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

Blog por Alejandra Arrué Lou

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

Conozca a Margarita

Cuando conocí a Margarita, al principio me pareció tímida y reservada. Pero después de pasar solo un día con ella, rápidamente aprendí que Margarita era todo lo contrario. Ella es un rayo de sol y vitalidad. Tiene una risa contagiosa, le encanta hacer bromas y tiene una profunda pasión por su arte. Ella cuenta que “desenredar y arreglar el hilo de algodón es una de mis actividades favoritas”. Esto le trae paz y serenidad. A Margarita le importan mucho su familia y su identidad. Ella busca preservar su cultura a través de los textiles que teje. Además, es una líder que quiere expandir su arte y liderar un grupo de mujeres artesanas para seguir experimentando con tintes naturales.

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

Margarita: Yo no he recibido ningún taller antes. Tengo experiencia de mis padres porque mi abuelo ya tenía ese conocimiento. Cuando era pequeña, ellos practicaban el algodón, lo cosechaban, y lo trabajaban. Yo sacaba el algodón y lo clasificaba también. Tengo unos pocos recuerdos que ellos nos decían de las plantas. De hecho, tengo dos tías que viven todavía y conocen el algodón bien. Yo ahorita estoy buscando un huipil que mi mamá hizo con ese algodón. Cuando estaba escuchando a Olga, ya tenía un poco de experiencia y en ese momento estaba recordando del aprendizaje que me dejaron mis padres. Pero no, nunca he recibido un taller como este. 

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

Margarita: Para mi es importante porque quiero rescatar estas prácticas. Así era como lo hacíamos antes. Ahora ya no. Además, me sorprende que una planta saca un color distinto a como se ve. El encino es el color que más me interesa, pero hay otras plantas también que me interesan.

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? 

Margarita: Sí quiero seguir. Personalmente, me gustaría trabajar con grupos de mujeres para experimentar. Ahora se trata de aprender de las plantas que sacan color, especialmente las plantas que hay en mi comunidad de Chamelco. La idea sería tener un grupo de mujeres para practicar, experimentar, y producir. Pero primero tengo que practicar sola para ver si me salen los colores y tintes.

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

Margarita: Pues hay muchos retos. Todo dependiendo del hilo. Por ejemplo, no todos los hilos se pueden teñir. O se puede teñir pero no se queda en el hilo fijo. Otro reto será poder encontrar los hilos naturales y los vendedores cerca de donde yo vivo. Por ejemplo, el blanco que muchas veces usamos ya tiene cloro y eso no es natural. Lo voy a investigar. Pero poco a poco.

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

Margarita: Ahorita no hay nadie. No tienen motivación porque es mucho trabajo y los consumidores no entienden el precio alto. Los únicos que entienden son los artesanos. Por eso es importante que los consumidores entiendan sobre el tinte natural, que es elaborado por una artesana, y que requiere muchos días de trabajo. 

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

Margarita: De mi parte es muy interesante. Los procesos que nos explicó, en teoría y en práctica, son muy importantes. Si se lo recomendaría a otras tejedoras. Pero como los procesos son complicados y a veces lo hacemos “al ojo”, se puede volver muy confuso. Entonces hay que poner mucha atención. 

Alejandra: ¿Cómo fue quedarse la semana en la casa de Doña Lidia?

Margarita: Fue interesante. Aprendí a usar la estufa. Ya me puse más cómoda. Yo normalmente me levanto a las 3am. Se me olvida que no es mi casa porque no estoy acostumbrada. El viaje fue fácil pero hay que tener paciencia. A veces se tarda más en llegar. 

---

Blogpost by Alejandra Arrué Lou

Below you will find my interview with Doña Margarita who participated in Olga Reiche’s natural dye workshop, sponsored by Kakaw Designs. 

