A poncho is a famous traditional accessory of Mexican people. Everybody have heard about it. At the same time, another shawl-like piece called “quechquemitl” that is just as old and typical for this area stays in the shadow. If you’re not from Mexico or at least South America, there’s a big chance you’ve never even met the word “quechquemitl”, not to talk about any peculiarities of this garment. So, this has to be fixed – let’s find out more about the quechquemitl.
The quechquemitl or quezquemitl is a traditional garment that has been worn by some Mexican indigenous ethnic groups since ancient times, dating back to the pre-Hispanic period. Typically, it consists of 2 rectangular pieces of cloth, often meticulously handwoven, which are then stitched together to create a poncho or shawl-like garment. Traditionally, the quechquemitl is worn draped over the shoulders.
Quechquemitls can be crafted from a variety of fabrics, showcasing intricate weaves and designs. They are commonly adorned with decorative elements, such as embroidery, adding a touch of artistry to the garment.
History of quechquemitl
The quechquemitl, with its origins in the pre-Hispanic era, has been an integral part of indigenous women's attire for approximately 2,000 years. It is believed to have originated among the Totonacs on the Gulf coast and later spread to the Mexican highlands through the influence of the Otomis. During the pre-Hispanic era, the quechquemitl was typically worn in conjunction with a huipil (a traditional blouse) and a wraparound skirt, predominantly reserved for special occasions and worn by women of high social status. There is evidence to suggest that it may have even been exclusively worn by goddesses or those portraying them in Aztec rituals. The quechquemitl, being closely associated with fertility, was particularly linked to fertility goddesses, likely due to its origins in the fertile Gulf Coast region.
In the Aztec era, noblewomen's quechquemitls were often made of cotton, occasionally incorporating rabbit fur or feathers for warmth and decoration. Another variation of the garment involved twisting the fabric before sewing the edges, resulting in a form that conformed more closely to the body. The name “quechquemitl” was frequently used in the names of Mixtec princesses. These garments were woven on backstrap looms, which are still in use today, and were dyed using natural substances like cochineal, indigo, and other plants, animals, and minerals.
Following the Spanish conquest, the quechquemitl became widely adopted by all indigenous women. It was worn either on its own, exposing the midriff, or layered over a huipil. However, these practices have become less common in contemporary times. With the introduction of treadle looms, spinning wheels, and the availability of sheep wool, the production techniques and materials used for quechquemitls underwent transformations.
Typical features of quechquemitl
The quechquemitl is a versatile garment that has been described in various ways, such as a shawl, a cape, or a triangular cloth, although its appearance when worn may differ from these descriptions. Most quechquemitls are created by sewing together two rectangular pieces of cloth and are typically worn off the shoulders, providing coverage to the upper body. They often feature pointed edges that can hang down the front, back, or over the arms. Quechquemitls are commonly paired with other garments like wraparound skirts tied with a sash, huipils, and blouses. The size of the quechquemitl depends on how it is intended to be worn and its relationship with other clothing pieces. Its impact on the overall outfit is determined by this relationship rather than functioning as a standalone garment, unlike a long huipil, for example. Quechquemitls are worn for everyday attire as well as social and ritual occasions.
Mexican quechquemitl from Huasteca Potosina region. Photo from Wikipedia.org
The art of making quechquemitls is associated with several indigenous peoples, including the Nahuas, Huastecs, Huichols, Tepehuas, and Otomis. The distinctive decorative motifs found on the garment can often indicate the particular group to which it belongs. However, the regional climate where the quechquemitl is produced also plays a role, influencing material choices such as the use of wool in colder areas.
Evidence suggests that certain motifs can be traced back to the pre-Hispanic period, while others were adopted following the Spanish conquest. Some motifs incorporate elements from both European and indigenous influences, making them challenging to date accurately. Ancient designs include fretwork, which represents Quetzalcoatl, as well as symbols such as the scepter of Quetzalcoatl, associated with Ursa Major. Additionally, an “S” shape known as ilhuitl and a cross with equal-length branches representing the cardinal directions are also prevalent. Colors used in quechquemitls often carry symbolic meaning, such as yellow representing the east. European elements, such as a stylized vase with flowers, have also found their way into the designs. Another example is the double-headed eagle, which can have either indigenous or European origins.
