2. Shedding pride on ethnic design
MA Pattern and Garment Technology:
Garment Technology
Masters Project
London College of Fashion
Nahdin Sabla
SAB15467565
3.
4. Pic. 1. Liz and I at San Blas Market, Cusco, Peru (2014)
5.
6. Table of Contents
Abstract..............................................................................................................................................................1
Introduction .......................................................................................................................................................2
The Pollera .........................................................................................................................................................3
History............................................................................................................................................................4
Definition .......................................................................................................................................................4
Geography......................................................................................................................................................5
Tradition.........................................................................................................................................................5
Discrimination and Inequality: Ambivalence between meaning and cost........................................................7
Economically ..................................................................................................................................................8
When traveling out of their communities: ....................................................................................................9
Among the Andes...........................................................................................................................................9
Internationally..............................................................................................................................................10
Dressing as a research method........................................................................................................................11
Embracing Acceptance, Inclusion and Understanding ....................................................................................14
Social Initiative Proposal..................................................................................................................................16
Purpose ........................................................................................................................................................17
Vision............................................................................................................................................................17
Mission.........................................................................................................................................................17
Sewing Workshop ............................................................................................................................................19
General objective.........................................................................................................................................20
Description...................................................................................................................................................20
Unit 1........................................................................................................................................................21
Unit 2........................................................................................................................................................21
Unit 3........................................................................................................................................................22
Tutor Requirements:................................................................................................................................23
Studio tools:.............................................................................................................................................23
Teaching material: ...................................................................................................................................25
Prototype: Unit 1 Class 1 .............................................................................................................................26
The human body......................................................................................................................................26
Body shapes .............................................................................................................................................26
Introduction to pattern drafting:.............................................................................................................26
Pattern Terminology................................................................................................................................29
Basic Pattern Set ......................................................................................................................................30
Key vertical guidelines .............................................................................................................................30
Darts.........................................................................................................................................................30
Using the Tape Measure:.........................................................................................................................31
7. Seam Allowance.......................................................................................................................................32
Notches ....................................................................................................................................................34
Size chart:.................................................................................................................................................36
How to take measurements: ...................................................................................................................37
Fabric Terminology: .................................................................................................................................38
Information on patterns: .........................................................................................................................39
Focus Group.....................................................................................................................................................40
Participant Demographics............................................................................................................................41
Participants Perspectives:............................................................................................................................41
Outcome 1: Handout order of presentation ...........................................................................................41
Outcome 2: Handout content..................................................................................................................42
Recommended Changes ..............................................................................................................................42
Manifesto.........................................................................................................................................................43
Conclusion........................................................................................................................................................44
References .......................................................................................................................................................45
Appendix ..........................................................................................................................................................46
8. 1
Abstract
Pollera, a traditional skirt of the Andes, was the spark that unfolded a vision of a garment
with significance that goes broadly from fashion up to social status and gender
connotations. Worn by little girls and older women alike, a pollera is an inherited, everlasting
garment. Its creation and acquisition marks key points in a woman’s life course; juggling
cost, status and class distinctions. People make choices between clothes and animals,
between spending money and trading other goods. For most Andean women, the pride
they feel in dressing well within their community balances out any shame and mistreatment
that can be felt outside of community boundaries, as they feel distinguished and
consequentially embrace the positive value of polleras and their traditional wear in
general. On the other hand, wearing a traditional garment such as the pollera can also
trigger discrimination against them, creating pride and shame in one garment. Western
world fashion trends (i.e., blue jeans) are identified with progress and the modern world,
and to not follow those trends connotes that you come from a backward community.
The aim of this project is to raise awareness on the continuous social demand to segregate
us, catalogue us, give us labels for life and treat us differently because of the places we
come from and the clothes we wear. In this study dressing was used as a research method
combined with my personal practical experience and the knowledge of my own country,
culture, society, resources and fashion. I used reverse engineering as a method to study the
construction of a pollera, deconstructing it to its very core for understanding and analysing
its assemble, and the best way of adding additional features that might improve it, such as
adding pockets, a waistband, zipper, lining and so forth. In this research I have learned that
women must continuously negotiate their clothed identities because they are participants
in Peruvian society and because the state enforces nationalized norms of clothedness on
their bodies.
My proposal is a social initiative that seeks to be a benchmark of consistency, empowering
Andean women to engage in an educational experience which will provide practical and
potentially employable skills in garment construction in order for them to feel regarded
beyond wearing polleras, reassuring its place in the world of fashion; a reflection of the spirit
of the Andes of Peru. To make Andean people proud of their polleras in the city as well as
in their own communities and all over the world, to give them a higher sense of dignity and
eliminate the ambivalence of meaning.
9. 2
Introduction
The idea to work with Andean garments, specifically polleras, was conceived when
travelling around Peru, sierra and jungle, noticing its valuable contribution to the Andean
cultural heritage and how its use varies nowadays from city, town and communities. In
some areas, that are most influenced by Western culture, these traditional garments are
saved for special events or for touristic purposes and instead wearing an apron with pockets
on top of leggings, for practical purposes such as having cash at hand.
As the saturated colours and patterns are charming, the researcher bought polleras in
every town along her trip. As Femenías cleverly states, “Clothes are powerful symbols of
culture, because they work both as a metaphor and as a synecdoche” (2005, p. 24). When
you wear a garment it becomes a part of the whole, of one’s identity. With this feeling
many ideas came to mind, for example, how useful adding a pocket to the skirt would be,
as by having a set of side pockets the pollera alone could be worn without the need of an
apron. Also, how getting rid of the bulky waistband would result in a slimmer sized pollera
with a much better fit, since these are currently made “one size fits all”. The extensive
daydreams on improved polleras sparked a desire to modernize the garment, inspire
awareness and recognition around the globe.
The aim of this project is to raise awareness about the continuous social demand to
segregate us, catalogue us, give us labels for life and treat us differently because of the
place we live and the clothes we wear. The meanings that people from a higher socio
economical class according to the classism that prevails in the country, assign to polleras
are segregative completely and rarely take into consideration the variation, embellishment
or expertise that it’s assemble requires. With its derogatory overtones, this strident racist insult
alludes to negative characteristics that “whites” attribute to Indigenous and rural women,
connoting poor, dirty, worthless or common.