Meet Margarita

When I first met Margarita, she seemed shy and reserved. But after spending just one day with her, I quickly learned Margarita was just the opposite. She is a ray of sunshine and vibrancy. She has an infectious laugh, loves to make jokes, and has a deep passion for her art. She notes that, “untangling and arranging threads is one of my favorite activities.” This brings her peace and serenity. Margarita holds her family and her cultural identity dear and seeks to preserve her cultural identity through the textiles she weaves. In addition, she is a natural leader who hopes to expand her craft and lead a group of artisan women to continue experimenting with natural dyes. 

Alejandra: How much experience did you have with natural dyes before this workshop?
Margarita: I have never received any workshop. I have experience with my parents because my grandfather already had some knowledge. When I was little, they would practice with cotton, harvest it, and work with it. I would take apart the cotton and classify it. I have some memory that they [her family] would tell me about the different plants. In fact, I have two aunts that are still alive today that know cotton quite well. Right now, I am looking for a huipil that my mother made with that cotton. When I was listening to Olga, I had a bit of experience and in that moment I began to remember the learnings that my parents taught me. But no, I had never received a workshop like this before.  

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

Margarita: For me, it’s important to rescue these practices. This is how we used to do it. Not anymore. In addition, it is surprising that one plant emits a color that is different from what it looks like. The color that interests me the most is oak, but there are other plants that interest me as well. 

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? 

Margarita: Yes, I would like to continue. Personally, I would like to work with a group of women to experiment more. Now, it is about learning about the plants that one can extract colors from, especially the plants found in my community of Chamelco. My idea is to have a group of women that can practice together, experiment, and produce cotton with these dyes. But first I have to practice myself to see if I can extract the plants’ colors. 

Alejandra: What challenges do you foresee if you continue to use natural dyes? 
Margarita: Well, there are many challenges. Everything depends on the thread. For example, not all threads can be dyed. Or maybe they can be dyed but the color does not last. Another challenge will be to source the natural threads nearby where I live. For example, the white thread that we normally use has bleach and that cannot be used. I need to keep investigating. It will be challenging to find all the vendors, threads, and raw materials. Little by little.    

Alejandra: Are there people in your community that work with natural dyes? Why or why not?
Margarita: Right now, there isn’t anybody. There is no motivation because it requires a lot of work and the consumer does not understand the high prices. The only people who understand the prices are the artisans. That is why it is important that consumers understand how natural dying works–it is worked by an artisan over many days. 

Alejandra: Can you share something that impressed you about the workshop? Would you recommend it to other weavers?
Margarita: I found it very interesting. The processes that were explained to us, the theory and the practice, are very important. I would recommend it to other weavers. But the processes are very complicated and sometimes we do things without measuring so it can be quite confusing. So you have to pay very close attention. 

Advertisement

Which backstrap loom is the best for me?

Since we started offering backstrap weaving kits in 2020, we’ve added a few different types of looms, and have understandably received questions about them. Have you been wondering the difference among the different looms we offer? We’re here to explain and help you choose the best option for your practice and goals.

1. Practice Backstrap Loom

This is the “original” loom we started with when we made this pivot to offer at-home weaving kits. We designed the loom in practical and achievable measurements, and we think they make excellent wall hangings when finished, with all the tools still intact. These looms are made at Lake Atitlán with naturally-dyed cotton and ikat designs in the warp. The included weft is naturally-dyed in indigo.

This is an excellent choice for beginners who want to practice Plain Weave. We think the softer hues make these looms especially apt for home decor. $60 per kit with all materials included.

Choose from a variety of naturally-dyed color options, offered in rotation. Check what’s available here.

2. Brocade Backstrap Loom Kit

This is the loom of choice for intermediate weavers ready to practice supplementary weft brocade! Each loom has been prepared by master weaver Doña Lidia and her family from San Antonio Aguas Calientes. The main difference for this loom is that it comes with two additional sheds created with the “pepenado” rods, seen at the top of the loom. These extra sheds facilitate many brocade figures, and others can be woven by picking up the warp with the included wooden needle (so cute in quetzal form!). $85 per kit with all materials included, and we also have the option listed online for choosing your custom colors.

