Fig. 23. Central Coast artist. Shirt. Peru, 1460–1540. Cotton, camelid 昀椀ber, 19 × 47 in. (48.3 × 119.4 cm). The Metropolitan Museum of Art, New York, Gift of Arthur M. Bullowa, 1983 (1983.497.1) the Inca emperor in Cusco, or cumbi camayos, men who 17 worked in the service of the Inca or other important lords. Inca tapestry tunics were woven as a single panel with single-interlocking joins, with the neck slit held closed by a temporary weft yarn that was removed after the weaving was complete. After the tunic was cut from the loom, all seams and selvage edges were completely covered with double-faced embroidery that formed a series of multi- colored bands of different widths. A zigzag line of yellow and other colored threads was added to the bottom of the garment. Notwithstanding the great control the Inca state exerted over textile production, local weaving traditions still 昀氀our- ished. An elegant shirt with alternating vertical bands of a solid dark color and a geometric wave pattern, 昀椀nished on the lower edge and cuffs with a dark stepped-fret motif on cream, is similar in composition to a highland style, but it was tapestry woven with cotton warps, and the garment has sleeves: these two aspects are more consistent with coastal techniques and fashion (昀椀g. 23). Distinctive styles can also be identi昀椀ed in the region of Chuquibamba, near Arequipa in southern Peru. Tunics from this area have the same proportions as those of the standard imperial style, yet the designs are speci昀椀cally local, with small- scale motifs, such as eight-point stars and stylized 昀椀sh, repeated in a grid pattern (昀椀g. 22).18 As with earlier North Coast textiles, they were sometimes embellished, as seen in a Chuquibamba-style bag (昀椀g. 24). Here, against a woven Fig. 24. Chuquibamba artist. Bag with fringe. South Coast, Peru, 12th–16th century. Camelid 昀椀ber, 27 ⼀攀 × 9 ⼀攀 in. (69.2 × 23.5 cm). The Metropolitan Museum of Art, New York, Rogers Fund, 2001 (2001.489) 23