Podcast Summary:

New Books Network – Interview with José Blanco F. and Raúl J. Vázquez-López, Authors of "Dress, Fashion, and National Identity in Puerto Rico: Taínos to Beauty Queens" (Bloomsbury, 2025)
Host: Dr. Miranda Melcher
Air Date: December 7, 2025

Overview

This episode features a discussion between Dr. Miranda Melcher and authors Dr. José Blanco F. and Raúl J. Vázquez-López about their book, "Dress, Fashion, and National Identity in Puerto Rico: Taínos to Beauty Queens." The book explores how dress and fashion have shaped and expressed Puerto Rican identity, traversing topics from indigenous Taino revivalism, peasant symbolism, diaspora identity, beauty pageants, Afro-Puerto Rican traditions, and the contemporary fashion industry. The conversation tackles how national and colonial narratives are constructed and challenged through clothing, visual culture, and performance, both on the island and among the diaspora.

Guests’ Introductions and Book Origins

[02:06–05:42]

• José Blanco: Associate Professor at the Fashion Institute of Technology, background in theatre and fashion history, with expertise in fashion show production and cultural studies.
• Raúl Vázquez-López: Also teaches at FIT (languages dept.), previously worked in publishing, researched Puerto Rican popular culture and fashion.

Motivation for Writing Together

• Their collaboration started informally about 12 years ago (they are a long-time couple).
• Initial inspiration came from the Festival de Mascaras in Puerto Rico, sparking a desire to explore Puerto Rican identity through dress.
• Raúl is Puerto Rican; José is from Costa Rica, bringing the perspective of both insider and outsider.

Quote:

"We are not just a research team, but we are a couple. ...I am not Puerto Rican. I am from Costa Rica. And I am very honored to have had this opportunity to learn so much about Raul's culture." – José Blanco [03:16]

Central Themes: Colonialism, Diaspora, and National Identity

[05:58–10:36]

• Puerto Rico as the last Spanish-speaking colony frames the analysis.
• Diaspora is central: More Puerto Ricans in the U.S. than on the island itself.
• Double identity: Puerto Rico exists as both a colony and an imagined nation.
• Book uses a decolonial perspective, aiming for accessibility—writing for everyone, not just academics.

Quote:

"Puerto Rico is one of the clearest examples of a nation that goes beyond geographical borders." – Raúl Vázquez-López [07:18]

Quote:

"We decided to frame our book using a decolonial perspective...to write a book that can be read by anyone and not just by intellectuals and academics. …We aim to write in simple terms because we think that that's an act of true decoloniality." – José Blanco [08:00]

Structure of the Book: Dress, Costume, Fashion

[11:34–15:07]

• Three sections: Dress, Costume, Fashion, chosen for breadth and structure amidst fluid terminology debates (e.g., what counts as 'dress' vs. 'costume' vs. 'fashion').
• Definitions:
  • Dress: From anthropology; anything modifying or supplementing appearance, packing the body with meaning (beauty, modesty, ethnicity, national identity).
  • Fashion: Both as the capitalist industry and as individual/artistic expression, globally present.
  • Costume: Most problematic term; can render non-Western dress as static or "romanticized tradition," but in this context refers to special, nation/period/occasion-specific dress (like festival attire).

Quote:

"Fashion and dress scholars are constantly fighting over terminology. …We wanted to address all of them." – José Blanco [12:00]

Quote:

"We needed some guardrails...But one thing that is really important for us is to understand that these are fluid terms." – José Blanco [12:03]

Colonial Tropes and Taino (Indigenous) Revival

[18:12–23:44]

• Tainos: Indigenous Arawak people of the Caribbean encountered by Columbus. For much of history, declared "extinct", but Taino culture survives symbolically and genetically.
• Revival efforts: Surge in 1960s–70s; embraced especially by diaspora Puerto Ricans as a way to claim distinctness and counter erasure.
• Modern uses: Taino symbols in T-shirts, tattoos, souvenirs, online communities.
• Caveat: Taino identity can be empowering, but an exclusive focus may risk marginalizing Black and later migrant influences on Puerto Rican identity.

Quote:

"A strong constituent of the Taino revival movement has actually been the Puerto Rican diaspora. …They do this by highlighting not only their Puerto Rican identity, but also that Taino heritage." – Raúl Vázquez-López [21:50]

The Politics of Peasant Imagery: The Jíbaro

[24:24–31:21]

• Jíbaro: Puerto Rican peasant, historically from the mountains, became a key national symbol by the 1940s/50s—manifestation changes with political context.
• Romanticized appropriation: The reality of poverty and labor erased in symbolic representations (e.g., art, political logos, business branding).
• Contemporary relevance: Featured in fashion (Bad Bunny’s performances, modern designers) and in cultural debates (e.g., reaction to Puerto Rican Barbie).
• Puerto Rican Barbie: Sparked controversy over skin tone and dress accuracy—a white, lacy outfit with high heels at odds with historic jíbaro poverty.