Looking for a little extra guidance for brocade? We produced professional videos that show how four important local motifs are created with Doña Lidia. Purchase the access through our PDF guide for $15.

The best option for weavers ready for brocade!

Optional: add a brocade sampler to your loom purchase for $30. These are the exact figures covered by Doña Lidia in our PDF guide for intermediate brocade, and are helpful to have on-hand for counting stitches and following directions on the screen.

3. Kids’ Practice Backstrap Loom Kit

As the name suggests, these looms were designed with children in mind for beginner Plain Weave. The looms are smaller for narrower waists and the warp is arranged in a way that makes picking up the “chocoy” (string heddle) easier for the smaller-bodied. Also priced affordably in-line with our committment to making art education as accessible as possible. Made with naturally-dyed cotton just like our original Practice Backstrap Looms. $40 per kit with all materials included.

4. Handspun Cotton Backstrap Loom Kit

Made with organic and local handspun cotton, these looms available in natural white and heirloom ixcaco brown are truly special! Prepared by our partner weavers at Lake Atitlán, these looms are made for the eco-conscious intermediate weaver ready to take on a little challenge. Working with handspun fibers is a bit harder. Namely, the string heddle can collect fuzz from the warp fibers easily, making even plain weave a bit more challenging. Weavers should pay attention to all the little movements made during the weaving process in order to limit the lint from collecting. $80 per kit with all materials included.

Available in natural white cotton and heirloom ixcaco brown cotton, while supplies last – we are heavily dependent on local harvests for this loom, production is very limited.

5. Make Your Own Loom Kit

This kit was developed for our “Intermediate Loom Set-up” online class with Doña Lidia. After we received requests for this class, we realized we should make a material to go with it. And ta-da! The Make Your Own Loom Kit was born. The kit includes everything you need to build your own loom, with the warp already prepared, the sticks and rods carved into perfect size, etc. Prepared by Doña Lidia and her family, these kits are $65 each. You can also choose custom colors on the product page.

Questions? Comments? Let us know by emailing hello@kakawdesigns.com and/or joining us in our Backstrap Weavers group on Facebook.

Backstrap weaving troubleshooting 101

While online backstrap weaving classes have made learning and practicing this heritage art form accessible around the world, we’re aware of the unique challenges online learning can pose, especially for beginners. That’s why when I received these questions from a new weaver recently, I thought so many more beginners could benefit.

Take a look below at some of the common beginner questions when it comes to backstrap weaving:

1. First pic is of my progress. It is very slow especially when I have backtrack because of a mistake. I try to check after each line of weaving but somehow the mistakes showed up afterwards.

• It looks great! It looks like you are progressing really well. Good on you for also fixing mistakes, I know that can be frustrating. I like to think of beginner looms/panels are practice pieces, that you can hopefully look back on later and see the improvement in your practice and technique from beginning to end. Likely, you will notice that you are making less mistakes as you progress.

2. This next pic shows the back. After weaving a little I noticed a warp thread that was not incorporated. It’s connected to the top and bottom wood pieces but was not included in the the initial weaving at the top or bottom on the loom. Should I just leave it dangling? Or try to include it somehow?

• It’s not uncommon for loose warp threads to appear on the back, especially when they’re the first or last of that color bordering another color. This is not a problem. I would recommend weaving just like you have been, basically ignoring the loose warp. And when you’re done weaving, you can simply cut it off and tie the top end securely. The bottom loose end shouldn’t really move anymore if the rest of the warp has been woven.

3. Last photo is a close up of the wood dowel that is connected to the bottom warp threads. I really have a hard time bringing the bottom threads up to weave and I noticed there is a lot of fibers stuck on the little threads. Am I doing something wrong? Should I remove these thread fibers or just leave them?  It seems like the more I weave the more there are.  If I need to remove them, what is the best way to do so?

