MARIO  
WINNIPEG





Graduate collection/
TFG/
CARTA A CECILIA

 






Bolivia has always been part of my imagination as a designer. I always included references to folklore, but I never gave it the importance it deserved.

For this simple reason, and to close this cycle, I propose a collection inspired by Bolivian folklore, combining dances, rituals, and traditions.

That is why this collection is based on the only two trips I’ve made to my country of origin, the first as a child, taking the dances as a reference, and the second seeing the culture from a mature point of view, focusing on the rituals that remain within the family nucleus.


Inspired by family anecdotes and important events, this collection is a like a letter to all of those realitves that still lives in Bolivia, is a way to talk with them showing all the knowledge that I collected gived by all of those stories that my mother told me a long my life.













DIABLADA

Design inspired by the Diablada, a dance symbolising the struggle between good and evil  and the andean catholic syncretism. The short black satin trench coat, derived from an oversized silhouette, incorporates an adjustable cape and large collar, evoking the silhouette of devils. The horn buttonswith narrow-shaped belt loops and ornamentation refer to the details of the China Supay and her pleated skirt.

The mask, made in collaboration with Daniel Rodríguez Estévez, uses recycled materials following traditional Bolivian techniques, representing the head of a devil and connecting with the legend of the K'acha Viuda as Tiw in disguise.




Pattern development and 3D study, whole garment was molded and proyected via CLO 3D.

Mask in collaboration with Daniel Rodriguez Estévez  following traditional methos and process.










CHUTAS

The design takes inspiration from the Chuta dance, originally from La Paz (Bolivia), reinterpreting its symbolism linked to Pachamama, farming and agricultural work. 

The proposal fuses traditional elements with a contemporary vision, maintaining the cultural essence through the use of representative materials, structures and embroidery.

The jacket features a fitted silhouette with Japanese sleeves and a structured high collar, inspired by the early versions of the Chuta costume, originally made from rice or flour sacks. The base is made of interlining, onto which handmade embroidery is applied with tulle, rhinestones, beads and sequins, integrating approximately 2,000 pieces. 

The embroidery is inspired by traditional floral motifs and representations of the earth, without literally replicating the original symbols, thus preserving their symbolic value.

The design includes overlapping layers of tulle, evoking the cartographic maps and topography of La Paz, located at an altitude of over 3,000 metres. The lower part consists of satin palazzo trousers, which add fluidity and balance to the ensemble, combining commercial functionality with artistic aesthetics.





Embroidery process



 











FESTEJO DE BACHILLERES

This look is inspired by graduation celebrations in rural areas of Bolivia, paying tribute to the work of teachers who worked in the countryside, including members of my family. The proposal takes as its reference the tradition of covering graduates with blankets, reinterpreting this gesture with a pinstriped bomber jacket with detachable blankets that are fastened with press studs, adapting the ceremony to contemporary design.

The navy blue trousers refer to the students' military dress uniform, integrating the formality of the event with the functionality of the look. The ensemble seeks to balance cultural symbolism, family tribute and contemporary aesthetics, reflecting the identity of the Villa Maca Maca celebrations and their link to rural education.




3D study in CLO 3D
















URKUPIÑA 

 The design is inspired by the ritual of breaking stones in Urkupiña and devotion to the Virgin Mary, reinterpreting the act through a satin skirt sectioned into different fragments that fit together, leaving an incomplete space at the back, symbolising the impossibility of collecting all the pieces of the rock. The fragments are held together with small threads, alluding to the technique of sewing staples into the rock cracks.

The upper part is inspired by the legend of the Virgin of Urkupiña, incorporating a hood and cowl kneck  to convey mystery and reference the difficulty of seeing the Virgin. The poplin blouse/top provides structure and evokes the texture and rigidity of the rock.












EDITORIAL












CREDITS
Mask: Daniel Rodríguez Estévez
Talent: Ana Paula Fernandez & Jennifer Toro Capois
Photo Assist: John Toro Capois


ACKNOWLEDGEMENTS

Gaby Carmen Winnipeg Moreira, Rosario Alejandra Winnipeg Moreira, Maria Cecilia Winnipeg Moreira, Maria Matilde Winnipeg Moreira, Miguel Orihuela Bilbao, Paula Fernández Fernández, Daniel Rodríguez Estévez, Jennifer Toro Capois, John Toro Capois, Ana Paula Fernández Quintana, Maria Clara Montoya Olaya, Jorge Martínez González, Kristijan Hvala, Raul Lecuona Serrano, Juliana Lobo, Alba Alcázar Lozano, Victoria Sotomayor Valle, Sebastian Deuter, Zulema Leonor Espinoza Winnipeg, Luis Felipe Winnipeg la Fuente, Claudia Miriam Pacheco Máquez, Ramber Céspedes Winnipeg, Zilka Nadezda Morales Zabaleta, Liliana Shirley López Winnipeg, Deisy Vanessa López Winnipeg, Leonardo Céspedes Mendieta, Gloria Silvia López Winnipeg, Carla Mendieta Herrera, Laura Winnipeg Trujillo, Álvaro Dziadura González, Ana Buquerin, Joselyn Toala, Bryam David Chamba Jaramillo, Alejandro Martinez Calderón, Carlos Vendrell, Raquel Maria González de la Via, Andrea Álvarez Barragán, Jose Luis Rodríguez.