Una semana de tinte natural: Conozcan a Doña Lidia / A week of natural dyes: Meet Doña Lidia

Blog por Alejandra Arrué Lou

A continuación encontrará extractos de mi entrevista con Doña Lidia López como parte del taller de tintes naturales con Olga Reiche, patrocinado por Kakaw Designs.

<Below in English!>

Conozca a Doña Lidia

Cuando conocí a Doña Lidia, me dijo que sus hilos tenían sentimientos y que debíamos tratarlos con respeto. Ellos sienten lo que nosotros sentimos. Aprendí que ella está sincronizada con su arte, con las personas, las plantas, y los animales que la rodean. Doña Lidia tiene un corazón cálido; siempre le gusta conocer a nuevas personas y me trató como si fuera parte de su familia. También es una mujer increíblemente inteligente que entiende bastante los colores, habla 5 idiomas, y ha viajado por todo el mundo. Doña Lidia le importa mucho a su familia y cree firmemente en sus tradiciones ancestrales. Ella quiere seguir aprendiendo más de los tintes naturales porque es la forma más sostenible para nuestro planeta.

Alejandra: ¿Cuánta experiencia tiene usted con los tintes naturales antes de este taller? 

Doña Lidia: Estoy muy agradecida con Mari por darnos este curso porque antes había tenido un taller de tintes sintéticos pero no como este. Era más simple. Yo solo iba escuchando y no haciéndolo.  Yo aprendí junto con otras personas que son de Salcajá. También tengo un poco de experiencia con las plantas. Cuando camino por mi casa, miro las plantas y pienso sobre sus colores y tóxicos.

 

Alejandra: ¿Por qué le interesó aprender más sobre el teñido natural?

Doña Lidia: Me gusta pensar en nuestro futuro y la contaminación del planeta. En esta clase, aprendimos que toda el agua de los tintes sintéticos se tira otra vez en los drenajes. Los tintes sintéticos se pueden hacer en cantidad, son bonitos, y rápidos de hacer. Pero, ¿qué pasa con nuestra salud? No podemos seguir contaminando nuestro planeta. 

El color que más me interesa es el banano con el índigo. Me interesa que tenga solo un poco color. Tal vez los colores no salen exactamente como uno quiere pero se trata de la experiencia y de la conexión con la naturaleza. También me interesó aprender sobre las plantas y las frutas, como dependen del clima y si ha llovido.

Alejandra: Ya que aprendió bastante esta semana, ¿quiere seguir trabajando con tintes naturales? ¿Cree que va a poder replicar esta práctica en su casa/asociación? 

Doña Lidia: Estoy bastante motivada.  Si quiero replicarlo y renovar el tejido. Primero, tengo que involucrar a mi familia. Tengo mucho apoyo de mi hijo que también le interesa este concepto. Tengo una hermana que teje. Pero va a ser un poco difícil. Porque ya todos están acostumbrados a los hilos sintéticos. 

Mientras involucro a mi familia, me gustaría tejer algo con los hilos que hicimos con Doña Olga. Algo que tenga el fondo crudo y encima con los colores naturales que tengo.  Y lo voy hacer con diseños de San Antonio. El tejido será un ejemplo para mientras, y después implementó el proceso poco a poco en los huipiles.

Alejandra: ¿Cuáles son los retos que le puedan dificultar a seguir con el tinte natural?

Doña Lidia: El reto es el tiempo. Hay tiempo pero estamos en una cultura que es rápida, con horario, y con mucha competición. Los tintes naturales tardan más en hacerlos. Nosotros estamos acostumbrados a comprar los hilos en el mercado rápidamente. Pero nosotros mismos tenemos que valorar el proceso natural. Tenemos que reconocer el trabajo y la calidad de los materiales, y reflejar eso en nuestros precios. 

A veces he hablado con personas rurales para explicarles que no hay que comprar cosas sintéticas. Hay que tratar de no ser consumista. Mejor produzcamos más que consumimos. Por eso trato de sembrar. Yo siembro frijoles y verduras. Es mejor mantener nuestras propias cosechas. Cuando yo misma siembro mi comida, es un sentido muy diferente y especial. Es orgánica y más sostenible. Es una lucha porque estamos en un círculo de consumismo y de inconsciencia. Algún día ya no habrá maneras sostenibles. Espero que algún día eso cambie. 