• I see the fuzz on the string heddle. This is a common situation for beginner; it still happens to me, too. It happens when the weaver moves the string heddle more than “necessary” — advanced weavers are used to making little movements so that the fuzz doesn’t collect. I would recommend trying to get the fuzz off (without damaging the string heddle). I have used tiny scissors carefully in the past, or a pair of tweezers – I wonder if that might also work for you? I’ve found these fuzz balls are hard to yank off. This also happens because the weavers in San Juan la Laguna who dyed the warp and prepped the loom prefer to work with unmercerized cotton. Communities have different preferences, and in many other areas this problem is avoided (somewhat) by using mercerized cotton. It might be that the unmercerized cotton takes natural dyes better.

4. Not that I’m close to worrying about this … But what happens when I don’t have space to continue. There’s the narrow rod at the very top, the thick rod and the rod with the heddle strings. All the rods and heddles take space plus the sword too. 

• Good questions, again, on how to “finish” the panel. The loom you’re working on was developed as a “practice loom” with the idea of it turning into a wall-hanging as-is with all the tools attached. That would be my recommendation for your very first loom, but of course whenever you feel finished, you can also release the rope going around both ends of the warp, on the warp bars — and this would allow you to take off the panel. While it is possible on a backstrap loom to have a clean four-selvage weave, I don’t recommend this for your first work because it’s super detailed and incredibly laborious. 
  
• If/when you’d like another loom, we’d be happy to make you one, perhaps with a longer warp so that you can make a functional item (Scarf? Table runner?). We could make space for fringes on the ends of the warp. If you feel ready, it would also be possible then to incorporate brocade designs into your next weaving. We produced professional videos to help with that process in high-def.

Do you have other questions? Join the supportive Backstrap Weavers group on Facebook; we’re there to help each other!

2020: The Year of Pivoting

This year’s theme word seems to be “pivot.” It feels like more than ever, the importance of shifting perspectives and priorities is evident. With the arrival of COVID-19 to Guatemala in mid-March and its following restrictions, we’ve been pivoting as much as possible.

Here are six ways we have been shifting, adapting, pivoting:

1. One of a Kind creations online

With our retail stores closed in Antigua, I decided to take products out of stores and try our luck selling one-of-a-kind items on our website. We had been creating products with customizations tailored toward each local store, so the result was that we had many unique variations at hand. In the past, I had dreaded putting in the work to list one-unit variations online, but in this pandemic emergency state, there was no time for complaining. This lead to our One of a Kinds page, where we continue to list unique items online.

2. Direct sales from our artisan partners

The need for work in our partner artisans’ communities became evident very quickly, as people lost jobs all over, and tourism (both national and international) came to a sudden halt. This inspired us to start our Artisan Direct Pop-up online, and we have been pushing this page most during the pandemic as these items represent products that our partner artisans had already invested time and material into making. These are beauties our friends already had, ready to sell, when the pandemic hit. We do our part in checking quality, taking pictures, and writing down honest details of the work, incorporating techniques used as well as materials and measurements, and take care of all the logistics like payments and shipping. We hope our work creates an atmosphere of transparency and trust that can often be difficult to achieve with online shopping from countries afar.

3. New work space in Antigua

These two new online sales efforts created a physical challenge in that I found myself without sufficient space to work given COVID-19 restrictions. So, I moved into Xibalba at the center of town, and have been working from there also with the help of Evelyn, who was instrumental in keeping Kakaw Designs going as our Production Manager while I was working on my master’s in Europe. I’m so grateful for the pieces falling into place in order to help us shift and grow our online offerings when it became suddenly necessary to go 100% digital.

4. Online sales in Guatemala

We realized that there was suddenly a market for online local sales within Guatemala, too. That’s why we launched our Kakaw Designs store on the new platform MejorShop. This Etsy-like concept allows us to reach local customers, and we can offer local discounts, too. We’re pretty excited to see where this project goes as online shopping is pretty new here in Guatemala.

