The Reflection of Patterns and Clothing Forms of Various Cultures on Contemporary Clothing Design; The Peruvian Example

Abstract

Hand woven fabrics and the patterns that they bear, are important examples of cultural heritage; reflecting the culture, customs and traditions of the communities, and the thoughts and emotions of the weaver. Peru, on account of the traditional woven fabrics, the colors used and the patterns with their unique language and meaning, has an esteemed stance in the history of woven and knitted fabrics. These woven fabrics, reflecting a strong national cultural identity; echo economic, social, political and religious developments. Establishing the continuity of the handicrafts; which exemplify the expression of economic, social and artistic transformation and are passed on through past and future generations; is possible by supporting knowledge by protecting, developing and sharing it. In this article, the manner of how traditional patterns and colors from different cultures affect current forms of garments are examined. In addition to this, along with a different perspective, novel clothing designs have been made based on the patterns and clothing forms present in Peruvian culture. Regarding the work within the scope of the study, the inspirational characteristic features of the traditional forms have been intended to be preserved, but the raw materials used, the techniques, colors and elements that make up the clothing design have been altered within the framework of aesthetic cognition. The designs have been attempted to be made universal, keeping in mind the memorability of pattern oriented consciousness.

Keywords

• Peru,
• Woven fabrics,
• Pattern,
• Clothing,
• Design,
• Inspiration

Farklı Kültürlerde Kullanılan Moti̇flerin ve Giysi Formlarının Günümüz Giysi Tasarımlarına Yansıması; Peru Örneği

Abstract

El dokuması kumaşlar ve taşıdıkları motifler; toplumların kültürünü, gelenek ve göreneklerini, dokuyanın duygu ve düşüncelerini yansıtan önemli kültürel miras değerlerindendir. Peru; geleneksel dokuma kumaşlar, kullanılan renkler ve özgün dili ve anlamı olan motifler nedeniyle dokuma ve örme kumaşlar tarihinde saygın bir konuma sahiptir. Güçlü bir ulusal kültürel kimliği yansıtan ögelerden biri olan bu dokuma kumaşlar; ekonomik, sosyal, politik ve dini gelişimleri yansıtmaktadır. Ekonomik, sosyal ve sanatsal dönüşümün bir ifadesi olarak tanımlanan ve geçmişten bugüne kuşaktan kuşağa miras kalan el sanatlarının devamlılığının sağlanması; bilgilerin korunması, geliştirilmesi ve paylaşılarak desteklenmesi ile mümkündür. Bu makalede farklı kültürlerden gelen geleneksel motifler ve renklerin günümüzün giysi formlarını nasıl etkilediği incelenmiş ve farklı bir bakış açısı ile Peru kültüründe yer alan motiflerden ve giysi formlarından yola çıkılarak yeni giysi tasarımları yapılmıştır. Çalışma kapsamında yer alan ürünlerde, esin kaynağı olan geleneksel biçimlerin karakteristik özellikleri korunmaya çalışılmış, ancak kullanılan hammadde, teknik, renk ve giysi tasarımını oluşturan unsurlar estetik düşünce çerçevesinde değişim göstermiştir. Motif bilincinin akılda kalıcılığı göz önüne alınarak tasarımlar evrenselleştirilmeye çalışılmıştır.

Keywords

• Peru,
• Dokuma kumaşlar,
• Motif,
• Giysi,
• Tasarım,

References

1. Anonymous. (2019a) Weavers of the Clouds, Textile Arts of Peru, 21 June- 8 September, Weavers of The Clouds is a Fashion and Textile Museum Exhibition. Accessed on June 01, 2020. Retrieved from https://www.ftmlondon.org/wp-content/uploads/2019/01/FTM-WOTC-Handout-v5.pdf
2. Anonymous. (2019b). The Colorful Fabrics and Textiles of Peru. Accessed on June 01, 2020. Retrieved from https://www.perutelegraph.com/peru-information/history-of-peru/the-colorful-fabrics-and-textiles-of-peru
3. Anonymous. (2017). Traditional weaving in Peru. The main clothing craft of Quechua people. Accessed on June 05, 2020. Retrieved from http://nationalclothing.org/america/27-peru/147-traditional-weaving-in-peru-the-main-clothing-craft-of-quechua-people.html
4. Anonymous. (2015). Peruvian national costume. Woven clothing from Alpaca wool, unique patterns and bright colors. Accessed on June 10, 2020. Retrieved from http://nationalclothing.org/america/27-peru/31-peruvian-national-costume-woven-clothing-from-alpaca-wool,-unique-patterns-and-bright-colors.html
5. Anonymous. Textile Symbols. Accessed on July 02, 2020. Retrieved from https://www.mosqoy.org/textile-symbols
6. Anonymous. Inca Art: Textiles and Metalworking. Accessed on July 02, 2020. Retrieved from https://incaarthistory.weebly.com/textiles.html
7. Anonymous. Lecture: New Findings on Ancient Indigo Textiles from PeruJeffrey Splitstoser, GW assistant research professor of anthropology. Accessed on July 05, 2020. Retrieved from https://museum.gwu.edu/indigo-textiles
8. Arslan, A. A. (2016). Sanat Eğitiminde Transkültürel Yaklaşim. İdil Sanat ve Dil Dergisi, 5(21), 363-372.