The dream is to be a united and proud society within a country that includes each of its
inhabitants, that embraces them with an overflowing proud feeling, whilst giving their
dignity back and eliminating the ambivalence of meaning of their traditional garments.
In order to achieve this, a social initiative was designed to be implemented with a specific
Andean community, providing training and technical support on pattern drafting and
cutting, and the use and handling of a treadle sewing machine for clothing production.
The goal is to provide the community with a skill for life, tools that enable them to start a
business, earn extra cash or pass on the acquired knowledge. Equipment, information and
a curiosity-driven spark will be facilitated, as the researcher counts on personal experience
that backs up how rewarding and exiting this workshop is.
The methods used for the present research were dressing in traditional wear in order to have
a first-hand experience towards society’s reaction; reverse engineering when analysing
polleras because the act of clothing one’s body with them originated the idea to integrate
a waistband for a better fit and pockets for functionality as an initial idea; and a focus
group on the essence of the induction prototype class, to verify the content, structure and
order of the information provided.
10. 3
The Pollera
Pic. 2. Andean women embracing her polleras at Chinchero, Cusco, Peru (2016)
11. 4
History
In the 16th century, the Spanish arrived in the Cusco region, the capital of the Inca Empire,
profoundly changing the lives of the native people. Among the more visible changes were
those in clothing, as the native population began adopting elements of style from the
Spanish settlers. In many places the regional dress was replaced almost completely by new
garments, except that they were made of native fabrics and materials. Some clothing
articles of the Incan period have persisted, such as Llicllas (women’s mantas or shawls),
unkus (long shirts), and ojotas (sandals) mentioned by Callañaupa (2007, p.18).
This originated the ensemble of polleras, a form of the Spanish colonial dress enforced on
indigenous populations in the Andes by hacienda (farm in Spanish) owners or hacendados.
Traditional polleras originate from the peasant dress from southern Spanish regions, such as
Andalucía. The word pollera comes from its similarity to the Spanish chicken’s cages (the
word “pollo” means chicken) and polleras are an interpretation of the Spanish attire. This
traditional skirt is often worn with petticoats or slips, in the highland regions throughout Latin
America. They are an inherited everlasting garment, often made from cotton or wool and
are embroidered with colourful patterns, worn by little girls and older women.
Definition
A pollera is a gathered full skirt most commonly knee length with a wrap sewn to the
waistband that ties the skirt around the waist to secure its position on the wearer. It hides a
series of petticoats or underskirts; it is made of heavy fall wool and adorned with intricate
multi-coloured motifs embroidered on sewing machines and a woven band on the hem.
There are infinite kinds of polleras, they vary according to each region of the country and
also according to each village, the technique, construction, symbology and iconography
goes back to the village identity and the purpose the garment will fulfil, they also differ for
every folklore dance performance.
Pic. 3. Purchased polleras and coca bags at Cusco, Peru (2014)
12. 5
Geography
Travelling around Peru since an early age revealed wonders I had never dreamed of,
especially about our ancient cultures that had an incredible expertise on embroidery and
looming techniques, creating fabulous textiles. This inherent art of textiles was combined
with the dress styles brought by the Spanish, creating fabulous designs on otherwise drab
looking materials, thus creating intricate and elaborate designs onto polleras, inspiring a
sense of community identity and pertinence. Polleras were first worn on the coastal farm
haciendas, and in the Andean highlands, were they are still widely used today.
A wide range of polleras are available in local markets throughout the country and,
according to the region they vary in materials, details, cost and specific characteristics for
their intended use. From agricultural labour to benchmark events such as sponsoring a
fiesta (party in Spanish).
Tradition
Polleras are uniquely powerful clothes, and emblems of gender and ethnicity that the
Andean people use in every phase of their life experience and have done so for decades
in agreement with Femenías (2005, p.10).
The Andean females initiate wearing polleras when they are approximately two years old.
They are proud to resemble their closest older female figure, usually their mother or older
sister. Most of the women who wear polleras are farmers, herders and weavers, and they
wear them every day, from a day of work in the field to parties and social events such as
weddings. Polleras are well suited for handpicking, a daily task for most Andean farmer
women during harvest. The under most layer works as a slip and the next one as a skirt. The
top one is manipulated into a variety of forms and uses, such as for holding the beans as
they are picked. One way to manipulate it is to tuck the top skirt into the waistband on two
sides, creating a deep pocket reaching almost to the knees. When it is filled, the edges are
untucked from the waistband and lose all the beans into a poncho as reported by
Femenías (2005, p. 41).
Clothes become emblems of desire for permanence, for remaining in one place, and for
association with the place, emblems of family and community, of history and home in
consonance with Femenías (2005, p.167) Polleras legitimize the representative who wears
its clothes and its habitual use. I am in touch with my roots and close to my home. Because
each community, or area or several communities uses a unique clothing style. They are
heirlooms from personal, family centred and community centred pasts. An eternal legacy
of the ancestors.
13. 6
Pic.4. Two Andean girls proudly displaying their polleras at Urubamba,
Cusco, Peru (2011)
15. 8
For most Andean women, the pride they feel in dressing well, within their community, faces
an unlimited amount of shame and mistreatment, usually from outside of it. As they feel
distinguished and embrace the positive value of polleras and their traditional wear in
general, also face discrimination against using them. Ironically creating pride and shame
in one garment. Dress “with polleras” condenses racism, precisely in the relationship among
dress, ethnicity and gender as stated by Femenías (2005, p. 97).
This is a reality of Peru, derogatory words such as Indio, serrano, indigenous, cholo...etc are
used to demise the poor, the uneducated, the ones who wear their traditional garments
and generally everyone that is not from a Spanish descendant or does not have a “white”
skin. According to Femenías (2005, p. 2) Migrants from rural communities throughout the
Country are called “Indians” and denounce as unwelcome invaders. The use of these word
is due to Christopher Columbus, because he believed he had reached India in Asia,
creating an ambiguity that lasted over time.