5. Affordable and beautiful cloth masks

Our best-selling item during this pandemic time has by far been the Cloth Masks made by Juan Carlos, which are going for $35 for a variety pack of 10. We’ve sold over 2,000 masks at this point, and the work has incorporated two other families, meaning that these orders have been supporting three families during this pandemic. We went through several changes on these masks as we faced material supply shortages and wanted to incorporate general improvements, like adding a nose wire and creating an opening for optional filters, which we also offer as an add-on. (You can read more about these changes here.)

6. Creative orders in a sheltered time

We’ve been fortunate with custom orders, and we are so grateful for our supporters! Somehow it feels like maybe people everywhere are trying to add color to their lives, to add some joy, and at the same time are doing their best to be conscious about where their money goes, who their purchases support during this challenging time. And maybe the concept of time has shifted too, like all of the sudden it doesn’t feel like a gigantic barrier to wait one month for a custom textile, bag, or a pair of shoes.

 

Next steps:

We’re continuing to pivot in different ways, and right now I’m pretty excited for these beautifully hand-embroidered cloth masks. Not only are they joyful, these masks provide work for our artisan partners in Sumpango, who are able to embroider from home.

 

 

We look forward to where the future takes us, and we hope to be able to shift perspectives to keep up. This year has provided the opportunity to re-evaluate our priorities and re-align ourselves to our principal mission of working with rural artisans and facilitating access to markets through design, quality control, and overall enhanced trust. Thank you for joining us on this journey.

 

Mari

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.

The evolution of Juan Carlos’ masks

When COVID-19 reached us in Guatemala and the artisan’s market where Juan Carlos has a stall suddenly closed, he started making cloth masks with materials he already had at hand. Clean used cotton corte on the outside, and a new cotton fabric on the inside. Pretty simple construction, and he started with just one size.

//Side note: From the beginning, I knew I didn’t want to be profiting off of an international health crisis. So as Kakaw Designs, we are not making money on these mask sales – the $35 per 10 masks covers our costs.//

Even from the first batch, the masks were beautiful and practical, but we realized that people had different face (head?) sizes. So we then went to making two different mask sizes – Small and Large. And we learned that people were most interested in cheerful colors, so we decided to go with more vibrant cortes, and started using a variety of colorful inner lining fabric, too. So many little improvements along the way.

And then Juan Carlos figured out how to put a little wire in there for a more comfortable fit around the nose. I’ll share a little trade secret with you – it’s just crafty pipe cleaner! It does the trick.

And then after that, we received some requests for a filter insert, and we figured out how to do that, too. I scheduled a meeting with a local now filter-expert, and we got the scoop on what material to buy, and where in town.

That leads us to where we are now: offering two-layer cloth masks in Small and Large with a nose wire and insert opening for optional filters. We’re selling filters online too, as an optional add-on, because not everyone likes to wear them, and we just think that’s a personal choice. The masks come in bundles of 10 units – five Small and five Large each, but if you’d like something different, just let us know in the comments at check-out 🙂

<buy a bundle here>

Production for these masks has gained so much momentum that Juan Carlos is now working with three more families to make them. This is all thanks to all the support online — we truly appreciate it! During this challenging time with limited income sources, being able to work from home making these masks means a lot to us.

Why Ceramics?

Maybe you’ve noticed. We started working with a new cooperative, new medium, not too long ago: hand-turned and hand-painted stoneware ceramics.

Our Ikat Donburi Bowl and Ikat Tumbler on display at Xilabla Joyas

At first it was for completely selfish reasons. To be honest, this is how most of the product designs come about. For entirely selfish reasons – because I got a new computer, and want a laptop sleeve. Or I got a scooter, and want a new backpack (it’s too hard with a shoulder bag). Or it’s getting chilly, and I want a thick and cozy shawl. The list goes on and on.

