The Cultural Identity of Cholita Fashion in Bolivia | States of Undress | Refinery29

Summary of the video

• The narrator attends a somewhat traditional Bolivian wedding in El Alto, where gift-giving, beer, and respect to Pachamama (Earth and fertility) are followed by dancing—framing how deeply culture is woven into everyday life.
• Glenda Yanez, a fashion designer and cultural educator, guides the narrator while preparing for an indigenous-focused fashion show called an iconoclast fashion show (government-sponsored).
• The video explains the history and symbolism of cholita fashion, especially the poira/poeta skirt style, bowler hat, shawl, and layered styling. It traces how the look evolved from Spanish-imposed “European” clothing into an indigenous reworking that became a marker of pride. It also notes discrimination against cholitas in the past (including bans from certain spaces and derogatory language).
• The subtitles connect clothing changes to Bolivia’s political and cultural shifts under Evo Morales, Bolivia’s first indigenous president:
  • Evo is shown using clothing and symbolic indigenous elements to promote indigeneity and build a “dignified Bolivia” national identity.
  • The video claims this cultural renaissance increased visibility and mainstream acceptance of indigenous aesthetics, including in architecture and media.
• The narrative broadens into pop culture:
  • Lucha Libre includes a cholita wrestling identity embodied by Carmen Rosa.
  • News and media representation changes as indigenous women appear more often in public-facing roles wearing traditional dress.
• The video addresses social tensions and policy consequences:
  • While Evo’s presidency increased indigenous economic growth for some, it also deepened division and created competing identities.
  • Domestic violence and machismo are discussed as ongoing problems despite protective laws.
  • Coca culture and the U.S.-backed “War on Drugs” impacts are described, including the role of Evo as a coca union leader.
  • A major economic/policy contradiction centers on a ban on second-hand clothing imports, described in the subtitles as being “broken” (in khaki/community phrasing):
    • Evo’s clothing ban (and retaliation dynamics) helps protect local textile interests but fuels a large contraband second-hand clothing market.
    • Multiple characters involved in the resale/black-market supply chain are shown, illustrating how policy and survival economics collide.
• The climax is Glenda’s fashion show at Lake Titicaca (high altitude). The event is heavily delayed and appears chaotic:
  • Western/mestizo models dominate the lineup, while cholita inclusion is late or limited.
  • Organizers reportedly keep rearranging slots and spaces, disrupting Glenda’s ability to present her collection.
  • Despite the disruption, Glenda prepares and sends models out late into darkness. The incident is left ambiguous—either discrimination or incompetence.
• The narrator interviews Glenda afterward, emphasizing that even successful indigenous recognition can leave a country deeply divided.

Artistic techniques, creative concepts, or processes shown

• Cultural-fashion reinterpretation: designs are based on indigenous dress (poira/poeta) and then reassembled into a “first-ever collection” for runway presentation.
• Textile and ensemble layering (crafting a full cholita look):
  • multiple skirt/petticoat layers,
  • accessories (hat, shoes, hair extensions),
  • the idea that the complete outfit is complex and costly.
• Indigenous styling as education: Glenda runs a modeling school teaching indigenous women how to dress “properly” in traditional cholita style—turning heritage into repeatable technique.
• Runway staging as a creative performance constraint:
  • late start times, limited space, last-minute model availability, and time pressure affect execution,
  • the environment (Lake Titicaca, sunset/darkness) becomes part of the runway context.
• Visual politics through clothing: attire is treated as cultural messaging—cholita fashion and Evo’s styling are framed as identity statements on a national stage.

Steps, materials, and advice explicitly shown (as described in the subtitles)

Building a cholita / poira outfit (prep described through Glenda’s work)

• Prepare layers (petticoats/skirt layering).
• Add the bowler hat (a signature centerpiece).
• Select shoes.
• Apply hair extensions.
• Add accessories and jewelry (presented as part of the full look).
• Source textiles/fabric via local markets (including a major fabric market mentioned in the subtitles).

Preparation workflow for the runway show

• Glenda and assistants finish the collection late, working through the night.
• Models are dressed only once organizers allow time/space.
• Glenda sends models out despite delays and darkness.

Creators and contributors featured

• Glenda Yanez: fashion designer; runs an indigenous modeling school; collection presenter.
• Evo Morales: Bolivia’s first indigenous president; referenced as a cultural/political figure.
• Freddy Mamani: Aymara architect; described as a key influence in Andean architecture.
• Carmen Rosa: Lucha Libre wrestler; featured figure in cholita wrestling culture.
• Ava Morales’ tailor / “señorico”: a referenced designer making a coat (not clearly named beyond subtitles phrasing).
• Elizabeth / Mercado Elizabeth (Mercado): second-hand clothing entrepreneur; described as building an empire in contraband trade.
• Miss Teresa: a trusted dealer at the market; sells second-hand clothing.
• Alejandra: a mestizo middle-class Bolivian who shops the market.
• Ministry of culture / fashion show organizers: institutional organizers (not individually named).