It is a mistake to use the term Indian to refer indigenous or Andean people, Indians are from
India. Femenías reported (2005, p. 87) that while her investigation in the Andes of Peru, no
one ever mentioned being Indian. No one even casually slipped it into conversation, much
less proudly claim it. Even when asking an individual if he or she knew any Indians or knew
where they lived, Indian identity continued to go unclaimed by the speaker for him/herself
and usually for family members.
Since the Spanish occupation, the country went through a period of unbalanced fusion
that affected the native’s way of living deeply in terms of religion, culture, laws, dressing,
looking, and ultimately being. Making the preservation of our traditions an almost
impossible duty. Now the skin colour was acknowledged as a differentiation and
discrimination factor that prevails until today, ethnicity is now a synonym of class and
indigenous people have been termed as peasants.
Economically
In relation to the cost, a top quality set of polleras will cost around £ 300 - £ 400, about the
price of a bull in the Andes. The price compared to western clothing would have to fall in
the frame of a ready to wear, made to measure designer house to charge that amount of
money for one skirt.
A part from the cost, polleras serve to identify an individual from a specific community, and
this most of the time benefits the wearer, being recognized as a paisano, one from the
same country or locality, that has previous knowledge about the quality of the range of
products hatched in the specific land; it becomes appealing and helps to boost the sales
and make connections, primarily exploiting that gut instinct to help your people, your
community, your own.
Polleras are made by artisans through generations, they normally are the uncle, friend or
neighbour with the inherited ability to create a pollera according to the customer needs.
In my opinion, the justification behind the decision to purchase such an expensive garment
is a deep sentiment of identity.
Polleras are commonly worn as an everyday garment, especially for hand picking,
employing a simple technique, using the top layer as a slip and the next one as a skirt, the
16. 9
top skirt is tucked into the waist wrap on two sides, creating a deep pocket to store the
goods until its filled, then they have to step aside and loose them onto a poncho, which
saves time and several trips to the poncho. Andean women work in the fields harvesting
wearing an outfit the cost more than £300 pounds and even so, urban society marginalizes
women who wear them.
When traveling out of their communities:
Generally to the cities, they feel the need to give up their polleras in order to avoid
discrimination and fit in. Andean women also have to adjust other related practices of
personal adornment such as their long braids, and they usually cut them off or let their hair
loose. So in order to not get vilified by urbanities, Andean women choose not to wear them,
hoping to avoid negative connotations and role discrimination.
Among the Andes
Polleras are some of the most elaborate garments in terms of level of expertise, time,
amount and kinds of embellishment, the weaving band and various materials. However
these features are not characteristic of all polleras. Throughout the Andean nations, Peru
and Bolivia primarily, market vendors and poor rural women wear less ornate polleras,
without embroidery, which are hemmed below the knees and feature rows of horizontal
pleats.
Pic.6. Myself wearing a recently acquired pollera
at the floating Island of Los Uros, Puno, Peru (2014)
17. 10
Internationally
When I first moved to London, the first thing that strike me was when I saw a Muslim women
completely covered wearing a Burka, an enveloping outer garment worn by women in
some Islamic traditions to cover their bodies when in public, apart from all the questions
that arise in my head, since it was my first time colliding with that cultural religion, I was
amazed to see that she lived in London, one of the most cosmopolitan cities of Europe,
and she developed her normal life without society’s disapproval. The same thought came
to mind when I saw an Indian women wearing a traditional Sari in the streets of London, so
much respect, tolerance and consideration for them amazed me and made me think
about my country and what our society holds against our own culture.
Nowadays Designers are taking inspiration from the past more than ever. Nordic folk dress
scholars have used the term “revitalization” to signify “the process of restoring or recreating
a phenomenon from the past in relation to the conditions of the present” to understand
the difference between the traditional preindustrial use of rural dress, and the ceremonial
and symbolic role national dress has had in the modern period (Skov et al., 2011).
Revitalization takes folk dress out of its ceremonial use symbolizing a cosmopolitan
appreciation of different cultures.
18. 11
Dressing as a research method
Pic.7. Making friends at the Urubamba Market, Cusco, Peru (2015)
19. 12
While travelling in January 2014 I bought several common polleras in Cusco and Puno, Peru.
I wore them every day to every activity I set my mind on to; I was very pleased to receive
many complements from both local people and tourists. One Andean woman from the
community of Sillustani, Puno, offered to buy the pollera I was wearing at the moment,
which I have bought a few hours ago while visiting the floating Island of Los Uros, located
in the Titicaca Lake that we share with Bolivia. She was wearing a pollera just like mine but
in another colour, her proposal made me think about the garment on so many levels, first
of all I understand that the pollera I was wearing, the pleats design and colour was original
from Puno, so I understand that she may have felt identified with it, but why? Why ask me
about the price? Where I have bought it? It made me think about the market and what a
niche! So much potential for what I have to offer, I even though right there of a marketing
strategy, I could get to every corner of the country with my designs and sell them
successfully.
On the other hand it also made me question that maybe she wanted specifically the
pollera I was wearing, not the jeans below or my sweater, because it was a garment that
she could relate to, but also because I was wearing it, taking into consideration the
negative meaning of the garment, for her I may appeal like a “white” and me wearing the
garment could translated into its approval of a society group that to her I represent, proving
exactly what aspirational publicity is all about.
Loaded with an infinite desire of enriching my life with new places, a rich culture and a
deepened love for my country, my work and vacations trips to the sierra and jungle of Peru
took an spontaneous turn when feeling the necessity to blend in, to fit in, to be a part of, to
belong, to learn a new tradition, a culture, a way of life, to have the full local/native
experience strike. When you dress as others and see other dressed as you, a feeling of
familiarity emerges, it makes you feel like you belong to a group or community, and it makes
you feel at home in Femenías opinion (2005, p. 146). Polleras are part of women’s survival
strategy as they visually reinforce connections with home.
