Rebozo - History

History

The name comes from Spanish, from the verb what means to cover or envelope oneself. However, there have been indigenous name for it as well, such as “ciua nequealtlapacholoni” in colonial era Nahuatl, which means “that which touches a woman or something like her,” “mini-mahua” among the Otomis and in the Nahuatl of Hueyapan, Morelos, it is called “cenzotl” comes from a phrase that means “cloth of a thousand colors.”

The origin of the rebozo is not known, but probably had its beginnings in the very early colonial period. The first mention and description of the garment in written records is in 1572 by Friar Diego Duran, according to research done by Ruth D. Lechuga. The rebozo itself shows various influences, which probably come from the various cultures that had contact at that time. There are several indigenous garments with similarities to the rebozo including an ayate, a rough cloth of maguey fiber used to carry cargo on a person, a cotton cloth called a mamatl for similar purposes which often had a decorative border and a tilma (used for carrying and as a garment), a cloth best known from the one Juan Diego wore and bears the image of the Virgin of Guadalupe . There are chronicles that say that La Malinche carried a cloth called a “Manta del sol” (sun cloth) which was not just used to protect from the sun but also to denote status as decoration. However, pre Hispanic clothing and other cloths did not have woven fringes. The main European influence is most likely the Spanish mantilla, although a southern Spanish garment called a rebociño (introduced to the area by the Moors) may have also played a part. Later influences probably came from Asia with the start of trade from the Manila Galleon .

Its origin was most likely among the lower, mestizo classes in the early colonial period, being most prominent among them first. The most traditional rebozos show coloring and designs from the colonial period and mestizo women probably wore them to distinguish themselves from indigenous women but could not afford Spanish finery. In 1625, Thomas Gage noted that blacks and mixed race people in Mexico wore wide strips of clothes on their head instead of the Spanish mantilla. In the colonial period how it was worn distinguished married women from single. Married women wore it loose covering the top of the head down over the back. Single women would wrap it tighter, allowing more of the back to be seen. These garment were initially made of cotton but by later in the colonial period, they were also made of wool and silk. Their use eventually spread into indigenous communities becoming an integral part of many women’s attire and culture. For example, an Otomi woman used to dip a point of her rebozo into water to indicate that she was thinking of her betrothed or husband. One important use for the garment in colonial times to the 19th century was for women to cover their heads in church. After its initial development in Mexico, its use spread south into Central America and even as far as Ecuador .

The rebozo was in common use among the middle and lower classes by the 18th century, with the kind of fiber used to weave it distinguishing the two. The garment was in common use among women by the 18th century. At that time the Count of Revillagigedo noted that it was worn by all women except nuns and those of the uppermost classes. The two most common fibers were cotton and the more expensive cotton/silk or silk. Sizes and designs varied but those made with the ikat dying technique became dominant. In some parts of Mexico, a women was given a rebozo by a man as a way to propose matrimony instead of a ring. The finest rebozos included ornate embroidery including silver and gold thread. One fashion of that century was to embroider country scenes.

In 1886, a synthetic silk called rayon was created in France. The use of this cheaper thread made decorative rebozos more affordable. Its use as an identifying marker of Mexican identity began at this time as well with even the Empress Carlota wearing it on various formal occasions, especially while at her country home in Cuernavaca . By the end of the 19th century, the garment had become indispensable and their making an important handcraft.

Its symbolic function continued into the Mexican Revolution, and item associated with rebel women called “Adelitas,” who carried both babies and weapons wrapped inside past federal checkpoints. During this time, the rebozo was also often used as a shroud for the dead. Much of the world’s familiarity with the rebozo comes from later cinematic depictions of Adelitas, but it also accentuated the garment’s use with indigenous women, poverty and low socioeconomic station.

Today, the rebozo can be found in all parts of Mexico and just about all women in the country own at least one regardless of socioeconomic class. In many villages, women are still born in them, grow up with them, get married with them and are buried in them. It is still commonly worn in church by rural women. During the 20th century, the rebozo came to be seen as both a sign of modesty/tradition and of revolution including in some communities in the United States. For women of the Chicano movement, it represented the “complete woman” as a both feminine and strong, ready to fight for “the Cause.” Personalities which have prominently worn rebozos include María Félix, Frida Kahlo, Lila Downs and model Luly Jáuregui as well as former Mexican First Lady Margarita Zavala who was noted for wearing the garment at state functions. The rebozo has appeared in popular culture and media as well as literature. During Mexican cinema’s Golden Age the garment appeared in many movies including one named “El Rebozo de Soledad” (Soledad’s Rebozo) . A de bolita patterned rebozo is mentioned in one of Francisco Gabilondo Soler’s famous children’s songs.

However, despite its status as a national symbol, its use has diminished among women, especially those in cities. One reason for this is that the garment is associated with indigenous groups and poverty and another is that the fine handwoven rebozos, especially of silk are very expensive because of the skilled labor required. (tenancingohis) Many of the most expensive rebozos are no longer made in many parts of the country, with the exceptions of Santa María del Río and the city of San Luis Potosí . The number of weavers of all types of rebozos have diminished. For example, there are only fifty in the entire state of Jalisco, almost all concentrated in a few municipalities such as Sayula and Tuxpan .

Efforts have been made to preserve and promote the use of the rebozo in various ways. In 1953, the Escuela de Rebozo (Rebozo School) was establish to teach the weaving techniques used. In 2002 the school won the Premio Nacional de Artes y Tradiciones Populares. Other institutions dedicated to the craft are Museo de Rebozo in La Piedad, Michoacan, the Tejedoras de la Tercera Edad, run by CONACULTA in Acatlán, Veracruz and the Taller de Rebocería in the Casa de la Cultura in Tenancingo, State of Mexico . Since the 1940s, various techniques have been used to modernize the design of the garment, including the use of sequins. Some modern Mexican fashion designers like Lydia Lavín and Monserrat Messeguer have designed modern versions of the garment, using new fabrics and international patterns, such as those from the Oriente and Africa.

Rebozos have been the center of museum, cultural and fashion events in Mexico. Various fairs and festivals dedicated to the garment are held in places such as Matamoros, Jiquilpan, Tenancingo, and Zapopan . The first Concurso Nacional del Rebozo (National Rebozo Contest) was held in San Luis Potosí in 2004. The Universidad del Valle de Atemajac, Campus La Piedad created a video called “El Arte del Rebozo” to promote the garment both online and at international events. The university held a conference with the same name in 2012. For the 100th anniversary celebrations of the Mexican Revolution in Coyoacán, Mexico City, the rebozo was featured prominently. The Museo Nacional de Culturas Populares in Mexico City held an event called “Tápame con tu rebozo” in 2012, to promote the use and sale of the garment. Exhibitions of rebozos have also been held in the U.S. Southwest with the first Festival del Rebozo in the country held in New Mexico, exhibitions at the University of Texas Brownsville at the Austrey Museum in Los Angeles and Fresno holds an annual Day of the Rebozo Festival. There is also a museum dedicated to the garment in Guadalajara called La Casa del Rebozo. In addition to a collection of rebozos in many sizes, colors and textures, it offers conferences, classes, workshops and fashion shows to promote the garment.