Alejandra: ¿En su pueblo (San Antonio), hay gente que trabaja con tinte natural? ¿Por qué lo hacen / no lo hacen?

Doña Lidia: Nadie trabaja con tinte natural. Yo seré la primera. De hecho muchos de los tejidos se están desapareciendo. Como he dicho, es por el tiempo. 

Alejandra: ¿Nos puede compartir algo que le impresionó mucho del taller con Olga? ¿Recomendaría este taller a otras tejedoras?

Doña Lidia: Me gusta mucho aprender de las plantas. Hay muchas plantas que son fáciles de encontrar, crecen, y no se van a extinguir. Me gusta la experimentación y probar sacar nuevos colores con nuevas plantas. Además, Olga es una excelente maestra. Ella sabe mucho. Pienso que todo lo que nos enseñó hay que practicarlo. 

Alejandra: ¿Cómo fue tener a Doña Margarita en su casa esta semana? 

Doña Lidia: Fue excelente. Yo siempre quiero cooperar y compartir sin ser egoísta. Y así seguimos adelante. Seamos positivos, no negativos. Como he convivido con varias personas de todo el mundo en mi casa, me gusto estar con Margarita y la trate como si fuera mi propia hija. Yo quiero empezar a trabajar con ella y aprender más de ella también. Yo seguiré aprendiendo, no importa mi edad. 

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Meet Doña Lidia 

When I first met her, she told me that her “hilos” had feelings and that we needed to treat them with respect. They feel what we feel. I learned that she is not only in tune with her art but with the people, plants, and animals around her. Doña Lidia has a warm heart; she is open to new people and treated me like I was part of her family. She is also an incredibly smart woman who deeply understands colors, speaks 5 languages, and has traveled the world. Doña Lidia strongly believes in her family and ancestral traditions, and yearns to learn more about how to dye naturally as she believes it is the more sustainable way for our planet. 

Alejandra:  How much experience did you have with natural dyes before this workshop? 

Doña Lidia: I am very grateful to Mari for giving me this opportunity because I have attended a synthetic dye workshop before but not like this one. It was much simpler where I only listened. I learned with other people from Salcajá. I also have some experience with plants. I always look at the plants when I walk around my house and think about their colors and toxins.

Alejandra: Why were you interested in learning about natural dyes? 

Doña Lidia: I like to reflect on our planet’s future and the contamination of it. In this class, we learned about how the water from the dyes are thrown back into the sewage system. Sure, synthetic dyes can be made in large quantities, they’re beautiful, and faster to make. But what happens to our health? We cannot continue polluting our planet like this. 

The most interesting color for me is the combination of indigo and bananas. I like that they have a more pale color. Perhaps the natural dyes do not come out as one had planned but it’s really about the experience and the connection we have with nature. It was also interesting to learn more about plants and fruits and how they depend on their natural environment. 

Alejandra:  Now that you have learned a lot this week, would you like to continue working with natural dyes? Do you think you can replicate these processes in your house/association? 

Doña Lidia: I am very motivated. I would like to replicate and renew my techniques. But first, I need to involve my family. I have a lot of support from my son who is also interested in this concept. I have another sister who weaves. But it will be a little challenging because everyone is accustomed to synthetic threads.  While I involve my family, I would like to weave something with the threads we made with Doña Olga. Something that has a raw background with a more natural color on top. I am going to design using the patterns from San Antonio. This piece will be an example in the meantime and later I will implement the process little by little in my huipiles. 

Alejandra: What challenges do you foresee if you continue to use natural dyes?  

Doña Lidia: The biggest challenge is that of time. We have time but we now live in a culture that is fast, with tight schedules, and competition. Natural dyes require more time to make. We are accustomed to buy ready-to-go threads in the market. But we need to elevate our natural processes. We need to recognize the work and quality of the materials and reflect that in our prices. 

Sometimes when I am talking with people from my community I like to explain that we should not buy synthetic materials. We must not be such consumerists. It’s better to produce more than consume more. That’s why I like to plant my own vegetables, including beans. It’s better to maintain our own harvests. It is much more special when I plant my own food. It’s organic and sustainable. It is a challenge because we are in a cycle of consumerism and unconsciousness. One day, we will reach  a point where there will not be any sustainable practices. But I am hopeful that we can change this. 

Alejandra: Are there people in your community that work with natural dyes? Why or why not? 

Doña Lidia: Nobody works with natural dyes. I will be the first one. In fact, many of our own patterns are disappearing. Like I mentioned, it’s because of the time it takes.

