1. This huipil is from San Mateo Ixtatán, near the Mexican border, far away from other Guatemalan centers of textile production. The style of dense embroidery resembles that of Chiapas, Mexico. Guatemala, Huehuetenango, San Mateo Ixtatán, Huipil, 20th century, cotton, embroidery, Minneapolis Institute of Arts, Gift of Richard and Roberta Simmons

2. The textiles of the Guatemalan village of Almolonga (al-moe-loan-gah), located nine miles from the state capital of Quezaltenango (ket-zahl-te-non-go), are recognizable by their parallelogram or zigzag patterning and alternation of colors, designs that date back to the first half of 20th century. In this man's ceremonial tzute, or head covering, the repetition of orange, green, white, and purple parallelograms makes an eye-dazzling display that creates an optical illusion. Guatemala, Quetzaltenango, Almolonga, Man's Ceremonial Tzute, 20th century, cotton, rayon: jaspé (hahs-pay) ikat (ee-cot), and supplementary weft patterning, Minneapolis Institute of Arts, Gift of Richard L. Simmons in memory of Roberta Grodberg Simmons

3. A unique practice in the village of Nahuala (nah-wall-ah) intentionally allows the dye from silk threads bleed onto the white base fabric. In this cofradia huipil (co-fra-dee-a we-peel), the red from the expensive silk thread has bled onto the white fabric. By allowing the thread to bleed, the wearer is showing that she has an expensive item, woven with silk thread. Guatemala, Sololá, Nahuala, Woman's Cofradia Huipil, c. 1910–20, cotton, silk; supplementary weft patterning, Minneapolis Institute of Arts, Gift of Richard L. Simmons in memory of Roberta Grodberg Simmons