Art in Motion


This beautiful handmade bag pays homage to our history. The design is a tile from the early 20thcentury.

Embroidered with history

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The look

Why we do

WHAT WE DO


We design products made with traditional techniques, natural fibers, local woods, made by artisans from rural communities in Yucatán

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Community

Paloma's Picks


As a self-adopted Mexican, Paloma's love for all handmade things that reinforce the rich history of this beautiful country is endless. Always looking for those special pieces that inspire her and help promote the artisan community. You will find this space sprinkled with magnificent pieces, check them out!

Paloma's Picks

The Hands

Behind the Beauty

We work hand in hand with groups of artisans from five rural communities in the Yucatan Peninsula. Our team travels to each location every week and offers constant orders throughout the year to artisans who work from their homes; Mayan ladies can thus attend to their families, their homes and their artisan work; These mothers improve their income, with our designs, local materials, traditional techniques and their talent, the artisans manage to create these unique pieces.

Stories

Passed from generation to generation

Embroidery is the most widespread handicraft in Yucatan, as well as the most important traditional activity in the region, thanks in large part to the women of rural communities who practice it. The techniques are very varied, since there are at least 20 types of stitches; In addition to cross stitch, the best known include colorful names that translate to "mouse rib stitch," "dog tooth stitch," and "shadow stitch," as well as basting and Xmanicté, which are in danger of disappearing. Recognized as a Cultural Heritage of Yucatan, embroidery dates back to pre-Hispanic and colonial times. The charred textile remains found in the Chichen Itza cenote present a style of sewing called Chui-Kab, which is still practiced in some regions of the state. The cross stitch, known in Yucatan as "counted thread" due to the Mayan translation Xok bi Chuy, became popular throughout the region with the arrival of the Spanish. It is believed that Mayan women who worked in Spanish homes imitated the embroidery they saw and incorporated it into their traditional dresses, called hipiles. Over time, this technique has been enriched to the point of creating outstanding pieces recognized for their quality and expertise, such as the traditional mestizo ternos. "ki" in the Mayan language. It takes between eight and fifteen years to fully mature, and its fiber is used to make high-strength ropes.According to different Mayan codices, a highly respected priest, who was even involved in the founding of the city of Chichén Itzá in 600 AD, he was the one who taught the Mayans how to cultivate and use henequen to make hammocks and ropes. Crafts were cultivated until the 19th century, when the demand for textiles to make sacks, moorings and ropes for sailing grew. In the mid-20th century, Yucatán was the only producer of high-value hard fibers; The high demand led to the development of haciendas, large estates that used the abundant local indigenous labor, as well as Yaqui and Asian slaves imported from Sonora and Korea. From the "green gold" boom, the only thing that remains in Yucatán are the magnificent mansions and the remains of old henequen haciendas. The invention of synthetic fibers starting in the 1940s led to their decline.Why our hats are Special Known as the Jipijapa plant, the toquilla or Panama hat palm (Carludovica palmata) comes from the Ecuadorian lowlands, the name of a small town in the province of Manabí. In addition to the well-known hats, the jipijapa is used to make fans, earrings, bracelets and baskets, among other objects. Panama hats became world famous during the construction of the Panama Canal, when thousands of hats were imported from Ecuador for workers and worn by historical figures such as Theodore Roosevelt, Eloy Alfaro, Napoleon III, and Frank Sinatra. In 2012, Jipijapa hat weaving was added to UNESCO's Intangible Cultural Heritage list. Countries like Mexico have given hats new colors, textures and shapes. Several Mayan communities in the state of Campeche have been dedicated to jipijapa crafts since 1800, when the brothers Sixto and Pedro García introduced the plant in this country: after a long trip through Guatemala, they planted jipijapas in the Santa Cruz henequen hacienda, in the municipality of Calkiní. The hat-making process begins three years after the jipijapa is sown, to allow its leaves to reach full size. The shoots are cut so that the young leaves can be removed and peeled with a needle. The stems are then boiled with sulfur to give it a yellowish-white color and then left to dry. The quality of the hat depends on the hours it takes to make it: a loosely woven hat can take twenty hours, while one with a tighter weave can take a month. Moisture is necessary to keep plant fibers flexible enough to be easily woven, which is why artisans make them in natural or artificial caves. To maintain the shape of the hat while it is woven, the artisans use molds made with local wood, such as guayacán, sapote or tzalam or Caribbean walnut. Finally, the hat is ironed in a special press to shape it according to the model. Proud of their roots and traditions, the artisans of Jipijapa are characterized by their dedication, patience and commitment. The vast majority of them learned to weave from their parents. Respecting what the earth gives us ,Tzalam wood. Since pre-Hispanic times, the Mayans have understood trees as bridges between three worlds: the underworld, connected through roots; the ground, home of the living and where the trunks are; and the sky, the canopies. Tzalam wood is also known as Mexican walnut. Its sapwood is of a yellowish cream color, different from its brown heartwood with coppery or violet reflections. It is used for kitchen utensils, such as plates, bowls and containers, as well as for interior decoration on items such as floors or doors.

