42
R. Amarilla et al.
creole weavers, the poncho still retains the resonances of archaic rites and inspires
in our imagination a memory of Eden” [5].
Artisans, their life stories and their creations manage to turn these objects into
sustainable luxury pieces; and it is precisely handcrafted practices that distinguish
authentic from mass luxury since customers perceive and value the quality of a
handmade object [9].
The poncho is part of the regional cultural heritage, with vicuña fibre as its most
exquisite example. No doubt the symbology, technique and materials underlying this
creation turn Laguna Blanca and its community into sustainable luxury artisans. As
mentioned above, a few years ago, the vicuña was an endangered species. However,
species preservation is now ensured thanks to artisans like those in Laguna Blanca,
who managed to become known and teach their indigenous culture in the sustainable
luxury universe. Hence, they can continue with their ancient tradition, enriching the
global sustainable luxury market and teaching the value of their culture.
References
1. Causey A (2000) The hard sell, Anthropologists as brokers of crafts in the global marketplace.
In: Grimes KM, Milgram BL (eds) Artisans and cooperatives. The University of Arizona Press,
Tucson, pp 159–174
2. Cherny-Scanlon X (2014) The wild side of luxury: can nature continue to sustain the luxury industry? In: Gardetti MA, Torres AL (eds) Sustainable luxury: managing social and
environmental performance in iconic brands. Greenleaf Publishing, Sheffield
3. Corcuera R (1987) Gasas prehispánicas. Fundación para la Educación, la Ciencia y Cultura,
Buenos Aires
4. Corcuera R (2017) Ponchos de América. De los Andes a las pampas. Fundación CEPPA
Ediciones, Buenos Aires
5. Corcuera R (2005) Ponchos of the river plate: nostalgia for Eden. In: Roots R (ed) The Latin
American fashion reader. Bergpublishers, Oxford, pp 163–174
6. Cruz R (2005) “Ponchos Catamarqueños.” Buenos Aires, Ministerio de Cultura de la Nación,
inedito
7. Delfino DD (1995) Arte Rupestre e Interacción Interregional en la Puna. Buenos Aires,
Cuadernos del Instituto Nacional de Antropología y Pensamiento Latinoamericano 16:367–400
8. Dresner S (2002) The Principles of Sustainability. Earthscan, London
9. Gardetti MA (2018) Lujo Sostenible: Creación, desarrollo y valores de una marca. LID, Buenos
Aires
10. Gardetti MA, Rahman S (2016) Sustainable Luxury Fashion: A Vehicle for Salvaging and
Revaluing Indigenous Culture. In: Gardetti MA, Muthu SS (eds) Ethnic Fashion. Springer,
Singapore, pp 1–19
11. Gardetti in Conference dictated at the seminar sustainable luxury and design within the
framework of the MBA of IE. Instituto de Empresa, Madrid, 2011
12. Geijer A (1982) A history of Textile Art. Pasold Research Fund-Sotheby Parke Barnet, London
13. Grimes KM, Milgram L (2000) Introduction, Facing the challenges of artisan production in
the global market. In: Grimes KM, Milgram L (eds) Artisans and cooperatives. The university
of Arizona Press, Tucson, pp 3–10
14. Gonzalez Cosiorovski J, Moity-Maizib P (2019) La Fábrica Patrimonial Del Chaku en la
Reserva de la Biósfera de Laguna Blanca, CATAMARCA, Argentina, Tétralogiques, No 24,
pp. 59–74
R. Amarilla et al.
creole weavers, the poncho still retains the resonances of archaic rites and inspires
in our imagination a memory of Eden” [5].
Artisans, their life stories and their creations manage to turn these objects into
sustainable luxury pieces; and it is precisely handcrafted practices that distinguish
authentic from mass luxury since customers perceive and value the quality of a
handmade object [9].
The poncho is part of the regional cultural heritage, with vicuña fibre as its most
exquisite example. No doubt the symbology, technique and materials underlying this
creation turn Laguna Blanca and its community into sustainable luxury artisans. As
mentioned above, a few years ago, the vicuña was an endangered species. However,
species preservation is now ensured thanks to artisans like those in Laguna Blanca,
who managed to become known and teach their indigenous culture in the sustainable
luxury universe. Hence, they can continue with their ancient tradition, enriching the
global sustainable luxury market and teaching the value of their culture.
References
1. Causey A (2000) The hard sell, Anthropologists as brokers of crafts in the global marketplace.
In: Grimes KM, Milgram BL (eds) Artisans and cooperatives. The University of Arizona Press,
Tucson, pp 159–174
2. Cherny-Scanlon X (2014) The wild side of luxury: can nature continue to sustain the luxury industry? In: Gardetti MA, Torres AL (eds) Sustainable luxury: managing social and
environmental performance in iconic brands. Greenleaf Publishing, Sheffield
3. Corcuera R (1987) Gasas prehispánicas. Fundación para la Educación, la Ciencia y Cultura,
Buenos Aires
4. Corcuera R (2017) Ponchos de América. De los Andes a las pampas. Fundación CEPPA
Ediciones, Buenos Aires
5. Corcuera R (2005) Ponchos of the river plate: nostalgia for Eden. In: Roots R (ed) The Latin
American fashion reader. Bergpublishers, Oxford, pp 163–174
6. Cruz R (2005) “Ponchos Catamarqueños.” Buenos Aires, Ministerio de Cultura de la Nación,
inedito
7. Delfino DD (1995) Arte Rupestre e Interacción Interregional en la Puna. Buenos Aires,
Cuadernos del Instituto Nacional de Antropología y Pensamiento Latinoamericano 16:367–400
8. Dresner S (2002) The Principles of Sustainability. Earthscan, London
9. Gardetti MA (2018) Lujo Sostenible: Creación, desarrollo y valores de una marca. LID, Buenos
Aires
10. Gardetti MA, Rahman S (2016) Sustainable Luxury Fashion: A Vehicle for Salvaging and
Revaluing Indigenous Culture. In: Gardetti MA, Muthu SS (eds) Ethnic Fashion. Springer,
Singapore, pp 1–19
11. Gardetti in Conference dictated at the seminar sustainable luxury and design within the
framework of the MBA of IE. Instituto de Empresa, Madrid, 2011
12. Geijer A (1982) A history of Textile Art. Pasold Research Fund-Sotheby Parke Barnet, London
13. Grimes KM, Milgram L (2000) Introduction, Facing the challenges of artisan production in
the global market. In: Grimes KM, Milgram L (eds) Artisans and cooperatives. The university
of Arizona Press, Tucson, pp 3–10
14. Gonzalez Cosiorovski J, Moity-Maizib P (2019) La Fábrica Patrimonial Del Chaku en la
Reserva de la Biósfera de Laguna Blanca, CATAMARCA, Argentina, Tétralogiques, No 24,
pp. 59–74