El chullo is characterized by its multicolored design, its pointed ear flaps and its ornaments made with colored wool that gives it a unique touch, have turned the chullo (ch’ullu in Quechua) into a fine accessory.
The Incas used their headdresses in a similar way to the chullo to show the specific insignia of their province. But it acquires a particular meaning depending on the region.
On the small island of Taquile (Puno), for example, the chullo plays a key role in the social structure of the place because it allows men to show everything from their creativity, dreams and aspirations. It also influences the formation of young couples: women choose their partners based on their ability to successfully weave the garment.
When the Spanish arrived, they also brought the techniques (crochet, real lace and the stick or needles) with which the chullos began to be woven.
The first vestiges found related to stick weaving in Peru date from 1578, says Barnes, in the colonial town of Magdalena de Cao Viejo, near Trujillo. “The iconography of the chullos may seem simple, but it reflects the origin, desires and desires of its creator. The pallays (intricate designs) are miniatures of their world and a way of relating to their beliefs.”
Its weaving with sticks has made it a daily practice in the Andes, especially in the highlands of Huancavelica, Ayacucho, Puno and Cusco. Its design reflects the imaginary of its makers and the symbols of its deities.
The chullo is undoubtedly synonymous with national identity.