Alejandra:Can you share something that impressed you about the workshop? Would you recommend it to other weavers?
Doña Lidia:  I loved learning about plants. There are many plants that are easy to find, grow well, and are not in extinction. I love to experiment and extract new colors with new plants. In addition, Olga is an excellent teacher. She knows a ton. Everything she taught us needs to be practiced. 

Alejandra: How was having Doña Margarita in your home during the week? 

Doña Lidia: It was excellent. I like to cooperate and share without being selfish. That’s how we can move forward. We need to be positive, not negative. I have shared with many different people from around the world so I enjoyed being with Margarita. I treated her like she was my own daughter. I would like to continue working and learning more from her. I will always continue learning, no matter my age. 

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How to take care of wool rugs from Momostenango

Got yourself a beautiful handwoven wool rug, and now wondering how to best take care of it? I’ll be happy to share the three simple steps that have worked for me over the years:

1. Shake the rug outside often

Get those loose wool fibers and any accumulated dust/dirt off by shaking the rug outside as often as possible. It feels good to see all the stuff come off the rug in the air! In my case, it’s usually more dog hair than anything… I shake all the rugs whenever I vacuum or sweep the house (a couple of times a week).

2. Let the rug take in the sun

Hang outside in the garden, balcony, anywhere the rug can take in some sunshine. Wool naturally has dust mite-repelling properties, but I figure adding some sunshine always helps, since I like to keep animals around. I was also told in the Netherlands that wool can be taken outside on a sunny winter day for self-cleaning. It’s generally understood that wool should be washed as little as possible, so make sure to do these first two steps often to avoid Step 3.

3. Machine-wash in gentle cycle

Because I’m pretty messy, I DO end up needing to wash my wool rugs once in a while. And it has not been a problem for me at all. Keep in mind that the more movement, the more likely for the rug to felt and shrink, and the same goes for temperature – the higher the water temperature, the more felting. I only use cold water because I don’t want my rugs to shrink.

If you have an already-felted rug, note that those are more durable than the non-felted type. This is because the fibers have interlocked, making it very hard for holes to form (and harder for them to expand, the way non-felted items might unravel). Felted rugs can handle rougher treatment (even during washing) than non-felted ones.

I learned that some washing machines have a setting specifically for wool. This works fine! Make sure to use gentle detergent and line-dry outside. Definitely don’t dry in a dryer unless you REALLY want your rug to shrink 😆

That’s really all I do for my wool rugs that I use all the time both inside and outside at home. I even have a few pieces my dog has used since puppyhood (that’s 7 years ago!) that are still intact and working well.

Here’s to many years of wool rug-using!

XOXO,

Mari

<see traditional wool rugs on our Artisan Direct page>

<find our naturally-dyed versions in our Home section>

Guatemalan Weaving Vocabulary

As we get more and more involved with online weaving classes, we thought that a short list of common vocab might be helpful. The following is meant to be a simple introduction, and explained by me (Mari) in the context of weaving in Guatemala only. Please keep in mind that there are so many different textile traditions around the world, and many of these techniques in a different context are applied in a different way. But here’s something to get you started, with pictures:

Backstrap weaving, Doña Lidia in San Antonio Aguas Calientes. Photo by Aiko Kobayashi.

Backstrap weaving: a pre-colombian simple loom technology that consists basically of sticks and yarn. On one end, the loom is attached to a pole, tree, or anything stable, and on the other, to the weaver, around the waist with a belt. It can be rolled up and moved easily. This is the technique used in Guatemala for traditional huipiles (blouses worn by women) and more garments. Predominantly practiced in Guatemala by women. Similar looms are found in many parts of the world.

Doña Lidia demonstrates simple brocade patterns during an online class: mosquitos, pepenado lines, and semillas. Photo by Lisa Jennings.

Brocade weave: technique used to create patterns in the weaving. In Guatemala, the type of brocade is supplementary weft brocade. Many additional threads are introduced into the weft during weaving, row by row. Some people describe this process as “embroidering while weaving.”

A wooden footloom or pedal loom in Momostenango, used for weaving wool rugs in this town.

Footloom weaving: using a larger wood-based loom that was brought by the Spanish to Guatemala. Also called “pedal loom” or “treadle loom.” This type of loom allows for much wider and longer textiles to be woven. In Guatemala, the weaving on such a loom is performed predominantly by men. It is possible to incorporate techniques such as ikat and brocade on this type of loom, as well as tapestry weave.

