Tucson Lifestyle Article on Mexican Sarapes Continued

Prior to the Spanish, most weaving in Mexico had been accomplished with the use of a back strap loom, but the introduction of the pedal loom opened up exciting new possibilities as it was an excellent device for weaving in the tapestry technique.  Tapestry weaving has two distinct elements; 1) the warp—threads running in a vertical direction and 2) the weft—threads running in the horizontal direction (see figure 1). The pedal loom is constructed with a heddle device that holds each warp thread in a separate position making the possibility of intricate patterns a reality for the accomplished weaver. The weaver depresses one of the two foot peddles and the heddle raises every other warp thread (i.e., 1, 3, 5, 7 etc). The separation of warp threads creates an opening, known as the shed, and the weaver passes his weft through this opening. The weft is beaten down into place and the pedal is released, which closes the shed. Additional beating of the weft normally continues until the weaver is satisfied with the tightness of the weave. When the second pedal is depressed, the heddle raises the opposite warps in the heddle (i.e., 2, 4, 6, 8 etc.), and weft is passed again through the shed. The weaving process continues in this alternating fashion until the weaving is completed. Each end is left unwoven and when cut from the loom, the loose threads become fringes which are finished off with macramé or knots.

 With time and practice on the loom, certain male weavers became masters of their craft and produced the most exquisite, technically excellent weavings ever to come from the New World. Calderon’s observant description of the sarape clad horsemen, written in 1839, alluded to a particular type of sarape known today as the Classic Saltillo sarape--the incredible beginning of the Mexican sarape

Produced from the mid 18^th century through the mid 19^th century, Saltillos were elaborate and intricately woven, boasting warp counts from 17-25 per inch and weft counts of 70-100 to the inch. The majority were woven in two separate panels, which increased the difficulty when you consider that the two panels would have to align in the center element when joined together. Each Classic Saltillo has three distinct elements; 1) the outside border, 2) the field which contains either a vertical mosaic, diagonal grid, or a spot repeat and 3) the all important center which is composed of either a concentric diamond or a scalloped round center. Classic Saltillos were woven in absolutely stunning color spectrums which combined vegetal and other natural dyes in combinations of blue (indigo), red (cochineal), brown (brazil wood), yellow and green. 

Estimated time to complete a Classic Saltillo sarape has been placed at ten hours per day for a period of nine months. It is therefore understandable that these sarapes were very expensive, even by Mexican standards, and were purchased only by the wealthy. (Extant examples of the Classic Saltillo are estimated today to be about 1,000).

The sarape was becoming a national symbol for Mexico in the late 19^th century and the demand was high. Weavers were accommodating and began producing inexpensive sarapes in a style particular to their own region. Sarapes produced in Puebla, for example, were very different from those produced in other weaving regions.

By the turn of the 20^th century, the sarape was created in an infinite variety of styles and patterns and oftentimes-included gold and silver metallic threads. The ever present American tourist began buying sarapes for their collections and decorating needs. As demand continued to escalate, weaving coops turned into factories. One such factory in Zacatecas, Los Guadalupe, specialized in portrait sarapes. In 1926, these sarapes sold for about $75.  In contrast a typical rainbow sarape sold for $15.

Sarape buyers could travel to different regions for a particular style or seek out a weaver that wove a variety of stylized sarapes.  In 1941, one such weaver in the Guadalajara area, Tomás Romo, billed himself as the Famous Sarape Maker. Traffic jams in front of his home forced the police to regulate traffic, but was a testament to his popularity and skill as a weaver.  

Today, the Mexican sarape’s influence is widely spread. Here in Arizona, we see a lot of early Navajo and Rio Grande textiles. If you scrutinize the design motifs of the Navajo eye dazzler or the diamond shape in the Rio Grande, you will surely see the similarity. On the other hand, you might not have to look any further than your bed sheets, tee shirt, purse, or sofa---Viva Mexico!

 Suggested reading:

Armella de Aspe, Virginia, Rebozos y Sarapes de Mexico, Grupo Gutsa, Mexico 1989

Jeter, James Y Juelke, Paula Marie, The Saltillo Sarape, Santa Barbara, 1978.

McMenamin, Donna, Popular Arts of Mexico 1850-1950, Schiffer Publishing Company 1996.

Winter, Mark, Los Colores y Las Figuras 1850-1950, Los Colores Museum, Corrales, New Mexico 1993.