The first pollera I bought was in San Pedro Market in Cusco, always negotiating the price
that fluctuated around 7 to 23 pounds, also asking about its correct use, what kind of
embroideries suits me? Which fabrics? Styles and designs correspond to this stage of my
life? After that purchase, shopping spiralled and, I kept acquiring different kinds of polleras
from a market road in Sicuani, Andean fairs and markets, the floating Island of Los Uros,
Puno. It became a central strategy throughout my field work.
Wearing polleras came so naturally for me, it seemed common sense, when you leave your
regular clothing aside and clothe yourself with traditional garments in its place of origin it
undeniably inserts you into their culture in a way that you are transformed, physically and
mentally. It provides a taste of an up to that moment unknown way of life, one to look
forward to and experience. In this study dressing was used as a research method combined
with my personal practical experience and the knowledge of my own country, culture,
society, resources and fashion. As I wore my polleras I started taking into account people’s
reaction when they saw me, I was pleased to received complements from both local and
tourists.
Either way the hole “with polleras” experience will be forever close to my heart, the
complements, and the suggestions to shake my body harder when walking to make the
skirt dance with the flow of my walking, an immense love for this garment impregnated on
my being.
20. 13
After my trips I made some adjustments to a pleated pollera to fit me correctly and since
they were made of one colour fabric, not so striking, I decided to wear them to the office
were I worked at the time and the received reactions were mixed. The people that worked
with me in the field and actively participated in a way in my shopping experience and
witness the community reaction towards my fashion choice, loved them, but several
colleagues from the office that did not, were very judgmental and gossiped behind my
back, holding a posture that polleras are not a suitable attire for a workplace, even though
they were knee length, right there a first-hand exhibit of the ambivalence of meaning of
polleras.
The method I used to study the construction of a pollera was reverse engineering,
deconstructing polleras to their very core to understand and analyse its assemble and the
best way to add additional features that might improve them like side and/or hidden
pockets, a waistband, zipper, lining and so forth.
Deconstructing a pollera showed me that it is made of a long rectangle of embroidered
fabric, gathered with a wool treat on one side plus two woven wool strips on top, the first
one about 7 cm width that wraps the bulk on the waist generated by the gathering hiding
it and ends in two loose strips to be adjusted and tied. The second one is commonly
weaved by the wearer with motifs according to the community that person belongs to and
is handstitched to the edge of the pollera; usually this weaved strip is bagged with a lining
made of common sack fabric and its width varies from the thinnest to taking almost the
whole pollera.
By incorporating pleats to a rectangle it almost magically turns into a circular skirt with flare.
Depending on the amount of width designated to each pleat, you can calculate the
amount of fabric you will need. Instead of applying the gathering technique, a box pleat
followed by an inverted one seemed suitable to slim the gathering on the waist, giving it a
nice flare, almost like it was gathered. After achieving a nice fit later details came to be
executed, like a fused waistband, side pockets, lining, invisible zipper and hanging loops.
When the pollera was ready I fitted it on myself and was very surprise to receive
complements of peers I didn’t knew up until then, appreciating the pollera in all its flare
even stating that they would definitely buy it.
22. 15
Discussing my masters project with a former colleague, Juan Martin Angulo, Agricultural
Engineer, he shared with me his memories about his latest trip to the field in the regions of
Santa Eulalia, Marcaponacocha and Canta, as I had previously asked him to mind the
women wearing polleras during his field work, he noticed that most of them have stopped
using polleras and had replaced them with leggings and an apron with several pockets on
top. The people that have more access to the city especially the capital, Lima, are more
influenced by western culture and are most likely to leave aside their traditional garments
for exclusively special events.
Today’s world takes clothes for granted, they come from industrialized processes and costs
very little, when they are worn out we throw them away without a second thought.
However there is another kind of cloth that is made to measure, rich in cultural meaning
that encloses the life and customs of our ancestors, thread by thread, by the hands of our
people. Each piece has its own life, a reflection of the spirit, skin and personal history of its
maker. Polleras themselves contain the stories of the people who wear them and the
artisans who create them. They hold they embroidered lives.
A disrupted use of the polleras is the rule, rather than the exception, women cannot be
expected to wear them from an early age and continue to do so straight through
adulthood. A reported by Femenías (2005, p.118) they must continuously negotiate their
clothed identities because they are participants in Peruvian society and because the state
enforces nationalized norms of clothedness on their bodies.
Thus they give up the polleras for a plain pair of jeans, undo their braids, and their sandals
for sneakers or heels.
Nowadays there are no pure races, neither less to say that we all are humans, and that is
our race, in terms of skin tones, as we say in Peru, “el que no tiene de Inga, tiene de
Mandinga”, which translation would be “the one how does not have from Inga has from
Mandinga”, Inga refers to an Inka surname and Mandinga to an Afrikan, this saying
illustrates the crossing of races in our country; to the mixture of bloods between Indigenous,
blacks, Asians and whites, produced throughout our history, until Peru turned into a country
of "all bloods".
Why do we still keep close to our heart the archaic Spanish ideologies that separate us
through race and classism? Let’s move into acceptance, inclusion and understanding.
Embrace what is ours from the heart. Make a commitment to learn, recognize, and
appreciate our culture, embrace it, scream it from the top of our lungs, show it off like a
tattoo on your skin, do not ignore, do not turn your face, do not play crazy, and do not act
like it is not your business, because it is, hey you! Peruvian! Wake up! This is our reality. Our
country is an Andean country, a peasant country, our best attribute.
24. 17
Fast Fashion has changed the way we buy, the decisions we made when shopping,
inevitably surrendering to low quality garments that we will be ready to dispose once they
are worn, making us take clothing for granted in an industrialized process that costs very
little but harms greatly.
Qhari Nuna, Brave Spirit in Quechua, seeks to be a benchmark that defines the glamour
and consistency of the inherited style of the Peruvian woman, reassuring its place in the
world of fashion, a reflection of the spirit of the Andes of Peru. This social initiative will bring
benefits to a specific community from Peru through equipment, training, technical support
and sustainable initiatives.
