Crafting a Classic: The Colombian Artisans Who Made One Hundred Years of Solitude Truly Epic
Adapting one of Latin America’s greatest literary masterpieces to television was an ambitious task Netflix took on in 2019. Five years later, the streaming company brought Gabriel García Marquez’s lauded oeuvre, One Hundred Years of Solitude, to global screens. The 16-episode series—8 episodes are now available on the platform—has been critically recognized for its layered and faithful representation of García Márquez’s intricate storytelling.
Beyond the Colombian cast portraying the Buendia family, Colombian hands were responsible for bringing Macondo, the fictional town where the story takes place, to life. It literally took a village to materialize the project. The production team consisted of more than 900 people, and according to Netflix, the production sparked economic activity worth 225 billion Colombian pesos (roughly 51.5 million US dollars).
Costume design is one of the highlights of One Hundred Years of Solitude
While much has been said about the setting and logistics—the main set is said to be one of the largest ever created in Latin America—the costuming was equally essential to translating García Marquez’s most famous novel from page to screen. After all, despite teeming with magic realism elements, the narrative found inspiration in life in the Colombian Caribbean between the 1800s and 1900s
“The book was the cornerstone on which we built the design,” Catherine Rodriguez, the series’ costume designer, tells FIERCE. “Though not explicitly manifest, the book has some parameters. We know the story unfolded in the last half of the 19th century and the first half of the 20th century because it converged with the Thousand Days’ War.”
Based on this time frame, Rodriguez embarked on rigorous research. She examined watercolors from the Chorographic Commission, a 19th-century visual project commissioned to document life in the Republic of the New Granada (what today is Colombia and Panamá), travel journals such as Le Tour du Monde, and the press.
“There are several books documenting [life at that time], which place us historically and give us clues about the clothing,” Rodriguez explains.
Colombian craftsmanship took center stage
To depict a fictional universe so deeply intertwined with reality, Rodriguez enlisted the help of Indigenous and local artisans across Colombia. According to Netflix, the production required the creation of about 40,000 costuming items, and 97% of the textiles and materials used to create them were sourced in Colombia.
“The footwear was made by shoemakers in Bogotá,” Rodriguez says. “We made all the clothing in workshops in Bogotá. The raincoats and capisayos (large straw capes) shown in the exodus, in the first episode, are made in Vichada and in Leticia, where I worked with an artisan called Flor Zafirecudo.”
As Rodriguez emphasizes, keeping the costuming loyal to Colombian history and identity was key. “We’ve done a lot of handcrafted work, always respecting the tradition and origin of the pieces—that is, without modifications,” Rodriguez says. “For example, in the case of the Zenú [community], I did not modify any pattern in the 21 turns required to create the sombrero vueltiao (turned hat). We bought everything respecting their origin and natural trajectory.”
Highlighting the diversity of Colombian sombreros
And speaking of sombreros, One Hundred Years of Solitude spotlighted the cultural richness of Colombian sombreros. In addition to the sombrero vueltiao, a symbol of Colombia recognized nearly anywhere in the world, the production commissioned other hat varieties from different regions of the country.
“We have hats; many hats of many types,” Rodriguez remarks. “We have Wayuu hats and hats made of banana stem, straw, and paja tetera. We also made hats from toquilla straw. Some were made in Pasto (Sourthern Colombia). The banana stem ones were made in Vichada (a department in Eastern Colombia), and the Wayuu were made in La Guajira (Colombian Caribbean). In La Guajira we also made wayreñas (sandals). For the sombrero vueltiao, we worked with the Montalvo family of the Zenú ethnic group.”
One Hundred Years of Solitude: Sustainability, creativity, and support for the local economy
Since its publication in 1967, One Hundred Years of Solitude has achieved great international success, selling over 50 million copies worldwide. Over the years, the book has become deeply associated with Colombian identity and culture, so it was only fitting that Netflix tapped into the talent of Colombian creatives and artisans to bring the project to fruition.
Beyond its success among viewers, One Hundred Years of Solitude has highlighted the importance of preserving Colombian craftsmanship and supporting local artisans and communities. Artisans and inhabitants of Vichada told Caracol TV that contributing to the production’s creation of over 700 hats was a great source of pride.
The series brings together artisans, local suppliers, and services from all over Colombia. It also proves that the creative industry can benefit from traditional skills and savoir-faire without engaging in exploitative practices.