Irma from Lake Atitlán shows her ikat-dyeing project. This is the warp to be woven on a backstrap loom. In this case, she started with already dyed-yellow thread. This will be dyed again after the knotting is complete, so the parts under the knots will remain yellow while the rest will be dyed with the second color.

Here is an example of an ikat pattern from dyeing the warp, visible on the loom. During the knotting and the dyeing processes it can be difficult to decipher what the design will look like when finished.

Ikat: a resist-dye technique applied to thread before the weaving process. Knots are placed in calculated positions in order for the thread to reveal patterns when the knots are opened after dyeing. In Guatemala, ikat is referred to as “jaspe” and the technique is practiced for both warp and weft threads independently, and in both backstrap and footloom forms.

Picbil on the loom, taken during a Textile Travel visit, Cobán area.

Picbil: a light-weave with supplementary weft for gentle brocade, regional from around Cobán. Traditionally, this weave is for blouses, using only white on white.

All three panels used for this picbil piece have four clean selvages, which can be noted here by the absence of fringing. Cobán.

Selvages / Selvedges: the finished edges of a fabric that do not fray. Footloom-woven textiles usually have two clean selvages, but not the starting and ending points of the panel, because these parts are cut off the loom. Backstrap-woven textiles may have four clean selvedges, but making a textile like this requires the knowledge, skill, and patience. Not all backstrap-woven panels have four selvages; they may have two, three, or four. Traditionally, Maya textiles are used to their fullest extent by not cutting the panels, thus keeping the structure intact an utilizing the selvages.

All the floral and zigzag patterns above are created on the loom with the incorporation of supplementary weft threads. Master weaver Doña Lidia from San Antonio Aguas Calientes.

Supplementary weft: the additional threads used to create designs for brocade figures. This allows for extra color to be incorporated into the textile.

This ikat warp is being put on the loom after the dyeing process. Lake Atitlán.

The warp on a pedal loom in Momostenango.

Warp: the vertically-arranged yarn/thread that is necessary in all types of looms.

Doña Lidia inserts additional weft into the textile (blue) along with the normal weft (bright pink, wrapped around the shuttle.

Weft: the yarn/thread that is inserted into the warp to create a structurally-sound weave. In Guatemala, the use of additional weft threads create colorful brocade designs.

Mysa: Abigail’s indigo exploration in Guatemala

When the pandemic hit Guatemala this March, we started selling cloth masks that one of our partner artisans was making. Abigail reached out to me during this time, interested in a few colorful masks for her own use, as wearing a mask had become mandatory rather quickly in the country. We met up on the side of a small street in Santa Ana, Antigua, me walking Berry and she walking to meet us. We ended up taking for over an hour there, on the sidewalk, masked and keeping our distance. This is how our friendship began.

Somehow, this collaboration is different from any other we’ve worked on before, simply because we didn’t have a business agenda. What began as a quarantine creative activity for four friends, dyeing together in Abigail’s indigo vat babies, was meant for us. Not for anyone else, but just for us, friends figuring out how to live in a pandemic world with strict regulations. We took refuge in this small but meaning way.

And now, we’re ready to share a little bit of this joy with you in the form of these indigo-dipped earrings made with handspun local organic cotton. For this, we have our supporters to thank, who have encouraged us even from afar on our social media accounts to do something with the indigo fun. Muchas gracias.

I hope you enjoy getting to know Abigail and her craft in this little Q and A we put together for you.

XOXO, Mari

The Indigo Gang: Mari, Emily, Abigail, and Evelyn (left to right). Oh yeah, and Chorizo.

1. What’s the story behind your brand name, Mysa?

Mysa is a Swedish word that refers to a state of comfort or contentedness with something. One online resource gave a definition I particularly like: “To smile (with only slight movement of the mouth), particularly as a sign of contentedness or comfort.” I imagine in Swedish the definition is a bit more stoic than my interpretation. But I like the idea of a small, knowing smile because you’re remaining playful in the face of challenge, and finding joy within life’s responsibilities. Perhaps you are carrying around a morsel of glee in your pocket while wading through some grim practicalities. It is there, with that morsel in your pocket, that you find contentedness. It’s a bit sneaky and very beautiful. That’s Mysa.  