Purpose
The purpose is to make them proud of the polleras in the city as well as in their own
communities and all over the world, give them a higher sense of dignity and eliminate the
ambivalence of meaning. I want to break free from the biases and take ownership of how
you are perceived and what you are, of these ideas of what you can be.
Vision
Our vision is to break free from a class society and become all one, starting by claiming
Andean Fashion and with it all Andean women and their families.
Mission
Our Mission is to empower Andean women and their families working in partnership with
the community to create a lasting impact by engaging in education, stimulating social
development and awareness.
By absorbing this part of the tradition, fashions interface with folk dress can a step towards
a more sustainable production, by facilitating new designs and markets for local
manufacturing systems, already minimized by global competition (Skov et al., 2011).
In a rewarding way to do business frame, I created a sewing workshop whose purpose is to
impart education in pattern drafting, cutting, use and handling of a treadle sewing
machine for clothing production, considering a practical methodology consistent with the
daily needs of the area like harvesting, school and other important activities for the
community. Seeking to obtain well taught people to develop modern garments that
contain their essence and art; and be valued not only by the home market but also
internationally in the near future.
A recent approach with the UK based Nongovernmental Organization, Amantaní, came
to be an important reference to boost the social initiative proposal, they are a charity
whose mission is to help indigenous children of Peru keep their smiles by providing access
to education through boarding houses, since the children living in Ccorca, Cusco, Peru
have to walk for up to 8 hours each day to get to and from school.
25. 18
From Amantaní (About us, 2011) Our Educational Boarding Houses give the most
disadvantaged children in Ccorca a place to stay near to school. Instead of walking for up
to 4 hours each morning and afternoon, this time is spent on academic support classes,
extra-curricular activities, personal development workshops and community outreach
projects. Our intercultural philosophy promotes social inclusion, helping children gain skills
to negotiate Peru’s modern society, whilst encouraging indigenous autonomy and cultural
pride.
Their brilliant fund raising strategy is based on an Inka value, Ayni, which means reciprocity,
in that frame the Andean children offer their knowledge in different activities ordinary to
them, like fishing with their bare hands, instructions and demonstration on how to build a
mud oven, dye wool with vegetables, cook in the middle of nowhere and on. In exchange
for the acquired knowledge people donate.
“Teach a man how to fish, feed him for a lifetime. Learn something from him, and give him
back his dignity” Amantaní, Meet my World, Union Chapel, September 13th 2016.
26. 19
Sewing Workshop
Pic.10. The sewing workshop class room at the Native Community of Shintuya,
Manu, Madre de Dios, Peru (2015)
27. 20
My previous experience designing and delivering a sewing workshop in the Tropical Rain
Forest to three different Native Communities of the Manu Natural Reserve, located in Madre
de Dios, Peru was a starting point for the master’s project idea. The outcomes from that
experience are beyond rewarding, surpassing my personal expectations. From negotiating
an agreement signing with each community, coordinating the purchase and
transportation through rough roads and rivers of 25 treadle sewing machines, tools and
fabrics needed to Personally travel to every community by air, pickup truck and boat,
allowing me to work one on one with the women of the communities enriched my
understanding of their cultural values and their learning processes, while learning to live
without staples services. This informed the proper approach to my proposal and my
intended outcomes to combine their ancient practice with today’s garment making
techniques.
This sewing workshop is an initiative to empower the Andean women to engage in an
educational experience which provides them with practical and potentially employable
skills in garment construction in order for them to feel regarded beyond the wearing of the
pollera. At the end of the workshop the women of these communities will be able to draw
patterns, cut, sew and finish garments for their daily use and for business purposes.
The workshop has been designed as a complete guide for fashion studies, inspired from the
“for dummies” book format, and has become a bridge between home sewing and industry
practices. I have always thought that anyone is able to do anything with the drive to learn
and the wish to continuously make progress. My workshop is and always will be available
to everyone.
General objective
Is to develop capacities for making not only basic clothing, but also variations of models,
awakening skills and abilities to create garments inspired in their local traditions.
Description
3 units: 20% theory 80% Practical
210 teaching hours in total: One unit: 14 days 70 hours 5 daily hours of classes
There are necessarily considerations to take into account, unusual to the western world,
when defining the class dates and time such as child care, school, house chores,
harvesting, animal care and a business if they own one. It is important to previously
coordinate with the community in order to not disturb their regular activities.
Location: a room in the local school.
The classes will be given in Spanish but also utilizing their native language for the technical
terms.
28. 21
Unit 1
Objective:
The aim of the first module is to provide basic knowledge and generate interest by giving
them new prospects for their everyday garments. By the completion of this unit students will
be able to make the following garments: Lady blouses, skirts and dresses all in basic designs
in order to have a deep understanding and practice the correct assembly of garments.
Subjects:
Course Induction
Taking measurements: lady and girl.
Fabric direction
Treadle sewing machines induction
Basic Seams: buttons, zippers, grommets, hemming.
Basic accessories pattern development: bags, carrying utensils, pencil case.
Women
Step by step process: how to draw a Basic Skirt Pattern.
Fabric cut and dressmaking basic skirt
Step by step process: how to draw a Basic Blouse Pattern
Fabric cut and dressmaking basic blouse.
Step by step process: how to draw a Basic Dress Pattern
Fabric cut and dressmaking basic dress.
Girl
Step by step process: how to draw a Basic Skirt Pattern.
Fabric cut and dressmaking basic skirt
Step by step process: how to draw a Basic Blouse Pattern
Fabric cut and dressmaking basic blouse.
Step by step process: how to draw a Basic Dress Pattern
Fabric cut and dressmaking basic dress.
Pattern review and corrections
Finishes on garments.
Unit 2
Objective:
With the previous basic knowledge learned, the aim of this unit is to make variations of the
basic patterns. The challenge is that participants can interpret a design and develop it with
the previously provided tools and knowledge on skirts, blouses and dresses to a more
complex or innovative shape.
29. 22
Subjects:
Women
Step by step pattern variations
Skirt pattern 2, cut and dressmaking.
Blouse pattern 2, cut and dressmaking.
Dress 2 cut and dressmaking.
Girl
Step by step pattern variations
Skirt pattern 2, cut and dressmaking.