9. Beaule, C. (2015). Andean clothing, gender and indigeneity in Colonial Period Latin America. Critical Studies in Men’s Fashion, 2(1), 55-73.
10. Brommer, B., De Bolle, J., Hughes, P., Pollet, L., Sorber, F., Verhecken, A. (1994). Antwerpen Rediscovery of Pre-Columbian Textiles. (Translations: Gospage, C., Tack, R.). Huize Dumortier Antwerp: Lamandart Publishers Ruiselede. Accessed on July 08, 2020. Retrieved from http://paulhughesfinearts.com/perch/resources/rediscovery-of-pre-columbian-textiles.pdf
11. Büyük, C. (2013). Düalizm, Bilinç ve Tanrı. Atatürk Üniversitesi İlahiyat Fakültesi Dergisi, (39), 133-158. Accessed on July 09, 2020. Retrieved from https://dergipark.org.tr/tr/download/article-file/31167
12. Cartwright, M. (2015). Accessed on July 30, 2020. Retrieved from Inca Textiles. https://www.ancient.eu/article/791/inca-textiles/
13. Del Solar, M. E. (2016). La recreación del challpi wathrako en la identidad wanka desde las primeras décadas del S. XX. Producción de fajas tejidas en el valle del Mantaro, Junín, Perú. Nuevo Mundo Mundos Nuevos. Nouveaux mondes mondes nouveaux-Novo Mundo Mundos Novos-New world New worlds.
14. Del Solar, M. E. (2017). LA MEMORIA DEL TEJIDO Arte textil e identidad cultural de las provincias de Canchis (Cusco) y Melgar (Puno). Lima: BIO PARTNERS S.A.C.
15. Dransart, P. (2020). A highland textile tradition from the far south of Peru during the period of Inka domination. PreColumbian Textile Conference VIII / Jornadas de Textiles PreColombinos VIII (2019). (s.136- 156).
16. Elías Mujica Barreda, E., M. (Coordinador de la edición). (2016). Tejiendo Nuestra Historia - Nuestra historia y territorio entrelazados a través de la textileria. Peru- Lima: Ministerio de Cultura
17. Femenías, B. (1994). Ethnic artists and the appropriation of fashion: Embroidery and identity in the Colca Valley, Peru. Textile Society of America Symposium Proceedings, S. 330- 341
18. Heckman, A. M. (2015). In a Small Village High in the Peruvian Andes, Life Stories Are Written in Textiles. Accessed on June 29, 2020. Retrieved from https://www.smithsonianmag.com/travel/weaving-women-ausangate-peru-textiles-tradition-quechua-identity-180956468/
19. Heckman, A. M. (2006). Colorful Messages: The Revival of Natural Dyes in Traditional Cuzco Textiles. Textile Society of America Symposium s.389-395
20. Hoces de la Guardia Ch, S., Brugnoli, P., & Jélvez, P. (2011). Registro cromático en textiles de la cultura Arica en el período intermedio tardío: caso inkuñas. Boletín del Museo Chileno de Arte Precolombino, 16(1), 67-92. Accessed on August 20, 2020. Retrieved from http://dx.doi.org/10.4067/S0718-68942011000100005
21. Hünerel, Z. S., & Birnaz, E. R. (2012). Halk Kültürünün Tanitilmasinda El Sanatlarinin Yeri ve Önemi. Batman Üniversitesi Yaşam Bilimleri Dergisi, 1(1), 179-190.
22. Italia, B. (2002) The Countries Peru. ABDO Publishing Company
23. Joslyn, C. (2013). Representations of Nature in Andean Textiles. Journal of Global Initiatives: Policy, Pedagogy, Perspective, 7(2), 4. Pervuvian Trajectories of Sociocultural Transformation , Journal of Global Initiatives Volume 7, umber 2, 2012, pp.39-54
24. Karkın, N. (2014). Sanat Eğitiminde Kültürlerarası Estetik Yakınlaşmalar ve Karşılaştırmalar. Accessed on August 12, 2020. Retrieved from http://izlekler.com/sanat-egitiminde-kulturlerarasi-estetik-yakinlasmalar-ve-karsilastirmalar/
25. Meisch, L. A. (2006). Messages from the Past: An Unbroken Inca Weaving Tradition in Northern Peru. Textile Society of America Symposium Proceedings. s. 379- 389
26. Museo Chileno de Arte Precolombino. Accessed on July 27, 2020. Retrieved from http://www.precolombino.cl/
27. Ordon, M. Peruvian Dolls- A Bridge Between the Past and Present. University of Wisconsin-Madison School of Human Ecology. Accessed on June 24, 2020. Retrieved from https://sohe.wisc.edu/research-development/centers-of-excellence/cdmc/textile-collection/textile-resources-2/featured-textiles-collection/peruvian-dolls-bridge-past-present/
28. Planas, E. (2013) Perú: Moda Y Textiles- Peru: Fashion and Textiles. General management: Sandra López V. Editorial direction: Juan Miguel Marthans B. Translation: Isabel L. de Vendramini, Peru: Fashion and Textiles, Lima: Una publicación de la Comisión de Promoción del Perú para la Exportación y el Turismo. PromPerú
29. Ramos, J. (2019). What Do the Different Symbols in Peruvian Textiles Mean? Accessed on August 29, 2020. Retrieved from https://www.kuodatravel.com/what-do-the-different-symbols-in-peruvian-textiles-mean/
30. Schroeder, N. E. (1976). The weaving of original textiles influenced by pre-Columbian Peruvian weaving. Master of Arts. Iowa: Iowa State University Ames
31. Turan, A. (2012). Artvin Yöresinde El Dokumacılığı, Yüksek Li̇sans Tezi, Atatürk Üniversitesi Sosyal Bilimler Enstitüsü Geleneksel Türk El Sanatlari Anasanat Dalı, Atatürk Üniversitesi, Erzurum.
32. Zorn, E. (2004). Weaving a future: Tourism, cloth, and culture on an Andean Island. Iowa City: University of Iowa Press,