In the mid-1960s, there were well over 200 recognizably different costume styles within Guatemala. Today, this number has declined appreciably. Each village has its own traje that is distinctive in shape, design, style, and color. It is these differences that allow an informed observer to read the information encoded in the textiles. In some ways, Maya huipils have changed greatly over the centuries, while in other aspects they have remained remarkably constant.
If a Highland Maya woman is fortunate, she may have one or two huipils for everyday wear, and one for special occasions such as marriage, fiestas, or religious ceremonies. Because a woman will have a very limited number of huipils in her lifetime, a variety of techniques are used to provide practicality, versatility and durability. A well-woven huipil may last as long as 20 to 30 years. Then, it may be cut up into sections to be used as rags or combined into a quilt-like of textile usually for sale to non-Mayas. In colder elevations, women wear a sobrehuipil. This is a second blouse worn over the first as a sweater or jacket to ward off the cold in the mornings and evenings.
Photograph by Travis Doering and Chelsea Blackmore
The exquisite example above is from the Guatemalan Highland town of Chichicastenango, famous as the site of the largest indigenous market in Central America. The width and length of the huipil are dependent upon its use, regional preference, loom width and the occasion for which it is worn. It is usually made of two or three rectangular woven panels or webs that are sewn together lengthwise. A randa or decorative stitching may be used to join the seams. An opening for the head is then cut into the center of the joined material (unless it was designed into the weaving of the panels). The entire length of fabric is then folded in half from top to bottom to create a three-to-four foot long blouse. The sides are stitched together, leaving room for the arm openings that are located just below the fold. These and the head openings are usually reinforced and decorated.
In this example, the huipil is made of three vertical webs, and the resulting seams are joined by two multicolored "figure eight" stitch randas. The head opening is encircled with a very traditional "sun" design. The thread used in the double face brocade design is Lustrina, a glossy vibrant addition to the weaver's palette. This piece was made by master weaver Micaela Canel, who is shown in the photograph below left. Notice the beautiful huipil she is wearing and how similar in style and color it is to the example.
