AOW Insider | Interview with Amira Marion of Archive NY

From your experience, why are vintage textiles so special?

First of all, I want to say, ‘I LOVE VINTAGE’. I love the faded colors, the history you can imagine each cloth has been through, and the uniqueness of each piece. I love how it’s a historical timeline for color trends and patterns from a specific place. Vintage offers a never-ending anthropological and artistic study.

I work in Guatemala, making textiles for my company Archive NY. I frequent the markets there, purchasing for inspiration and to see the possibilities for what can be made.

What is important for readers to know about the topic of purchasing vintage? 

Since I started my company, I’ve seen several brands pop up in Guatemala using vintage fabric as the basis for their products. ‘Upcycled,’ ‘recycled,’ ‘repurposed,’ ‘ethical,’ and ‘sustainable’ are terms often used in conjunction with marketing these products (mostly bags, cushions and shoes). To the average consumer all of this sounds good and straightforward. Unfortunately, there are a few problems, in my opinion, with these companies. Consumers should never take marketing jargon at face value, as there is usually a larger story to be told.

Could you elaborate on some of the issues we should be aware of surrounding the use of vintage fabrics?

The first issue that is closest to my heart is work for weavers. Vintage in Guatemala is much less expensive than making products new. A huipil (traditional Guatemalan shirt) made new can take up to two months to make and costs between $150 and $250 US dollars depending on the techniques used to make it. In contrast, a used huipil from the market usually averages between $10 and $20 US dollars. Because of this, brands skip over working with weavers and buy vintage directly, leaving them without work.

If you give consumers two products – a bag made from vintage huipils and the same bag made newly woven by a local artisan, the price difference is going to be huge. Which do you think the customer is going to purchase, especially if they believe they are ‘doing good’ either way?

Weaving is now a dying art. The younger generation isn’t as involved in weaving as the previous. With the competition from the markets it makes it even harder for the weavers to sell their goods.

On a more personal level, I’m worried about beautiful and rare textiles being scooped up by brands who cannot tell the difference between a common vintage item and an antique. I’ve seen gorgeous and rare pieces cut up and sewn into bags, not given the respect they deserve. It’s important to remember that the vintage supply is not infinite.

Don’t get me wrong, I buy vintage and decorate my home with it. I also sell a few vintage pieces in conjunction with my main collection. I love sharing these pieces with others who appreciate them as I do. But it’s important that they’re treated with respect, not just as a means to saving money.

What are you seeing and hearing from the artists themselves about the pieces they are selling? 

I only commission work, so it’s hard for me to know. But often if I’m at an artisan’s house they have a couple pieces on the side they want to sell to me. The prices are always around triple the price at the market, and rightfully so. They have difficulty selling these one-off pieces. I feel happy that I’ve set up my business in a way that I don’t have to sell one-off pieces, so that I can get re-orders on these products and continue to give work to the weavers.

I realize you have created a business based around working with traditional motifs. How do you navigate working with these techniques to ensure you’re respecting the tradition? 

I dig deep into techniques, especially ones that may be obsolete or close to it. I look to continue the process with artisans from the original location where the techniques were originated. I work with some very talented weavers who can do incredible things. I love the traditional motifs and find them so special and unique. I think it’s important to work to conserve them for posterity while giving credit to their origins.

I am on such a small scale compared to how many weavers there are in Guatemala. I like to think that every little bit helps though. There are definitely other brands working with weavers, and I think the more the better! There is room for everyone as long as we make our products look unique from one another. I wish those brands currently using only vintage would consider working with weavers. Maybe someone will read this article and give it a go? I promise it’s gratifying!

For more info, email annie@aowhandmade.com or amira@archivenewyork.com