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China poblana
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China poblana
China poblana (lit. Chinese woman from Puebla) is considered the traditional style of dress of women in Mexico, although in reality it only belonged to some urban zones in the middle and southeast of the country, before its disappearance in the second half of the 19th century. Poblanas are women of Puebla.
¡Plaza!, que allá va la nata y la espuma de la gente de bronce, la perla de los barrios, el alma de los fandangos, la gloria y ambición de la gente de "sarape y montecristo", la que me subleva y me alarma, y me descoyunta y me... (The plaza!—filled with the cream and the dregs of the bronzed people, the pearl of the neighborhoods, the soul of the fandangos, the glory and ambition of the people of "sarape and montecristo", that which stirs and alarms me, and disjoints me, and...)
— La china. José María Rivera.
The fashion design of the china poblana dress is attributed to Catarina de San Juan, although it certainly incorporates elements from the diverse cultures that were mixed in New Spain during three centuries of Spanish rule.
According to descriptions written in the 19th century, the era in which the dress was very popular in various cities in the middle and southeast of Mexico, china outfit is made up of the following garments:
Eso sí que no; yo soy la tierra que todos pisan, pero no sé hacer capirotadas.
(It is so that it is not so; I am the ground that everyone walks on, but I don't know how to make bread pudding.)
— La china. José María Rivera.
Nineteenth-century descriptions of women wearing the china paint them as simultaneously attractive and too risque for the times. Men saw these women as beautiful for their brown complexion, their "plump" but not "fat" body and face, and, most significantly, their differences from women of higher social strata in their lack of artifices[clarification needed] to enhance their beauty.[citation needed] Author José María Rivera notes that if a china woman would have seen a corset, she would have thought it a torture device such as used on Saint Ursula and the Eleven Thousand Virgins; and that her face was not some sort of "cake frosting", an allusion to the "proper" women whose faces would have to be washed to see if the colors run:
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China poblana
China poblana (lit. Chinese woman from Puebla) is considered the traditional style of dress of women in Mexico, although in reality it only belonged to some urban zones in the middle and southeast of the country, before its disappearance in the second half of the 19th century. Poblanas are women of Puebla.
¡Plaza!, que allá va la nata y la espuma de la gente de bronce, la perla de los barrios, el alma de los fandangos, la gloria y ambición de la gente de "sarape y montecristo", la que me subleva y me alarma, y me descoyunta y me... (The plaza!—filled with the cream and the dregs of the bronzed people, the pearl of the neighborhoods, the soul of the fandangos, the glory and ambition of the people of "sarape and montecristo", that which stirs and alarms me, and disjoints me, and...)
— La china. José María Rivera.
The fashion design of the china poblana dress is attributed to Catarina de San Juan, although it certainly incorporates elements from the diverse cultures that were mixed in New Spain during three centuries of Spanish rule.
According to descriptions written in the 19th century, the era in which the dress was very popular in various cities in the middle and southeast of Mexico, china outfit is made up of the following garments:
Eso sí que no; yo soy la tierra que todos pisan, pero no sé hacer capirotadas.
(It is so that it is not so; I am the ground that everyone walks on, but I don't know how to make bread pudding.)
— La china. José María Rivera.
Nineteenth-century descriptions of women wearing the china paint them as simultaneously attractive and too risque for the times. Men saw these women as beautiful for their brown complexion, their "plump" but not "fat" body and face, and, most significantly, their differences from women of higher social strata in their lack of artifices[clarification needed] to enhance their beauty.[citation needed] Author José María Rivera notes that if a china woman would have seen a corset, she would have thought it a torture device such as used on Saint Ursula and the Eleven Thousand Virgins; and that her face was not some sort of "cake frosting", an allusion to the "proper" women whose faces would have to be washed to see if the colors run:
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