In Oaxaca, Textiles Tell Tales

College & Campus, Students

Oaxaca Speaker
Author and photographer Eric Mindling spent two years traveling in the Oaxaca region of Mexico, documenting traditional textile practices and communities. His portraits and interviews depict the rich traditions and personal stories intertwined in the production and wearing of clothing, from the harvesting of the sea snail ink used to create the deep purple dyes to putting the finishing touches on a traditional wedding ensemble. Mindling focuses on a diverse array of communities—some that continue to teach and pass on their textile techniques and those where these customs are in danger of vanishing. Mindling, who came to FIT to discuss his work as part of this fall’s Love Your Library programming, has compiled these photos and stories in Oaxaca Stories in Cloth: A Book About People, Belonging, Identity, and Adornment.

Below are selected images from the book:

The Tehauntepec style of wearing a young girl’s starched lace dress as a head and shoulder covering for church on Sunday is known as Resplandor. Local lore tells it was the invention of a priest asking an indigenous woman to cover her bare breasts before entering mass. Though no longer a regular sight in the region, it is still brought out for festivals and parades and when the community elders remember the styles of their youth.
The Tehauntepec style of wearing a young girl’s starched lace dress as a head and shoulder covering for church on Sunday is known as Resplandor. Local lore tells it was the invention of a priest asking an indigenous woman to cover her bare breasts before entering Mass. Though no longer a regular sight in the region, it is still brought out for festivals and parades and when the community elders remember the styles of their youth.
This woven panel is intended for a huipil, the rectangular cotton garment that is a central part of women’s dress throughout Mesoamerica. Although the garment is ubiquitous, the woven patterns and embroideries are regionally specific and communicate much about the wearer's background and life journey.
This woven panel is intended for a huipil, the rectangular cotton garment that is a central part of women’s dress throughout Mesoamerica. Although the garment is ubiquitous, the woven patterns and embroideries are regionally specific and communicate much about the wearer’s background and life journey.
Previously a garment worn daily by young unmarried women, the embroidered huipil of Villa Hildago Yalalag is now strictly formal occasion dress for the women of the village. On Mondays, however, girls are required to wear them to school. The braided tassel at the neckline of the Yalalag huipil is a traditional element that predates the Spanish invasion.
Previously a garment worn daily by young unmarried women, the embroidered huipil of Villa Hidalgo Yalalag is now strictly formal occasion dress for the women of the village. On Mondays, however, girls are required to wear them to school. The braided tassel at the neckline of the Yalalag huipil is a traditional element that predates the Spanish invasion.
“My blouse, our clothing, is our memory.” Embroidery techniques are passed down through the generations. The front is embroidered with images of animals and the sleeves with geometric patterns. The patterns, many of which only have names in the Mixtec language, are often stylized repeats of stars, mountains, and corn.
“My blouse, our clothing, is our memory.”
Embroidery techniques are passed down through the generations. The front is embroidered with images of animals and the sleeves with geometric patterns. The patterns, many of which only have names in the Mixtec language, are often stylized repeats of stars, mountains, and corn.

Mindling’s lecture will be on Monday, October 17, 6-8 pm in the Robert Lagary Board Room, with a book signing to follow. The book will also be available in the Barnes & Noble at FIT bookstore. For more information, click here. 

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