Abigail at her home studio

2. Were you always interested in natural dyes? How did you get started?

Actually, no, I can’t say I have been interested in natural dyes for very long. Living in Oaxaca, Mexico I learned about cochineal, which is a captivating dye, but I hadn’t ever thought about working with it. My indigo journey started about one year ago in the textile museum in Oaxaca. An exhibition on indigo detailed the plants used to make the dye and showcased indigo textiles from all around the world. The most interesting part for me was a video they showed of men in Niltepec, Oaxaca oxygenating a large tank of water that was turning more and more blue—they were making indigo! The men pushed the water over and over for hours with broom-like tools, and the water would sloosh against the concrete wall of the tank. The repetition of the sound and the movement of the water fascinated me. I wanted to see it in person. I wanted to be in that tank and feel my arms tire as I moved with the water, watching it change color. 

Working with indigo

3. Do you also work with other dyes, or focus specifically on indigo? Why?

The process of getting indigo dye from a plant is fascinating, as is dyeing with indigo. Oxygen, either removing it or adding it, is key to work with this particular natural dye. So, you’re working with air, water, and earth (a plant), and there is something very rooting about that. 

Too, indigo is a storyteller, and working with indigo is a practice. Each time I visit with my vats I give them all my attention, and then I ruminate on what they’ve taught me. If I started working with other natural dyes, I think I would feel pulled in different directions, and what was once interesting would become frustrating due to my own impatience for things to “work.” For me, the most important thing in my indigo practice is that I feel joy in it. So I keep it simple, and that keeps me engaged. Indigo still has many stories left to tell me, and really, I’m all ears. 

4. What has it been like to start up your indigo exploration during the pandemic in Guatemala?

I feel very fortunate that I was able to take advantage of a time of lockdowns, curfews, and limited human interaction to focus on a craft. Indigo gave me purpose when I was without work, in a different country, and unsure of where I was headed. I was able to take the time and space to start my work with indigo and get it wedged into my life enough that now—as uncertainty continues, but life moves on—I carry my craft with me. 

Indigo exploration recipes on the wall

5. What are you working on these days? Can you share a little bit about your projects?

My main and on-going project for myself is dyeing threads. I focus on threads because I love the idea of my threads being woven into people’s ideas. I think I enjoy being the source of some secret, behind-the-scenes magic, and helping someone create something beautiful (like our earring collab!) is utterly gleeful.  

In addition, I’m leaving myself space to respond to others’ interest in indigo which has put me in a kind of exploration-facilitation role. I’m involved in two projects now. One I see as helping a local brand find out if working with her own indigo vat is a good fit for her. Everyone loves the magic of indigo, but that beautiful blue comes with costs, both financial and energy, so it’s not a right fit for everyone. I’ll also be co-teaching with a fellow indigo enthusiast (both a teacher and a life-long learner herself) a group of dyers who have limited access to indigo resources. This is a fun challenge for me—learning how to start and maintain vats using locally accessible materials. I hope both of these ventures lead to better understanding how local (Guatemalan) artisans might more easily pick up the lost practice of indigo.

FAQ: Online weaving class

We’ve hosted several online backstrap weaving classes with Doña Lidia now, and thought it might be helpful to share some questions we’ve received. We’re really learning a lot through these online offerings, and are enjoying being able to facilitate connections between international creatives and master weaver Doña Lidia ❤️

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1. Do I need to know Spanish to take this class?

No, you don’t! Doña Lidia speaks great English (as well as Kakchikel and Spanish), and I’m also online to help translate, narrate, and overall facilitate the experiential learning (Mari). We always have one more helper actively involved on the ground, too, as we are sharing the weaving action on two different devices always – one computer view for a larger view and one cell phone view for a more detailed close-up.

2. How much weaving experience do I need?

For a beginner class, nothing. If you’ve never practiced backstrap weaving before, we recommend taking a look at this short blog post with videos before the class (we’ll also send you more info to prep a few days before the class).

For a more advanced class, we do recommend some relevant experience. Please check each course description in our Experiences section to choose the right one for you.

3. Do I need a physical backstrap loom to take the class?

While not an absolute requirement, we do recommend having a loom either for the class or shortly after, so you can practice your learnings. Need a loom? We have three options prepared by our partner weavers at Lake Atitlán and Doña Lidia’s family for you.

4. Will the class be recorded?

Yes! The speaker view will be recorded and the link will be sent to participants after class.