Blouse pattern 2, cut and dressmaking.
Dress 2 cut and dressmaking.
Unit 3
Objective:
The aim is to develop basic patterns and garments for men and boys such as trousers, shirt
and shorts. Also to motivate and inspire them to develop designs for their families and even
for a business that can positively contribute to their community.
Subjects:
Taking measurements: men and boy.
Men
Step by step process: how to draw a basic trousers pattern
Fabric cut and dressmaking basic trousers.
Step by step process: how to draw a basic shirt pattern
Fabric cut and dressmaking basic shirt.
Step by step process: how to draw a basic short trousers pattern
Fabric cut and dressmaking of basic short trousers.
Boy
Step by step process: how to draw a basic trousers pattern
Fabric cut and dressmaking basic trousers.
Step by step process: how to draw a basic shirt pattern
Fabric cut and dressmaking basic shirt.
Step by step process: how to draw a basic short trousers pattern
Fabric cut and dressmaking of basic short trousers.
Pattern corrections.
Finishes and finishing on garments
30. 23
Tutor Requirements:
£ 1,050 a monthly salary 15 days in the Andes and 15 days of rest.
Flights £40
Pickup £100 - £200
Food £115 per month
Accommodation £ 10 per night
Vaccines and insurance £ 60
Studio tools:
Sewing machines around £100 plus shipping
Tools per student £50 for the first unit
Treadle Machine accessories £12
For further units the cost of tools per student may reduce to £ 4
*Based on 55 students
For Practice
Materials Quantit
y
Mete
rs
Measureme
nt (cm)
Fabric/
Skirts
82.5
Fabric/blo
uses
80
Fabric/dres
ses
165
Nylon
zipper
55 25
Nylon
zipper
55 55
Nylon
zipper
55 15
Pattern Tools Quantity
Pattern
Paper
250
Ruler 55
Tape
measure
55
Print Paper 200
Pencil 55
Thread 110
Pins 55
Tailor chalk 55
Tracing
wheel
55
Markers 55
Paper
Scissors
55
Farbic
Scissors
55
Notch
Cutter
9
Bobbin 70
Bobbin case 70
Materials Quantity Meters Measurement
(cm)
Nylon
Zipper
55 35
Nylon
Zipper
55 40
Nylon
Zipper
55 20
Thin Drill 110
Poplin 110
31. 24
*Fabric has to be wrinkle free
I will provide the basic blocks in a thick mica so they can resist adverse weather conditions
and use, plus a size chart specially develop according to the women’s body type. If you
make any adjustments please do not forget to keep a record for the future.
Materials Units Meters Measurement
(cm)
Fabric /Skirts 55
Fabric/blouses 80
Fabric
/dresses
165
Nylon zipper 55 25
Nylon zipper 55 55
Materials Quantity Meters Measurement
(cm)
Calico 30
Zippers 55 15
Buttons 110
Materials Units Meters Measurement
(cm)
Fabric
/Trousers
137.5
Fabric/Shirts 121
Metal Zipper 55 15
32. 25
Teaching material:
Tutor Box
1) Two full scale mica patterns: bodice, skirt and dress size S
2) Two half scale mica patterns: bodice, skirt and dress size S
3) Five Samples in calico fabric: three bodices, one skirt and half a dress.
4) One sample in poplin fabric: one dress
5) Handout ( tutors copy)
The mica patterns were created while studding my first year of Fashion Design to help me
understand patterns and develop different designs more efficiently. I am positive they will
be of assistance to the class progress.
About the calico samples, my advisor suggested to polish them and lockstitch the edges,
but I decided to cut them with a zigzag scissor instead to prevent them from fraying,
because I do not want to show my students a sample garment with a technique they would
be able to use or have the appropriate machinery to develop.
I decided to sew a zipper only on the skirt sample because I am not certain that a
mannequin will be available for the workshop and I may need a student to volunteer and
try a sample for demonstration, I would not like to risk not being able to show the sample
garment on a person.
Ideally the tutor box will also come with a tablet and a solar battery to show the videos I
have prepared on:
How to sew a zipper https://youtu.be/5nxGI1Qw15c
Why notches? https://www.youtube.com/watch?v=X7SxB72YxEo
How to sew a dart https://www.youtube.com/watch?v=n3IrMN30m84
The making of an A Line Skirt https://www.youtube.com/watch?v=6jL1OTgw6AE
These videos are intended to be teaching material for the sewing workshop, to have a
general idea before the tutor’s explanation, also to demonstrate that sewing is not that
hard or complicated, so the students feel like they can do it too.
I was also considering to develop a power point presentation for the class but I think a more
useful tool will be to use flipchart sheets with the most relevant instructions and needed
illustrations permanently posted on the classroom walls, this will be determined by the
student’s most frequent questions and the level or unit of the workshop taking place.
Student Box
Handout
Envelope one: Specification sheet, pattern record card and pattern of the bodice.
Envelope two: Specification sheet, pattern record card and pattern of the skirt.
Envelope three: Specification sheet, pattern record card and pattern of the dress.
The basic blocks provided have long sleeves because taking into consideration the
weather conditions of the sierra it seemed appropriate for them to learn how to draw and
sew a long sleeve from the start, also the base size we will be working on is size L, that is the
most suitable for the women’s shape of the area.
33. 26
Prototype: Unit 1 Class 1
The human body:
Developed from an image originally sourced at http://www.designersnexus.com/
Body shapes
Although we all may have different body shapes and features, we are all one, one race,
the human race. It is important to consider the body shape of the client in order to make a
garment that creates a balanced figure.
Clothing the body has evolved from a necessity to and art with more than a million
variations and still more to come.
First thing to consider when drafting a pattern is size and shape. Regarding size we can
have measurements of a specific client and make a garment “made to measure” or
choose to make garments from a size chart that has standardized measurements: small,
medium and large.