For our ceramics, I felt this desire for a new product when I was working on my master’s in Europe. I was getting pretty used to the coffee (espresso) culture in Austria, but I still missed having cozy and large vessels for tea. That’s how I grew up in Japan, after all – tea all day. (Side note: I remember the first day of class in Austria, where education was surprisingly traditional, the professor said that there would be one break, or sometimes no break at all, for a 3-hour meeting. But then he added something like, “Unless you need a coffee – in that case, feel free to leave and take a coffee break whenever you need.” They sure love their coffee.)

And at the time, I was sad to not be able to work in-person with our artisan partners while away. I felt like I wasn’t being as creative as I usually was. And I just wasn’t feeling all that cozy, living in a sterile apartment with all white walls, everything electric, no garden, and for me, no character.

View this post on Instagram

Drink of the morning: chai 💙 Can you hear the birds? The neighbor blasting music? Can you tell that my fingers are burning? 😆#morningsinguatemala

A post shared by <cacao> by Mari Gray (@kakawdesigns) on Jan 31, 2020 at 6:28am PST

So even though I was thousands of miles away from Guatemala, and months away from spending summer here, I did the most reasonable thing in order for me to obtain some ceramic pieces I wanted in Europe. I designed them to be made in Guatemala. 🤷🏻‍♀️

It took several tries to get each design right. We now have four different ceramic items we are making in partnership with a cooperative at Lake Atitlán. They have been received well in the Antigua community, and have been selling well at the stores here. It has been a very interesting process to work with the new medium.

Prototype Cappuccino Sets in the making at Lake Atitlán

One thing I love about working with ceramics is the ability to incorporate textile designs in a non-textile way. Something about this departure is freeing. With woven designs, I find myself worrying about using traditional Maya patterns, or even the opposite – introducing designs that are somehow inspired by all the different traditions from around the world that I have been exposed to. My conclusion is that above all, I believe it’s important for our artisan partners to make a living. Traditions will only continue now if they can be a source of income for rural families. But still, there are other ethical concerns whirling in the back of my head. And with ceramics, we’re actually working entirely with non-indigenous techniques to begin with, and so I see no conflict with trying something new. New shapes. New sizes. New patterns. New colors.

Our Cappuccino Set features simple and calming running stitches in an indigo shade

With that said, I do try to stay away from designs that are strictly Maya. I don’t want to copy village patterns. So you won’t see any of the beautiful brocade patterns found here on the stoneware. What I wanted to show was more of a global common thread of textile traditions. Thus, the simple ikat patterns in indigo, and the simple running stitches, also in indigo. We tried other colors, but settled on my favorite, the calming navy blue. What’s more fitting than the magical indigo hue, the strongest of the natural dyes, found all over the world in textile traditions?

Anyway, thank you for reading. If you’d like, here are the links to take a look at our ceramic bundles online:

Ceramic Bundle with Tumblers

Ceramic Bundle with Cappuccino Sets

XOXO,

Mari

 

Just Leather Shoes

Ever since we started Kakaw Designs with custom-made boots, we’ve gotten requests from people wanting simple designs with just leather, no textile. I’ve been resisting against this for some time, just because I’ve always wanted our focus to be textile over leather.

But… you know what? I was wrong. I love these Quetzal Shoes in Just Leather, and it’s always a pleasure to support Don Julio’s cobbler business. And through these sales, we can also invest more in textile prototypes and pursue new designs. So really, it’s win-win.

I’m sorry I was narrow-minded and it took me so long to incorporate Just Leather shoes. But now, they’re here. I hope you like them too, I’m loving mine.

Available online for $185. Choose “Just Leather” option under “Textiles”.

 

Thank you, Don Julio!

 

mindful morning bundle

December can be a pretty crazy month, full of activities, and maybe added stress. It’s a lovely season, but we understand the hectic nature of modern-day holiday celebrations.

We can relate. We’re makers and sellers, but also teachers, students, wives, friends, sisters… There’s a lot happening in our lives, too.