If you would like to record the session in your screen view, please make sure to log in with a compatible device, and we can give you permission so you can record it directly.

5. Do you have any documents to guide us with weaving?

Yes, we do! Doña Lidia has shared with us some handouts that she has in the past used for her in-person backstrap weaving workshops around the world, and we’ve also created our own PDF guide with pictures and video links to help facilitate your weaving journey.

We also started this Facebook group for backstrap weavers to share their progress and challenges. We hope to build a community supporting and helping each other. If you have any questions, you can share them there!

6. How do you know Doña Lidia?

Actually, she’s known me (Mari) since I was a little girl. Our connection is even originally from our parents- Doña Lidia’s mother Doña Margarita was a master brocade weaver also, and my mother’s friend ( Aiko Kobayashi).

7. Where does Doña Lidia live?

She lives in San Antonio Aguas Calientes, just 15 minutes out of Antigua, Guatemala. The online classes are hosted from the open patio of her home.

8. What is that strange noise we heard in the background?

That was probably Tikal, the beloved family parrot. He gets a bit talkative sometimes — saying things like “Hola!” and “Tikalito” 😆

9. I’d like to request a special topic class with Doña Lidia, Is this possible?

Yes, this is how we first got started with the classes! Doña Lidia is a wealth of knowledge and we would be happy to facilitate either a private or a special topic group session for you. Please write to Mari at mari@kakawdesigns.com to set this up.

10. When are your next classes?

We will keep updating our Experiences section with new class offerings. Please check there.

Any other questions? Let me know!

XOXO,

Mari

Textiles + Jade

A gorgeous tradition-filled combination here in Guatemala, both crafts supporting heritage and artistry.

Scroll down to enjoy some images taken in the beautiful space that is Xibalba, together with original jewelry design by Laura Spillari. We think they go so nicely together.

 

 

Featured:

Three-panel picbil in beige

Two-panel picbil blouse in white, similar to Blusa 20

Handspun organic cotton throw in natural white

All stunning jewelry by Xibalba

Mujeres de Maíz

In this post, we’re excited to introduce you to local collective Mujeres de Maíz from Santiago Atitlán! This small group of makers is creating some unique and gorgeous designs, some of which are going live this Sunday on our Artisan Direct page to help provide a digital platform for them, since they do not have an online sales channel at the moment. We’ve got dresses, jackets, earrings, sandals, and more to share with the digital world soon, thanks to the hard work from this collective!

Read below a short Q&A with Mari Liberali, designer behind the collective. (And hey, nice name right? 😉 )

XOXO,

Mari

1. What does “Mujeres de Maíz” mean and what was the inspiration for that name?

The Name “Mujeres de Maíz” is based on the sacred book of the ancient Maya called Popol Vuh, which tells us that the Mayan people were created by the gods with maize. Maize (corn) is the sacred food for many populations in Central America, including Guatemala. And there are a lot of Mujeres de Maíz in Guatemala, there are many strong women here, who can teach us so many things! But, in our project, we choose to share the special work of a small group of women. 

2. Could you tell us a little bit about your personal background and how you came to be involved with this group?

I am Mari Liberali, artist and fashion designer from Italy, and in 2017 I left the conventional fashion job to work with indigenous people and their handicrafts. I was looking for a job with purpose, I was very tired of the injustice that fashion normally promotes. So I arrived at Cojolya Association, in Guatemala, to work with the backstrap loom, in Santiago Atitlán. It was there that I learned everything about this new world, from collaboration, NGOs, and handmade textiles. I spent a year and a half as a textile and accessories designer and decided to continue my work outside the Association with different artisans, and we ended up founding the collective Mujeres de Maíz in 2018, based on original embroidery from Santiago.

3. Who are the members of Mujeres de Maíz, where do they live, and what kind of handmade traditions do they practice? How is the group organized?

We are a group of 5 women. I am the designer and co- founder of the project along with Loida Sisay, and soon after we incorporated other artisans.

Loida is a co-founder, embroiderer, and master of embroidery. She teaches visitors traditional embroidery techniques. Chonita is an embroiderer and she coordinates and communicates with the other members. Isabel is also embroiderer and is still developing her products, with a new mixed embroidery technique that we are developing. And Maria has a community shop in original fabrics, we buy textiles from Maria and we also represent Maria by selling her unique products. The artisans all live in the community of Santiago Atitlán, on Lake Atitlán. Santiago is well known for the embroidery of birds and flowers, always represented in traditional huipiles. Our goal is to help preserve and encourage women to create their own designs and develop new forms of creation with original embroidery. Each of the women has her own style of embroidery and has started to develop unique designs for the project.

