Interior designers, boutique hotel owners, and private collectors share how the pieces changed their spaces, not just their walls. Each note refers to a specific commission or purchase from the catalog.
We ordered six wall tapestries for a boutique hotel in Franschhoek. Guests kept asking about the cochineal reds before they even checked in. The weaver in Ayacucho documented every dye batch, and that provenance sheet now sits framed next to the reception desk.
For a private residence in Cape Town, I needed a runner that held up to direct sun and daily use. The catalog's color swatches matched the actual yarns, and the indigo batch stayed true after six months on a west-facing table. No surprises, no faded corners.
The workshop in Puno quoted nine weeks for a custom alpaca throw and delivered in eight. They sent progress photos at each dyeing stage, and the final piece arrived with a signed fair-trade certificate. That level of documentation is rare in this market.
We needed twelve cushion covers in ocher and terracotta for a guesthouse renovation. The team confirmed the exact fiber blend, washing instructions, and UV resistance before we committed. The pieces have been through three laundry cycles and still hold their shape.
I bought a small backstrap-woven bag as a gift for a colleague who collects crafts. The card explained the weaver's name, the village, and the plant used for the yellow dye. It turned a simple object into a story she still talks about.
Feedback from boutique hotels, studios and collectors who have used Chaska Studio pieces in real projects, from sourcing to installation.
We specified three backstrap-woven wall hangings for a hotel lobby in Cusco. The client wanted something that did not look like a generic souvenir wall. Each piece arrived with a documented origin and dye recipe, which made the proposal much easier to justify to the hotel owner.
Hotel project, Cusco regionThe cochineal reds in the manta collection are consistent and deep, which is rare for natural dye work at this scale. I appreciate that the catalogue lists the weaving time per piece. It helps me explain the real cost of handmade goods to private buyers.
Private collection, LimaWe ordered alpaca throws for twelve guest rooms. The delivery note included the name of each weaving workshop and the fair trade certificate. Guests have asked about the provenance several times, and it is a genuine conversation starter, not just a decorative detail.
Guest room refurbishment, ArequipaFor a film interior we needed textiles that would read as authentic Andean pieces on camera, not as printed fabric. The catalogue photography helped us match the palette before ordering. The actual pieces were slightly more textured than the images, which worked in our favor.
Production design, Buenos AiresEvery piece in the catalog carries the name of the workshop where it was woven. These are the studios and cooperatives we work with directly, from the highlands of Puno to the valleys of Ayacucho.
A family-run workshop in the Cusco region with twelve backstrap looms in constant use. They specialize in natural-dyed alpaca wall hangings and have supplied our collection since the first catalog edition.
A cooperative of twenty-three artisans based near Pisac, known for their cochineal reds and indigo blues. Their table runners and cushion covers are woven in small batches, each one documented with the weaver's name.
Based in Ayacucho, this studio focuses on contemporary interpretations of traditional motifs. They produce our alpaca throws and handwoven bags, using looms passed down through three generations.
A women-led association in the Sacred Valley that manages its own dye garden. They grow chilca and other native plants for yellow and green tones, and every piece they make is certified under fair trade guidelines.
A lakeside workshop in Puno that works exclusively with alpaca fiber from local herders. Their wall tapestries are woven on horizontal looms and finished by hand, a process that takes up to three weeks per piece.