The beautiful stories behind 8 of Oaxaca’s traditional outfits Photo: Vogue Mexico
anniversary of the founding of the city.
Here are the stories behind the regional outfits that can be seen every year at the Cerro del Fortín, broken down by region.Alitzel Soriano Silva, 26, danced at the Guelaguetza and describes it as “one of the best experiences” of her life. It is possible to hear the pride in her voice as she describes the details of her costume that reflect the stories of the women in her family.
And then there is the skirt, “the most spectacular part” of the costume, in Soriano’s words. It is made of 10 to 12 meters of rustic poplin and cotton printed with a floral design. It is of the most colorful skirts that can be seen at the festival and takes on a life of its own when it moves to the rhythms of the Jarabe Mixteco. The skirt has three ribbons along its lower part, seven more at the waist, and is paired with a black shawl.
The 36 women who participate in the dance appear barefoot, with braids wrapped around their heads, and small buns atop them. “In Usila, traditionally the larger and taller the bun of hair, the higher one’s socioeconomic level,” Martinez says. Hanging from the braids are tlacoyales , decorative elements common in the hairstyles of several of Oaxaca’s regions. In a nod to the name of the dance they perform, the Tuxtepecanas carry pineapples decorated with a red bow on their shoulders.
The Chinas Oaxaqueñas are also known for their jewelry and, famously, for their long braids which must be a uniform length for all the dancers who perform the Jarabe del Valle. Among the accessories worn with the outfits are symbols of the deep religious faith that characterizes these women of Oaxaca de Juárez. “We carry a cross that represents our religion and the love we have for God and Jesus. It is always with us,” Sumano says.
Baños wears ribbons in her braids to match the colors of her skirt and scarf. On the left side of her head, a red rose highlights her beauty. She recounts a common belief—while noting it is not true—that has emerged over the years. Supposedly “a woman who is a virgin wears the rose on the left side of her head, a woman who is not wears it on the right.” For the women who represent the Pinotepa Nacional region, make-up is a serious matter. “The goal is to look even more beautiful.
The formal outfits of Tehuana women are complicated to make, requiring many hands to finish them. Hernández says thatdraw the flowers that will later be embroidered by a craftswoman and the skirts have lace frills starched by women known as. They dedicate themselves exclusively to this work, a focus that is necessary because of the skills required so that the frills of a Tehuano costume appear absolutely perfect.
“The garment is a snake in the form of a woman,” Mestas explains. “And on the top of the head of the woman wearing it, there is what is called aa bun of hair that looks like entwined serpents.” He explains that a number of details of these huipils are related to snakes. The shoulders, for example, imitate the shapes of snakes in relief while, on the edge of the garment, a colorful border is inspired by coral snakes.