 

 

4. How has COVID-19 affected Mujeres de Maíz, and what do you think are the next steps for the group?

Our project has practically stopped because our focus is on local sales and we depend directly on tourism. Fortunately, larger groups like Cojolya are supporting us and selling our products online. And now, we found new support in Kakaw Designs, so thank you! In the future, when we are be a little stronger and bigger, we hope to be able to send abroad through our own website and we hope that our network of artisans will also grow. There are many talented women, very good at embroidery art who have come to offer their skills, but we still cannot absorb them all. Soon, after all this over, we hope that more and more people could be interested in our market, valuing the handmade process and also the people who do this work. I think this is the future, and it is already coming. 

 

 

To learn more about this collective, please follow their journey on Instagram.

And stay tuned – this Sunday, June 29th, 2020, the products from this collective will be live on our site on our Artisan Direct page.

Brocade weaving with Doña Lidia

We received special interest from more advanced weavers for backstrap looms prepped for brocade. We knew just the right person to help us prepare these looms and demonstrate the weaving process: Doña Lidia! She is a master weaver and a friend for so many years. She and her sisters are the talented weaving teachers during our Textile Travels, too.

While we can’t have in-person weaving lessons right now, we thought ,”why not offer some looms for weavers who want to practice brocade from home?” What makes these brocade looms different from our more simple Practice Looms are two additional rods that have separated the warp precisely in order to facilitate horizontal brocade lines to be made, as well as a wooden needle for inserting supplementary weft threads. Oh yes, and we include 8 different colors of thread for supplementary weft, too.

After some sample weaving by Doña Lidia

We spent some time in my garden at home one morning to take these videos demonstrating some of the brocade weaving process. We are speaking in Spanish, and for absolute beginners, Doña Lidia’s movements are probably fast-paced. However, if you’re already familiar with weaving, you should be able to keep up 🙂 Take a look:

In video 1/5, Doña Lidia patiently shows how to wrap the loom with the provided maguey belt to start weaving.

 

Small brocade figures known as “mosquitos” are woven in with supplementary weft threads in these videos 2-4.

 

 

 

In the last video (5/5), Doña Lidia demonstrates inserting supplementary weft to make horizontal brocade lines using the additional rods.

 

Three unique looms with everything you need to practice brocade weaving will be available this Sunday on our site!

 

Questions? Let us know at mari@kakawdesigns.com 🙂

 

XOXO,

Mari

Is it okay to wear the blouses? Artisan Direct profile: Cobán

As time passes with continued restrictions due to COVID-19, our rural artisan partners started to ask us if we could try to sell some of their independently-created products. With all physical stores shut and no digital means to sell on their own, it’s a really tough time in rural communities.

The Artisan Direct Pop-Up on our site was the result of these requests. This past Sunday, we started with a small listing of four blouses made by the weavers in San Juan Chamelco, Cobán. They are each handwoven, new, and so beautiful. But don’t worry, this is just the beginning – the shipment from this group included almost 50 pieces 😬

With some of the weavers

While we will slowly be featuring other artisan groups, this Sunday’s web update will focus on handwoven blouses and dresses from this same group. (Updates are planned to go live every Sunday!)

I received a beautiful conscientious question about these pieces, which was “Is it okay to wear the blouses?” — now, if you’re not familiar with some of the tensions that exist in Guatemala related to non-Maya people wearing handwoven huipiles, this might sound like a ridiculous question. It’s a blouse. Of course it’s made to be worn.

And in this case, yes, these blouses are made and sold to be worn by anyone who would like to support the weavers. This is why:

• The blouses made for sale by the organized group of weavers.
• The weavers directly benefit from the sale of these items. They set their prices as a group.
• The pieces are all new, and the cooperative keeps track of who wove which one, meaning that the original weaver is known and that the process is transparent.

With other textiles, this may not be the case because:

• With used textiles, it can become very difficult or even impossible to pinpoint who made the piece, and how much that original weaver received for the sale of the piece.
• Many backstrap-woven pieces, especially those with rich brocade, are made for weavers’ personal use or for a family member. They are not usually meant to become commercial items, but often weavers do decide to sell pieces for personal reasons, whether that be for wardrobe preferences or immediate need for cash. The worry is that textile middlemen may take advantage of emergency situations in rural communities, and not compensate the weavers adequately for the sale of used textiles.
• There is a surge in products that feature Maya weaving symbols, but in print and other techniques that do not benefit weavers. These products are troublesome as there is no benefit to the weaving communities.