And by we, I mean: Kelly from Cardamom Collective, Ehren from Hecho, and me (Mari) from Kakaw Designs. This is why we wanted to share with you some of our favorite things, the items that remind us to relax, to take a deep breath, to brew and enjoy a cup of tea. If you think this might be beneficial for you, or if you’d like to gift it to someone you know, just email me at mari@kakawdesigns. We’d be happy to send you a bundle or two.

Mindful Morning One includes:

1 Mini mortar and pestle from Hecho (choose from pink marble and white onyx)

1 Indigo ikat pouch from Cardamom Collective

2 Hand-embroidered coasters from Kakaw Designs

Some kakaw (aka cacao) and cardamom to add to your favorite morning drink

$65 plus shipping, ready in the US.

Mindful Morning two includes:

1 Mini mortar and pestle from Hecho (choose from pink marble and white onyx)

1 Indigo ikat pouch from Cardamom Collective

2 Hand-embroidered tea towels from Kakaw Designs

Some kakaw (aka cacao) and cardamom to add to your favorite morning drink

$85 plus shipping, ready in the US.

 

El Chucho Feliz – what is that?

We’ve come together with El Chucho Feliz this season to bring you a holiday bundle for your furry friend and human. Learn more about the bundle here. Below is a lovely post by Lea, who is working on the beautiful collars for El Chucho Feliz in Guatemala. I can vouch for how much Mayo is loved by all the dogs in Guatemala – she’s one of Berry’s favorite humans for sure. -Mari

Who doesn’t love dogs? We’re proud to say we are 100% dog people!  Here in Guatemala, just like in North America, there are slang words for our doggie friends. Here’s your Spanish lesson of the day –

CHUCHO – (pronounced chew-cho) Guatemalan slang for dog.

You’ll find that hardly anyone calls dogs perros (proper Spanish) – here in Guatemala. If you aren’t familiar with the term ‘chucho, you are not alone. But it makes sense when you understand that it’s the same as the way people in North America say ‘Pup’ for example. So, El Chucho Feliz = The Happy Dog! How cute is that?

 

El Chucho Feliz was founded by our designer Marjolaine Perrault. Marjolaine (aka: Mayo) is a certified veterinary technician from Montreal. She is also a dog trainer, and spent years working with veterinarians without borders in Guatemala where she fell in love with the country. The exotic atmosphere, fresh fruits and flowers, incredible erupting volcanoes and lush green jungles finally led to her moving to Guatemala in 2011. Seriously – whats not to love about this country? If you have been to Guatemala – you know what we are talking about!

Soon after moving here she started El Chucho Feliz, offering dog training services that quickly expanded to doggie play dates and then boarding. Over the years she has successfully become a second Mom to hundreds of happy dogs!

Canela, the lucky “chucho” who is now happy with Lea 💗

 

Mayo also has a slight obsession with Guatemalan textiles and decided to try combining her love for them with her love for dogs. She began working with artisans to create leather dog collars using beautiful up-cycled Guatemalan textiles.  She is constantly on the hunt in the local markets, searching for gently used, quality textiles from local women. She collaborates with these local artisans to bring these hand made products to our customers and their happy pups! Focusing on high standards in order to create unique hand made items, built to last.

Since Mayo is seriously busy with business constantly growing,  that’s where I come in! My name is Lea and I was raised in Los Angeles by Guatemalan & American parents. I studied Visual Communications and Design at FIDM in LA. I moved to Guatemala 4 years ago and Mayo and I met because she is second dog mom to our beautiful street ‘chucho’ – Canela- and the rest is history! I am here to make sure things run smoothly! We never created a job title – but that is typical here. And it works for us!

 

“Gimme my treat, human!” psssst that collar looks nice on Canela!

Find us:

Etsy – TheMayanDog 

Instagam – @chuchofeliz 

Facebook – El Chucho Feliz

Email – themayandog@gmail.com

Not to be confusing- but in a few places we are called The Mayan Dog- easier at first glance than explaining what a ‘chucho’ is! We are delighted to be working with Kakaw on this collaboration. We hope you’ll love the work we created together as much as we loved doing it for you!