The Star

Henequén

Henequen, also known as sisal, is a variety of agave native to Yucatan, called "ki" in the Mayan language. It takes between eight and fifteen years to fully mature, and its fiber is used to make high-strength ropes.According to different Mayan codices, a highly respected priest, who was even involved in the founding of the city of Chichén Itzá in 600 AD, he was the one who taught the Mayans how to cultivate and use henequen to make hammocks and ropes. Crafts were cultivated until the 19th century, when the demand for textiles to make sacks, moorings and ropes for sailing grew. In the mid-20th century, Yucatán was the only producer of high-value hard fibers; The high demand led to the development of haciendas, large estates that used the abundant local indigenous labor, as well as Yaqui and Asian slaves imported from Sonora and Korea. From the "green gold" boom, the only thing that remains in Yucatán are the magnificent mansions and the remains of old henequen haciendas. The invention of synthetic fibers starting in the 1940s led to its decline.

Why our Hats are

Special

Known as the Jipijapa plant, the toquilla or Panama hat palm (Carludovica palmata) comes from the Ecuadorian lowlands, the name of a small town in the Manabí province. In addition to the well-known hats, the jipijapa is used to make fans, earrings, bracelets and baskets, among other objects. Panama hats became world famous during the construction of the Panama Canal, when thousands of hats were imported from Ecuador for workers and worn by historical figures such as Theodore Roosevelt, Eloy Alfaro, Napoleon III, and Frank Sinatra. In 2012, Jipijapa hat weaving was added to UNESCO's Intangible Cultural Heritage list. Countries like Mexico have given hats new colors, textures and shapes. Several Mayan communities in the state of Campeche have been dedicated to jipijapa crafts since 1800, when the brothers Sixto and Pedro García introduced the plant in this country: after a long trip through Guatemala, they planted jipijapas in the Santa Cruz henequen hacienda, in the municipality of Calkiní. The hat-making process begins three years after the jipijapa is sown, to allow its leaves to reach full size. The shoots are cut so that the young leaves can be removed and peeled with a needle. The stems are then boiled with sulfur to give it a yellowish-white color and then left to dry. The quality of the hat depends on the hours it takes to make it: a loosely woven hat can take twenty hours, while one with a tighter weave can take a month. Moisture is necessary to keep plant fibers flexible enough to be easily woven, which is why artisans make them in natural or artificial caves. To maintain the shape of the hat while it is woven, the artisans use molds made with local wood, such as guayacán, sapote or tzalam or Caribbean walnut. Finally, the hat is ironed in a special press to shape it according to the model. Proud of their roots and traditions, the artisans of Jipijapa are characterized by their dedication, patience and commitment. The vast majority of them learned to weave from their parents.

Respecting what mother earth gives us

Tzalam Wood

Since pre-Hispanic times, the Mayans have understood trees as bridges between three worlds: the underworld, connected through roots; the ground, home of the living and where the trunks are; and the sky, in the canopies. Tzalam wood is also known as Mexican walnut. Its sapwood is of a yellowish cream color, different from its brown heartwood with coppery or violet reflections. It is used for kitchen utensils, such as plates, bowls and containers, as well as for interior decoration in elements such as floors or doors due to its elegant coloration. Once worked, its texture becomes fine and naturally shiny. Its bark is used to make dyes ranging from light brown with golden hues to dark reddish brown. Our artisans come from families who have dedicated much of their lives to Tzalam carpentry. Wood is part of its identity, as the art of shaping and manipulating the material has been passed down for more than four generations.With the support of government agencies such as the National Forestry Commission of Mexico (CONAFOR), carpenters buy the material premium in the Units of Conservation, Management and Sustainable Use of Wildlife, which are spaces authorized by the Ministry of Environment and Natural Resources with nurseries dedicated to reforestation and prevention of soil erosion.