 

I really appreciated the question so much. I hope this clears up the complicated topic a little bit. It’s a difficult area to maneuver, and asking these questions is the first step.

 

The Weavers in Cobán

The weaving group in Cobán is comprised of 30+ weavers from a number of smaller communities around the city. They specialize in beautiful flowy cotton blouses in a variety of different weaves, with picbil being the most delicate and labor-intensive. Only a handful of master weavers from the group is able to perform this gorgeous weave.

The delicate picbil weave, traditionally using white on white for an elegant blouse. One huipil of three panels takes over a month of weave from start to finish, and in colder seasons the process is elongated as los temperatures make the threads stick together, making weaving very challenging.

Backstrap weaving

Herlinda weaves with concentration

They’re starting to work with natural dyes from local plant sources, which is really exciting! Still more testing needs to be done to make sure colors are stable and replicable within reason.

 

Stay tuned for this Sunday’s store update on our Artisan Direct Pop-up page for the beautiful creations from these talented weavers.

Xibalba Joyas: elevating jade through design

Laura Spillari, owner and founder of Xibalba Joyas, is one of the most positive, collaborative, and design-filled people in town. It has been an absolute pleasure to have our products included in her gorgeous storefront at the center of town. Unfortunately, the store is shut down at the moment due to COVID-19 restrictions. That’s why we took this opportunity to showcase our products together digitally. Find our combos featuring one Kakaw Designs item and one Xibalba Joyas item together in our One of a Kinds page  starting tomorrow, Sunday, April 5th.

Naturally, I (Mari) asked her to share a little bit so that you can get to know her and her jewelry designs. The following questions were answered by Laura herself:

 

1. You have one of the most beautiful stores around town. Can you tell us when you started Xibalba, and the inspiration behind your brand and store?

Thank you so much!

Xibalba was born in 2012. The idea was to recover the cultural value of jade and present it through design-oriented jewelry. Guatemala is a country where ancestral knowledge exists, materials and handwork come together to maintain our cultural legacy alive.

We started in a petit and cozy space and a couple of years ago, we moved to our current location, a beautiful colonial house in the center of Antigua. We couldn’t be more in love with the location! Now, we not only create jewelry but we have partnered with several artisans and designers who present other products such as textiles, leather goods, decor objects, and many other interesting little things.

The team consists of 5 collaborators and we contribute to around 125 artisans directly or indirectly in different regions of Guatemala.

2. Do you think you have always been an artist, since you were little? When do you think you came to realize this?

I’ve always considered myself a creative person. I grew up in a house where everything was made or prepared by us, whether it was clothing, planting, or plumbing… so I kinda learned how things could “be done.”

I was surrounded by elements such as textiles, ceramics, basket weaving, among other handmade traditions. Walking on cobble stones and going to Mayan sites on vacations… this has been with no doubt a part of my identity and has provided great inspiration for what I do.

3. One of the things I love about your store is the incorporation of innovative designs on traditional materials, like jade and silver. Can you share a little bit about traditional use of those materials, historically-speaking?

Guatemala has a unique variety of jade. It is formed here because of the geographical location and the geological history.

For the Maya, our ancestors, jade was the most valuable material. They thought of it as a gift left here for us, which brought all the strength from underneath the earth and was able to take our thoughts and prayers to heaven. Jade was carved by master artisans who made from large stelas to miniature mosaic masks, among other incredible ornaments.

4. We’ve talked about doing an online collaboration before, but we finally decided to go through with it now because of the COVID-19 restrictions in Guatemala. What are the effects for your business, and what can people do to support you and other small businesses working with artisans right now in Guatemala?

Indeed it  is a situation that has affected us all. However, we are confident that together we will rise!

It has been difficult to find new paths for our partner artisans since our business depends on tourism completely. Our number one priority is to generate an income for our artisan partners, so they can support their families.

The best way to help is just by being conscientious. Learn about what you buy, where you shop, support handmade products with a value chain behind them.

Today, we make a call to a world wide community: let’s all find ways to help each other, from our homes… by providing opportunities however possible.