Ttipqui Pin, Unknown Artist

Incan women would cover their shoulders with an Iliclla that would be clipped to their chest with a tupu (ttipqui). This pin can be seen in the Mestizo Casta painting where the European male is seen presenting the Indigenous woman this pin to accompany the Iliclla that she is wearing. 

Incan Noblewoman, Unknown Artist

The figure in this work, who is believed to be Mama Occllo of Cuzco, can be seen wearing both an Iliclla and a tupu. This piece shows how Andean elites used material culture to solidify their identities across social and ethnic boundaries: a blended system of visual codes and material culture. 

Anacu, acsu [wraparound dress], Unknown Artist

This garment is an example of blended cultural practices. The anacu was woven using cotton warps and was loomed upright in the Andean highlands. The audience is presented a blended culture narrative as this Indigenous garment includes the double-headed eagle of the Hapsburg Empire. 

De Español, y Castiza, torna á Español [From Spanish and Castiza–of Spanish and Mestiza Descent–Goes Back to Spanish], José Joaquín Magón (1770)

During the 1700s, the creation of Casta painting reached an all-time high. The paintings typically include heterosexual couples of differing races and ethnicities alongside their offspring. Unlike the Peruvian Casta paintings, women are presented with an active role in the textile arts. The piece also shows the incorporation of European garment-making techniques into Indigenous cloth making.