
• Candles: Light, faith and hope, the candles light the way for the deceased. They are often placed in the shape of a cross.
  
• Incense: Copal clears the way from any bad spirits that might be hovering around.
  
• Flowers: Marigolds are the official Day of the Dead flower. They represent the impermanence of life.
  
• Food: A special bread (pan de muertos) accompanies any favorite foods the beloved might have had. Sugar skulls also decorate the altar and can be eaten after the festivities.
  
• Personal items of the deceased: Small objects belonging to the beloved are placed as a reminder of the time when they were alive.
  

There are many other traditional symbols that can be added, but these are the main ones. As the Southwest of the United States was once Mexico, the Day of the Dead has always been practiced there, too. The photo below is from an excellent article about Mexican Americans in the United States (Every Culture).

Mexican-Americans celebrating the Day of the Dead

As we have become more conscious about multi-culturalism we have seen the Day of the Dead become adopted by non-Mexicans. Perhaps because the celebration is so life affirming, the chance to look at death with humor, dignity, and hope makes this day one that so many want to embrace. The altars themselves, have also become a tool of protest in many communities. For example, this altar honoring civil rights leader, Rosa Parks (who was not Mexican), was on BoingBoing:

When I lived in Chicago, I saw many altars over the years used as protest symbols against gang violence or other tragedies. Cultural centers engage youth and local artists in altar competitions that often result in powerful testimonials on society and its inequalities. St. Mary's College of Maryland has an altar competion every year for its Spanish classes. This one is a loud protest against drunken driving.

If you have never experienced the Day of the Dead, seen its altars or enjoyed all the whimsical skeleton art that is associated with it, definitely take a look around you and see what local happenings are honoring the dead. If you are in a larger city, there will definitely be something going on. Many smaller communities also now have displays and exhibits, often lasting on into the middle of the month.

The Day of the Dead is a great way to take some time to think about life, to remember those who have passed and to honor both their place and ours in this little world we call ours.

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Symbolism of Day of the Dead Altars

Posada's La Catrina: Dancing with Life and Death

Posada's La Catrina

The happy-go-lucky skeletons have made Mexico's Day of the Dead big business all over the world. This ancient celebration coincides with Europe's All Hallows Eve by a couple of days (November 2nd instead of October 31st). Both have roots in harvest rituals and in preparation for the change of seasons, when night becomes longer than day. FullHomelyDivinity has an excellent page with articles comparing the two, but for this post, I want to zoom in on La Catrina, the dandy lady who has become one of the most recognizable symbols of the Day of the Dead.

Jose Guadalupe Posada in front of his workshop
(furthest to the right)

La Catrina was brought to life by Jose Guadalupe Posada Aguilar, Mexico's famous engraver and illustrator. Commonly known as Posada, he lived between 1852 and 1913, a time of great change, turmoil, revolution and importance in Mexico's history. Gifted with the ability to capture both events and humor, Posada popularized the Day of the Dead by depicting skeletons in every day attire. By the 1930's and 40's local artists took his lead and started a folk art industry that would soon gain the attention of collectors such as Rockefeller and the Mexican elite.

Mexico has long had a rich culture of handicrafts. Whole villages dedicate themselves to one technique or another depending on their natural resources and local traditions. Handicraft production fits neatly into agricultural lifestyles where the family rotates into seasons of production and rest. But, the Day of the Dead has captured the imagination and admiration of people from all over the world.

Papier mache La Catrina

What is it about La Catrina and her fellow skeletons that make us want to join in the fun? I believe that part of it is our fascination with death, but also a disenfranchisement of how Halloween has become a morbid, disgusting, free-for-all worship of blood lust, gore and dehumanization. I wond lots of "best costume" prizes at Halloween parties as a kid. I still like going to costume parties, but I shudder each year when the blood and gore movies and costumes start hitting the screens. I find it appalling that parents let their children dress up in costumes that elevate rapists and murderers into national icons.

The Day of the Dead centers its belief on our common ties between those who are living and those who are dead. It is believed that on November 2nd, the line between the living and the dead is at its finest, so some beloved friends and family who have passed on might just be hanging around, and if they are, it's a good idea to let them know that they are missed. So, altars bearing their favorite foods, trinkets and photos of them remind both the living and the dead about the things they shared. The Day of the Dead in Mexico celebrates life and recognizes that we are all skeletons inside, walking around. The Day of the Dead is poetry, a song, a ballad of life that also honors death.



La Catrina is a dandy. She is a Victorian poof. But, take the symbols of her vanity off, her clothes, her hat and what happens? She becomes a skeleton, just like anybody else. This is such an important reminder that our skin color, our beauty or lack of it, our possessions, are really temporal symbols.

