Future Fabrics 2024 Mexico

by claudia simonelli

Future Fabrics Mexico - Weaving Technology Into Tradition

Future Fabrics Mexico, Weaving Technology into tradition is a research project that aims to innovate and develop tools and solutions for the mayan artisanship through a systemic co-creation process working with mayan communities. Building upon the Future Fabrics Bhutan 2023, the focus on the Mayan weaving and the Mexican cultural heritage, while learning from the experts, and visiting craftswomen weaving communities.

The scope of the project is tackling three areas

How can we preserve traditional arts, culture & crafts?

How do we make art and culture more accessible?

Can we foster knowledge exchange and upgrade traditional tools?

Future Fabrics Mexico 2024 is a Fabricademy initiative, building upon the results of Future Fabrics Bhutan 2023, developed in collaboration with Fab Lab Yucatan, in Merida.

Future Fabrics Mexico OUTCOMES

  • A online directory map of the value chain of crafts, from raw material farms to shop and education centers
  • Interviews, stories and recordings of the communities
  • A manifesto for the artisan's stamp
  • A Yucatecan Natural Dye Manual, an online publication of palettes and dyeing recipes
  • A series of digitally fabricated molds for achieving complex shapes
  • An adjustable comb
  • A 3D printed Educational Backstrap Loom Kit, with an instruction manual

PLACE: Local Communities

The artisan communities are spread across the Yucatan landscape. Most of the time, work takes place in homes, among families or in small communities. People come and go. Mapping and creating a directory of artisans is the most complicated task, and even though various efforts have been made by both the government and private initiatives, the directory needs to be dynamic, open for anyone to contribute, and requires continuous maintenance.



Craftswomen Communities in the Yucatan Peninsula

Community de Santa Rosa Community de Tankuché

Community de Granda, Xocchel and Sahcabá

> Read More & Learn from the stories

MAKE: BackStrap Loom

The backstrap loom weaving technique, once a hallmark of Yucatan culture, is now on the brink of extinction, primarily due to the retirement and aging of skilled artisans.

Under our initiative, we have developed a new loom kit and accessories designed to facilitate knowledge transfer and distributed education. This loom is inspired by traditional tools, ensuring the preservation of the technique's essence. The design is open-source, allowing any Fab Lab or Makerspace worldwide to print a set. Additionally, the parts are designed for easy scalability and reproducibility, allowing current artisans in the community to easily replace missing loom pieces by creating new parts at a Fab Lab.







> Read More & Get the 3D Files > We have also developed comprehensive getting-started guides, instruction manuals, and media resources to assist artisans in the process. This is the first version of the kit, and the project is ongoing with further experimentation. The initial version is 3D printable, and we are now working on a molded and CNC version as well.

MAKE: Waste

Using natural fiber waste to make paper is highly important because cellulose is one of the most abundant materials in the world. Paper can be produced from most parts of plants, especially the more fibrous sections. This method efficiently utilizes discarded natural materials, resulting in a thick paper suitable for artistic works, packaging, and more. The color palette is extensive, as we can use fibers in their natural color, bleach them, or dye them in desired shades. Additionally, using other plant parts, such as banana peels, allows us to obtain natural green hues from the plant.







Working with the waste material from local natural fiber processing is one of the challenges we have identified. By utilizing waste fibers, we can enhance the process, making it more circular and sustainable. This approach ensures that no part of the material is wasted, contributing to a more complete and efficient production cycle.

DESIGN: Dyes

The use of natural dyes and the knowledge associated with them has been passed down through generations. The goal was to incorporate a variety of natural dye tones that artisans could easily access by sourcing the raw materials locally.



We focus on expanding the range of colors from local dyes without introducing materials outside the Yucatecan flora. We use various existing pigments already employed by some artisan groups around the peninsula, incorporating different modifiers to develop a wider range of options that can be seamlessly integrated into their artisanal practices.



>Explore the Manual of Yucatecan Natural Dyes

DESIGN: Stamps





In conversations with artisans from the Yucatán Peninsula, several challenges have been identified that hinder their growth and recognition. These include a lack of visibility and promotional strategies, as well as insufficient credit for their creations, which affects both their income and the perceived value of their work. Additional issues include inconsistent quality and commitment within cooperatives, plagiarism by other artisans, dependency on intermediaries, and limited knowledge of modern marketing strategies, which restricts their ability to connect with the final consumer.





Based on the information gathered, we have proposed a distinctive seal to identify products made by the artisans. This seal will serve as a "symbol of identity," guaranteeing the quality of each creation. For cooperatives, its use will be approved by the artisans themselves once they meet the required quality standards. Additionally, the seal will provide transparency regarding the product's origin, creator, and production date, fostering a direct connection between artisans and the final consumer. This approach enhances both the transparency and the perceived value of their products.

DESIGN: Comb & Molds

During our visit with the artisans, we discovered that combing is an essential step in fiber preparation. We observed that they comb the henequen using a nail board with a concrete backing placed on the floor. They demonstrated the process to us, which involved a lot of bending over, putting significant strain on their backs.



Molds are primarily used for the jipijapa technique and are made from solid wood. For henequen costurado, artisans may have a mold for reference to compare their work, but they do not sew directly on it. Through interviews discussing the forms and complexities they can achieve, we identified that creating squares is particularly challenging and does not come naturally to them, which is why they typically avoid making square products.

Final Exhibition in Merida





Learn more about the project

Participants of Future Fabrics 2024

Alejandro Carrillo Gomez, Aline Gonzalez Moreno, Ana Vera, Angela Barbour, Angélica Rodríguez, Anastasia Pistofidou, Annie Ferlatte, Ashley Kubley, Carolina De La Parra, Catherine Euale, Claudia Simonelli, Delia Barriga, Hafey Viktoría Hallgrímsdóttir, Jinger Zeng, Melissa Jurado Ledón, Murad Saadeh, Nelly Puertas, Roberta Schreyer, Shannon Hoover, Shannon Sykes, Yuki Takemura