Introduction to pattern drafting:
Garments are made of carefully shaped pieces of fabric, is almost never that a garment is
made of only one piece of fabric. To understand the concept of construction, engineering
pieces to fit together to form a garment is transcendental. According to Chunman (2011,
P. 16) pattern cutting is about finding ways to cut fabric so that it wraps neatly around the
three dimensional body in the desired shape. Always take into account the characteristics
of the fabric that could contribute or not to the desired design.
35. 28
Shirt
Trousers
Have example pieces and with pins show how they become one.
Why are patterns drafted on the half? It is easier to draft half of a pattern in a folded piece
of paper because in that way you know for sure that both sides will have the same shape
and measures, and also saves time.
37. 30
Basic Pattern Set
Key vertical guidelines
CF: Centre Front
CB: Centre Back
BP: Bust Point
SS: Side Seam
SH: Shoulder
Developed from an image originally sourced at Patternmaking for Fashion Design, H. Joseph-Armstrong
Darts
As explained by Chunman (2011, p. 236) is a triangular shape introduced into a garment
as a way of removing excess fabric in order to fit the three-dimensional shape of the body.
Where should we have darts? Why? Can they be moved or modified? Subtracted or
added? Can they be used as a design feature? These questions must be answered in class.
38. 31
Dart Terminology:
Developed from an image originally sourced at Patternmaking for Fashion Design, H. Joseph-Armstrong
Using the Tape Measure:
Metric System
A centimetre is a unit of length, the abbreviation is CM.
39. 32
Exercise:
What is the measurement of the cylinder according to the image below?
……………………………….
How many millimetres are there in 3 centimetres? ……………………
Measure each line both in a. Centimetres
b. Millimetres
a………………….
b………………….
a………………….
b………………….
Seam Allowance
Blocks are created as thought the seam line or stitching line of the garment is exactly the
same as the very edge of the block. So in order to join the pieces of blocks together you
will need an extra border of space outside this line.(How Patterns Work, 2013, p. 118).
The outline of a block represents the position of the stitching line, so the seam allowance is
the excess fabric that is added outside the stitching line to allow you to join pieces of fabric
together, without taking up any of the measurements to the actual fit of the garment.
Allowing us to construct, to put two pieces together in the correct position with the correct
measurement assuring a proper fit.
Developed from an image originally sourced at How Patterns Work, Assembil Books
40. 33
So essentially, by tracing off a block shape and adding seam allowance, the block is turned
into a pattern with enough spare space, or seam allowance marked in grey that it will allow
the shape to be sewn as part of a garment (How Patterns Work, 2013, p. 120).
Drawing 2 comparison of stitching line
Developed from an image originally sourced at How Patterns Work, Assembil Books
In order to determine the seam allowance measurement, please consider the following
pointers:
What type of fabric?
What type of sewing machine?
What shape is the seam? Curved? Straight? Irregular?
Will I need to alter the seam later to adjust the fit of the garment? Sometimes seams
are intentionally left larger to post alterations, shortening or lengthening the hem is
one of the most common alterations done to garments.
How will I finish the raw edge of my seam allowance?
For this learning stage we are going to define the seam allowance for all the garments to
be developed in this workshop at 1 cm.
41. 34
Notches
Also known as balance marks they have a great importance on a garment construction
process, they will determine the value of the seam allowance, indicate where two sides of
seams are aligned and sewn together, and differentiate the front and back, the location
of darts and other design features.
It’s a convention to have one notch to denote the front and two to refer to the back.
Developed from an image originally sourced at http://thecuttingclass.com/
42. 35
Exercise:
The key of a successful pattern set is accurate measurements and gracefully matching
pieces:
Can you tell me where this set of patterns must match?
Should notches match too?
43. 36
Size chart:
This size chart has been specially crafted with the information gathered in my previous
experience in the sewing workshop at the Peruvian tropical rain forest on 2014 and 2015 in
the Native Communities of Shintuya, Diamante and Queros, taking into account the
women’s body shape, fashion style and comfortable allowance on garments for their daily
activities.
44. 37
How to take measurements:
Tie a tape to the waist to determine its location.
1. Front full length/ nape to waist: from the shoulder neck base, passing by the highest
point of the bust until the tape located at the waist.
2. Back full length / nape to waist: from the shoulder neck base until the tape located
at the waist.
3. Neck: place the tape measure around the base of the neck, allow space for one
finger.
4. Bust: place the tape measure around the person and located at the bust high, check
that is straight at the back and measure form the high point of the bust.
5. Bust depth: from nape until the highest point of the bust. (Where the nipple is located)
6. Bust Span: measure between the highest points of the bust (nipple to nipple)
7. Side length: from the waist up until the armhole (always 2 cm before the armpit)
8. Shoulder: from nape to the shoulder bone.
9. Waist: place the tape measurement on top of the tied tape on the waist.
10.Hip: place the tape measure over the widest point of the hip.
11.Hip depth: from the waist line until the widest point of the hip.
Key Horizontal Guidelines
Please consider this key horizontal guidelines.
45. 38
Fabric Terminology:
Grain: refers to the orientation of the weft and warp threads.
Straight grain: Is oriented parallel with the warp threads and the selvage.
Cross grain: is oriented perpendicular to the selvage and parallel to the weft threads.
Selvedge: the narrow and finished strip on both lengthwise grain edges of the fabric.
True bias: runs at a 45 degree angle to its warp and weft threads.
Developed from an image originally sourced at Patternmaking for Fashion Design, H.
Joseph-Armstrong
Exercise:
Draw a vertical line in this square:
Draw a horizontal line in this rectangle:
Draw a diagonal line in this square:
Indicate and label the right angles:
46. 39
Information on patterns:
Patterns must have every piece of information regarding its belonging, design code or
name, line, size, date and pattern maker.
Style name
Style number
Type of garment (shirt, trousers, etc.)
Piece of garment (sleeve, collar etc.)
Side of the body (left or right)
Pattern Size ( XS, S, M, L, XL)
Number of pieces in the pattern (1 of 16 etc.)
Date of the pattern
Company Name
Toile or sample that the pattern version relates to
Type of fabric to cut the piece in (main or self, contrast, lining etc.)
Any interlining to be used (fused, block fused etc.)
