Donde Florecen Estas Flores is a photography project by Ana Margarita Flores that pays tribute to the women of Peru, particularly those from the Andean mountain regions. Through this ongoing work, the photographer explores how the women she portrays express their identity and preserve their cultural heritage through traditional clothing and attire. The project’s aim is to continue adding images that challenge the stereotypical representation of Indigenous women—often marginalized and seen as passive—by celebrating them instead as dynamic and essential figures in Peruvian culture. It offers a different, positive, and constructive perspective on these powerful stories.
Using a photographic approach that blends documentary and fashion, Flores highlights the importance of Indigenous identity, celebrating Peru’s rich cultural legacy. Among the traditional clothing elements of Andean women are the Polleras (handmade pleated skirts), Enaguas (underskirts), and Ojotas (sandals), emphasizing the significance of these garments in contemporary culture.
The Importance of Ojotas
Flores shared on Instagram the story of the Ojotas and their connection to Peruvian tradition. These sandals are made from recycled tires, featuring a thick sole and straps to secure the foot, while the rubber material ensures a strong grip and durability over time. Typically, the women’s versions are adorned with a decorative flower and an extra strap, while the men’s styles feature three straps. These Ojotas are shoes that not only last but also reflect a concept of sustainability far removed from Western ideals, stripped of unnecessary embellishments.
This project also involves long-distance collaboration with Flores’ friend Lia Lazaro, a Peruvian Art Director. Their shared goal, which they achieved remarkably, was to create images that celebrate traditional and everyday garments. Together, the two creatives succeeded in envisioning new ways to elevate these pieces and showcase their beauty and significance.
The Genesis of Donde Florecen Estas Flores
To create this photography series, the artist returned to Cusco, her hometown, twice, also visiting surrounding villages in the Valle Sagrada region. On these occasions, she partnered with a local research center that works closely with various artisan collectives led by Indigenous women. «Returning to these places,» Flores says, «was crucial for building a long-lasting relationship of trust with the women involved in the project».
Donde Florecen Estas Flores also aims to spark a conversation about the internalized racism in Peruvian society, which often devalues Indigenous knowledge, blood, and land, considering them inferior. Growing up, the photographer was influenced by an education that glorified European white superiority, without ever questioning the enduring effects of colonialism.
The Matrilineal Connection
On Instagram, Ana Margarita Flores herself talks about how, despite her maternal grandmother’s Indigenous roots, she is perceived as white in Peru. For this reason, she had never equated her grandmother’s cultural heritage with her own ethnic identity. Only recently did she acknowledge her Indigenous origins.
Through the photographer’s words, the relationship with her grandmother speaks to the daily life of a woman who sold crafts at the Pisac archaeological site, near Cusco. «I have childhood memories of helping her at the market, proudly assisting in the sales. In this photo, she poses on my mother’s balcony in Geneva, wearing earrings and a necklace she made from the stones she used to sell. Although she usually refuses to be photographed, she made an exception for this project».
Through this series, the artist unveils a personal story, using self-portraits for the first time in combination with archival family images, including photos of her mother and grandmother, to explore the matrilineal connections to Peru. The project allows Flores to delve deeper into her Peruvian (and Swiss) identity, along with a sense of belonging to the country where she was born but did not grow up.