Sabrina Zarco's quilt of La Catrina.
"Remembering loved ones doing things they did in this life."

But, even though she might have been a Victorian snob, La Catrina survives today mostly as someone who calls the living to enjoy life, to not fear death, and to embrace all of what each has to offer.


In a culture which demonizes death and old age, I find La Catrina and her friends to be a breath of fresh air. Yet, I am not Mexican. I am a big, white Viking girl with no blood ties to Mexican culture. Is it right for me to accept La Catrina's invitation for a dance? Or, should she only belong to Mexicans? Google around for Day of the Dead products and you will find lots of non-Mexican artists using the imagery. Shouldn't I be delving into my roots of runes and Norse mythology?

Novelty Creations, La Catrina Bag on Etsy

Well, that was a long time ago and I really don't have as much of a living connection with those old Vikings (although there are some great stories) as I do with my Mexican friends or all the other people I have met from many other countries. I'm one of those products of our time who has no real roots anywhere.

As a Christian, I also have ties to other cultures that have nothing to do with my blood roots. Jesus was a Jew, the Old Testament is filled with influences from Abraham's travels through pagan lands, and so my memory context is diffused into a bizarre blend of pieces from here and there. I have always been intrigued with the curses and blessings in the Old Testament, where generations are cursed or blessed for this or that. Often it happens to be seven generations. I have come to believe that perhaps that's about how long it for one generation to lose its connection with the past. Isn't this our modern challenge? To look at where we come from and what is around us, to sift the good from the bad? If that is so, then I have no remorse in sending today's Halloween out the door and replacing it with the Day of the Dead..... Will you dance with me, Lady Catrina?

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Posada's La Catrina: Dancing with Life and Death

Sarah's Artwork and Her Traveling Muse: Australia, Mexico and Africa!

We have this little gadget on the front page of our Fiber Focus Group that pulls images from Flickr tagged "fiber art".  Last week this cute guy with a red face and wings popped up:

Merman by Sarah's Artwork

I quickly clicked on it as I wanted to know more about it.  I knew instantly that this was a piece that would be close to my heart.  And where there was one, there would probably be more.

I was right!  Merman led me to a treasure trove of wonderful work! I am especially attracted to work that is influenced by ethnic art, yet twisted into something new.  If you visit the Sarah's Artwork blog, you will find this to be true in this case. The blog is loaded with images of inspiration and how they become translated by Sarah into something new.  For example, take this piece from her series, My Tribe: 

Source of inspiration: Africa!

Other My Tribe pieces all recall Africa, although Sarah said that she is also inspired by the immigrants she sees in Melbourne, often wearing tribal tattoos or henna designs from their place of origin.

But, Merman, looked distinctly Mexican in flavor to me.  Hmmmm....  Sure enough, Sarah has been to Mexico and fell in love with it!

And, where does this well of creative juices spring from?  AUSTRALIA!!!!  It's A Small World After All started playing in my head...  Sorry.  It's all that childhood indoctrination...

Its A Small World (After All) - Disney

Sarah is prolific and diverse in her work.  The soft sculptures are heavily embellished and expressive.

Woman by Sarah's Artwork

King by Sarah's Artwork

She also draws, filling space intensely, creating wonderful environments of chaotic order:

.

The Embrace by Sarah's Artwork

Sometimes the sculptural and figurative become combined into the functional:

I have found that artists who fill their artwork with detail and texture, like Sarah, tend to also decorate or fill their work spaces in the same way.  This is true with her.  Sarah's former studio was an altar to life.  Walls, even the ceiling, celebrate the world, bringing cultures together into a collage of color and texture.

I contacted Sarah and told her how much I liked her work.  We exchanged several e-mails and she turned out to be as interesting in cyber-reality as her work.  I don't expect much when I contact people out of the blue like this.  Many never respond, people are busy, whatever...  but, Sarah was enthusiastic and shared quite a bit about what is going on with her.  She packed up her studio and is in the process of crossing the ocean to start a new phase in her life: Montana, USA!  She has friends there and eventually wants to make it back down to Mexico.  Montana is a long way from Kentucky, but it gets my hopes up that if we are at least in the same country, there is a tiny chance that we could meet someday.  

Meanwhile, visit Sarah at her blog, leave some comments here about how wonderful she is, and from us all, we wish you "Happy Travels, Sarah!"

Click on this short bio to see a larger image:

Sarah's Artwork and Her Traveling Muse: Australia, Mexico and Africa!

Folkwear Patterns: 30 Years of Ethnic Inspiration

I saw my first Folkwear Patterns in an ethnic shop in Minneapolis, Minnesota over twenty years ago. "Wow!", I thought, wishing I could buy what a college pocket could not afford... Since then, I have acquired several of the patterns and actually made a couple of them into garments. I also had the immense pleasure of meeting owner Kate Matthews on a visit to Asheville, North Carolina, several years ago.