The Huastecs in Tancanhuitz de Santos, San Luis Potosí, and the Huichols in Jalisco and Nayarit create quechquemitls using undyed cotton heavily embroidered with flowers and animals in various colors. The Nahuas from San Francisco Chapantla, Hidalgo, and Hueyapan, Puebla adorn their huipils with fretwork, animals, and flowers. Among the Huastecs, the garment is typically made of undyed cotton and is intricately embroidered.
How are quechquemitls made?
The quechquemitl, like other indigenous garments, is typically made from uncut pieces of cloth as they come off the loom. The designs of quechquemitls are achieved through various weaving techniques, surface ornamentation (often embroidery), and finishes applied to the seams and edges. Different types of weaves are utilized for quechquemitls, including gauze, seersucker, brocade, and curved or shaped weaving.
The finest gauze pieces are produced in the Sierra Norte de Puebla, featuring intricate arrangements of heddles, with up to 6 or even 20 heddles noted in some cases. These gauze weavings tend to be more complex compared to those used for huipils and may appear as a checkerboard pattern. Seersucker is created by incorporating commercial threads in striped patterns along with the handspun threads. The commercial threads do not shrink when washed, resulting in a puckering effect. Weft brocade is a decorative technique where heavier threads are introduced in the weft to form patterns. A looped brocade effect is achieved by pulling and raising these weft threads. These brocades are sometimes mistaken for embroidery in both Mexican and Guatemalan textiles. The curved weaving technique is particularly intricate and distinctive. It involves using white cotton and colored wool in the warp, with the wool warp longer than the cotton at a specific point in the weaving process, resulting in a warp-faced fabric. The wool warp is then cut and used as weft in a weft-faced band, creating the appearance of a colored border. The curvature of this weaving is designed to fall on the shoulders of the wearer. This type of garment can be found in the Sierra Norte de Puebla region.
There are three primary methods of joining the pieces of cloth to create quechquemitls. The first method involves using two rectangles of cloth, where the narrow end of each rectangle is joined to the long side of the other, creating a looped shape. The points of the garment can be worn at the front, back, or over the shoulders. Another method involves using one long rectangle that is folded in half to create a square appearance. The fold is positioned over one arm, while the edges going over the other arm are partially sewn, leaving space for the head to pass through. A variation of this method uses two square pieces of fabric, with the arm and shoulder seams sewn and a neck opening left. Another rare variation is made from a single rectangle, from which a smaller rectangle is cut. The larger rectangle is then folded over, and the two narrowest edges are sewn together. This variation is worn with the points hanging off the shoulders.
Mexican regions where quechquemitl is used
This garment is primarily found among indigenous women in central Mexico, including the Otomis, Huastecs, Nahuas, Mazahuas, Tepehuas, Totonacs, Pames, and Huichols. It is prevalent in states such as Jalisco, Nayarit, Querétaro, the State of Mexico, Puebla, Hidalgo, and Veracruz. Additionally, quechquemitls have been observed in other regions like the Uruapan area in Michoacán, as well as parts of Oaxaca, Morelos, and Guerrero.
While it used to be worn as the sole upper garment, this practice has largely faded, and nowadays it is often worn over a blouse for decorative purposes or to provide warmth. However, due to the popularity of highly embellished blouses, the quechquemitl has experienced a decline in usage. Among the Otomis, Totonacs, and Nahuas, the garment still holds significant importance, but even within these communities, it is predominantly worn by older women. Younger women from the same communities tend to prefer commercial blouses and shirts, reserving the quechquemitl for market days and festivals.
In certain regions, the quechquemitl is also utilized as a head covering. For instance, among the Tepehuas in Huehuetla, Hidalgo, a specific type of quechquemitl is crafted from fine gauze material for this purpose.
During the pre-Hispanic era, the privilege of wearing a quechquemitl was reserved for women of high social status. However, since the colonial period, the garment has been embraced by diverse communities, particularly those residing in central Mexico, for both everyday wear and special occasions like festivals and rituals. Regrettably, the usage of quechquemitls has experienced a decline over time. But this garment still remains important for Mexican traditional culture.