The side of the pattern that is placed facing up (cut 1, cut 1 pair)
With the information recently acquired which kind of information you think a pattern must
have? *hint: check the envelopes provided in your student box.
When reviewing the workshop content, the idea of including a session on modifying the
polleras was considered as a way of linking to the initial inspiration and research to develop
these workshops. but considering my previous experience and knowing how people from
different communities could be reserved regarding their customs and life in general I would
not include polleras modification on the content, although I will inform the students of my
previous research and analysis and happily provide a class on polleras if they are interest
in it and specially request it as a way of showing respect to them the community and the
garment itself.
48. 41
To test the content, structure and order of the information given to the students I conducted
a focus group that consisted on me giving the prototype induction class and reviewing the
handout information for an hour to a diverse group of people. I will take into
consideration their thoughts and questions during the class to subsequently be included in
the workshop.
The focus group took place on Monday November 21st 2016 at 10:00 am London College
of Fashion, Mare Street Campus room 022. The focus group was conducted as part of my
Qhari Nuna’s sewing workshop initiative, nine women participated providing information in
two ways, group discussion and written responses.
The discussion was designed to gather information in regard to the following outcomes:
1. To verify that information is provided in the correct order and structure
2. To verify that the content is clear and understandable for everyone
3. To understand how people from different background engage with a class and the
best way to reach them.
Participant Demographics
Nine participants took part in the focus group:
9 women
3 participants were 24-29 years old; 2 were 36-37 years old; 4 were 41-47 years old
3 of the 9 participants have children or other dependents living with them
1 participant had absolutely no background in fashion
3 participants were interested in having more classes to further develop their sewing and
pattern drafting skills.
5 participants are students at London College of Fashion pursuing: Masters in Fashion futures
and masters in Pattern and Garment Technology.
Participants Perspectives:
Outcome 1: Handout order of presentation
All of the participants agreed that the hand-out needed to be presented in a new order
mostly because darts needed to be explained beforehand in order for them to continue
focus with the class and not wondering why there is an opening in the drawing of all
patterns, or maybe getting worried that they are going to learn something that is not about
a normal garment per say. The participants offered a new organization of the hand-out as
follows:
1. The human body
2. Key guidelines
3. Darts
4. Pattern induction
5. Pattern terminology
6. Basic patter set
7. Tape measure
8. Seam allowance
9. Notches
10.Fabric terminology
11.Size chart
12.Specification sheet
13.Pattern record card
49. 42
The participants had specific reasons for this order:
Familiarization with garment terminology
Understanding darts from the begging links nicely to the rest of the information and
closes a big gap that arises when seeing a pattern for the first time.
Outcome 2: Handout content
In general, the participants were extremely positive about the content and information
provided in the handouts. They used various words to describe that such as “good has all
the necessary information”, “very helpful, very clear images, enough space for personal
notes and drawings”, “very good explaining, good listening and clear descriptive answers,
well done”, “fantastic and you have done a thorough job, very well done”. Also they
agreed that the content could have some improvements to leave no room for confusion,
the suggestions includes:
Clear explanation on why we work on half a pattern, link to a full pattern image or
attach a folding page that completes the illustration.
Relate pattern pieces with an illustration of the final garment.
Close darts in all illustrations.
Add sequence pictures.
Use colours to high light the area or feature that is being explained on the pattern.
Add a scissors drawing to the seam allowance explanation so there is no confusion
with the dotted line on the pattern.
Do an initial exercise on the machine to engage students.
Mark calico on the right and wrong side to get students used to other kinds of fabrics.
Add an index so students know what they are going to learn.
Recommended Changes
It is clear from the responses and discussions that the participants were gladly satisfied with the content
and general idea of my proposal, the suggestions made were happily received by myself and will be
taking into consideration in the further development of the sewing workshop. Participants pointed that
the terminology used should be basic and in the native language harmonizing with my initial idea of
empowering Andean communities.
They offer several ideas about changes that they believe would improve the material and engage
students into learning. Recommended changes:
Provide paper patterns that can be folded and placed into a mannequin to see how
darts work.
Combine theory with practice to engage the “hands on” students.
Provide several fabric types samples.
Try out a cut and paste session with mini patterns.
Add an explanation of dimensions, 2D and 3D to explain how fabric is shaped into
the human body.
51. 44
Conclusion
Polleras, the traditional Andean garment by excellence, has become to represent a
compromise to cultivate and reinforce Peruvian craftsmanship, raising awareness about
the continuous social demand to segregate us. As the research demonstrated Andean
women must continuously negotiate their clothed identities because they are participants
in Peruvian society and because the state enforces nationalized norms of clothes on their
bodies.
My proposal will contribute in the community development engaging them in an
educational experience, lacking in the rural areas, which will provide knowledgeable
practical skills in garment construction in order for them to feel regarded beyond wearing
the pollera, making pride and respect its unique connotation. Furthermore this acquired
expertise has the potential to evolve in the pursuit of further education and a career in the
garment industry, as well as an occupation within the community with the possibility to
progress into a business that could expand throughout the country and even
internationally.
Fashion is constantly influenced by culture, benefited by its ever changing frame that
develops trends and garments. This highly persuaded industry provides the perfect set up
to be inspired by our art, colours, materials and motifs along with our rich history, culture,
and personality, enabling us to cultivate respect and pride of our polleras and Andean
roots.
Finally the focus group provided valuable feedback on the content information, order of
presentation and structure as well as different learning skills of the participants to be
approached not only by text and explanation but also by doing. The group was a mixed
set of participants from all over the world with different backgrounds in fashion, and a range
of ages from 24 to 47, perfectly imitating the target subjects.
From my personal experience, a possible limitation for the development of the workshop
that is not negotiable with the community like, dates, time and place is transportation, if
there are members of the community that live in a remote area, have to cross a river o walk
several hours to get to the workshop, that matter will need to be addressed beforehand to
ensure the safety of each participant, an maybe accounting on the quantity of
participants that need transportation another workshop could be stablish in their area to
prevent any possible hazard.
52. 45
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Chunman, D. (2011) Pattern Cutting. London: Laurence King publishing LTD.
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