Folkwear Patterns are a standard for anyone interested in costume design, world culture or ethnic wear. Like me, you might remember the first time you saw the patterns, or, perhaps this is your first encounter. Sometimes we may think that everyone already knows about an incredible resource such as this one, but there is always a new generation coming up or new interests emerging that call us to bring up the old standards.

Folkwear Patterns take their inspiration from clothing worn throughout various parts of the world as well as historical time periods. Thematic categories divide these into the following: Americas, Asian, Caravan, Children, Frontier, Old Europe, Retro, Romantic, Accessories. The patterns serve theater and performance groups well, but most are also functional for today's eclectic fashion taste. Choice of fabrics can make all the difference in making a piece look dated or contemporary. Let me start with a pattern that I have actually made into something wearable, which also happens to be a big favorite with Folkwear customers:












#107 Afghani Nomad Dress
This comfortable dress is easy to make and wonderful to use up favorite fabric pieces. I made mine out of silk that I had reclaimed from other dresses. Worn out long ago... This is one example of a dress that can look very ethnic or quite contemporary depending on fabric choices and colors. It is also a great piece to incorporate authentic remnants from other cultures, such as the ones I sell in my Etsy store. Here are a couple of examples of the dress:


Another pattern I own, but have not sewn yet, is also a big favorite:
#112 Japanese Field Clothing

I love roomy jackets and loose pants. But, if I remember correctly, one of the reasons why I have never made this pattern is that the version I have is on the small size. I'm a big Viking type and many of the older Folkwear pattern versions were too small for me. They have re-worked many of them to reflect our unfortunate reality of being overweight in America. But, make sure you check the dimensions carefully before you buy a pattern or cut it up. Most are easily enlarged- it just takes some patience.

#114 Chinese Jacket

This Chinese jacket is based on a formal court robe from the Ming Dynasty. Another wonderful example of how contemporary a garment can be with today's fabric selection. Folkwear also sells the closures in their Accessories section. The jacket is a perfect piece for silks or velvets.

Perfomers and theater groups all over the world use Folkwear as a costume resource. Although many of the patterns can be adapted for belly dance costumes, Folkwear offers one that is specifically for them.

#144 Tribal Style Belly Dancer
Here is another opportunity to use embroidery and textile remnants! The pattern includes instructions for the choli, bra, pants, skirt, scarf and belt. All of which could be used with other outfits as well.


Some of the culture specific patterns can challenge the beginner's sewing or embroidery skills. For the experienced, they offer an opportunity to show off needle work. The #125 Huichol Wardrobe collection's simple garments beg to be covered in embroidery. See my Huichol Yarn Paintings: Visions Destroyed by Poison for lots of images of the Huichol in their native dress. They have no fear of covering their canvas with with every color under the sun!

#103 Roumanian Blouse offers a similar opportunity to make the most of your embroidery skills. I think it is so interesting how cultures around the world overlap in so many ways in their dress and other customs, yet translate them into something uniquely theirs! And, in our multi-cultural and always changing environment today, what was hip in the 1970's, back when Folkwear started, has come and gone in the mainstream several times, making these pieces timeless.
Folkwear's historical patterns are lots of fun! The #201 Prairie Dress can be worn with or without an apron. I think I have seen this pattern here in Kentucky where many touristy businesses have their employees dress up in old timey wear.

Of course, the glamorous side of history (or, her story?) cannot be ignored! The #264 Monte Carlo Dress is something I would definitely wear if a moment of glamor popped up around here! I hear it crying for bead work, lots of it! And, don't forget, Halloween is coming up. If you are planning on going to a costume party, let Folkwear help you be the star! So many options to choose from! Dress them up or down, but use them!

My friend, Catherine, from Bazaar Bayar just listed a few collars that are perfect for Folkwear patterns. She does not have a consistent source for them, so once they are snatched up, they will be gone. (Better go get them quickly!)

In celebration of Folkwear's 30th anniversary, they have published a 20 page booklet based on the Bethany Dress which was featured as a fold-out poster in their early years.

#011 Bethany Dress

Folkwear has been around a long time now, quietly providing all of us a wonderful service. Even if you don't buy anything from them right now, why not visit their site and send them some Happy Birthday wishes? Let's hope they will be around for another thirty years!

Note: All of the photos and drawings (except for Catherine's collar) are from Folkwear's website. This post just highlights a few of their patterns. Visit them to see the whole collection.

Related Costume Books Available on Amazon!

Folkwear Patterns: 30 Years of Ethnic Inspiration