Quote:

"The jíbaro became the de facto symbol of Puerto Ricanness at some point in the 1940s, 1950s. ...Every incarnation of the jíbaro responds to a cultural, political, or geographical circumstance." – Raúl Vázquez-López [25:20]

Quote:

"She [the Barbie] is dressed all in white, which would be very difficult for a person to achieve. She has tons of lace, which would be financially prohibitive ...she wears heels. ...We argue against the idea of representing one country in one type of national dress." – José Blanco [29:40]

Festivals and Performance: Colonial, African, and Hybrid Influences

[31:29–39:13]

• Festivals as analytical focus: Originated their collaboration; key insight into national, racial, and colonial identities.
• Festival de Máscaras: Traced to Spanish Canary Islands, reflecting direct European roots.
• Fiestas Traditionales de Santiago Apóstol (Loíza): Blends Catholic, Spanish, and strong African elements (e.g., masks, music, dance, costumes).
• Diaspora practices: Puerto Rican festivals and symbols ("new skin") allow Puerto Ricans in the U.S. to perform and affirm identity (e.g., in the iconic Puerto Rican Day Parade in NYC).
• Cultural triad: Spanish, Taino, and African heritages, all codified in state iconography.

Quote:

"Puerto Rican dress and identity are...built outside those geographical bounds and by anyone, anywhere who is Puerto Rican." – Raúl Vázquez-López [07:18]

Quote:

"Our argument here is that each of these costumes worn on the body reflects that complex system of cultural signifiers and connected to that hybrid nature of Puerto Rican bodies, which, as we said, is a result of colonization." – Raúl Vázquez-López [35:53]

The Fashion Industry: Evolution and Current Trends

[40:51–46:32]

• Colonial legacies: Puerto Rico’s fashion system historically mirrored European elites, but American rule brought new imports and disrupted local industries.
• Key Milestones: Emergence of fashion design education; important designers (Luisa Matienso, Pedro Sorilla, Carlota Alfaro).
• Mundillo: Bobbin lace as iconic local craft, now part of both folklore and high fashion.
• Current moment: Explosive growth in runway activity, local/regional exhibitions, new museum plans, proliferation of diaspora designers, and fashion's increasing political symbolism.

Quote:

"Puerto Rican fashion exists in four levels. We see it at the local in Puerto Rico as a country, we see it within the larger Latin American fashion system. We see it existing in the diaspora. And then we see it within the US Fashion framework due to the colonial status." – Raúl Vázquez-López [53:28]

Miss Universe & Beauty Pageants: National Costume as Political Stage

[46:56–52:28]

• Pageantry as national expression: Miss Universe is "a Puerto Rican national sport" and one of few international arenas where Puerto Rico is separate from the U.S.
• National costume parade: Each year’s costume performs a version of Puerto Ricanness—sometimes drawing on Taino, jíbaro, or Afro-Puerto Rican themes, sometimes referencing history, disasters (e.g., Hurricane Maria), or pop culture (Walter Mercado).
• Cultural debate: Costumes are sites of contention (authenticity, representation), but collectively embody the nation’s hybridity and evolving identity.

Quote:

"Watching the Miss Universe contest is a Puerto Rican national sport? ...This is something that we chose because it was very Puerto Rican." – José Blanco [47:43]

Quote:

"Each one of these costumes, fantasy customs by themselves do not represent Puerto Rico, but...if you put them all together and look at them collectively, then you can get an idea of what Puerto Rico is." – José Blanco [51:59]

Looking Forward: The Future of Puerto Rican Fashion

[52:28–56:53]

• Fashion as political and cultural assertion: Recent years have seen a surge in pride, visibility, and creative exploration, partly led by international stars like Bad Bunny bringing traditional symbols (e.g., pava hats) to contemporary performance.
• Diaspora dynamism: Designers in the U.S. and Puerto Rico are collaborating; fashion serves as a bridge across categories.
• Optimism for young designers: Authors are inspired by the next generation's reinvention and embrace of "Puerto Ricanness" through clothing.

Quote:

"Puerto Rican fashion is living its moment. ...I am very excited to see where these new definitions, these new lenses will take Puerto Rican fashion." – Raúl Vázquez-López [53:10]

Authors’ Current and Upcoming Work

[56:53–59:44]

• José Blanco: Several new fashion textbooks, including a global history, men’s fashion handbook, and updates to fashion show production guides; working to develop the first FIT course on Latin American & Caribbean fashion.
• Raúl Vázquez-López: Writing on Chicano art and fashion, contributing to a DK Eyewitness-style fashion volume, future plans to research queer and body-related dress identities in Puerto Rico and the diaspora.

Notable Quotes & Timestamps

• “Puerto Rico is one of the clearest examples of a nation that goes beyond geographical borders.”
  – Raúl Vázquez-López [07:18]

• "To write a book that can be read by anyone and not just by intellectuals and academics... that's an act of true decoloniality."
  – José Blanco [08:00]

• “The jíbaro became the de facto symbol of Puerto Ricanness at some point in the 1940s, 1950s.”
  – Raúl Vázquez-López [25:20]

• “Each one of these costumes, fantasy customs by themselves do not represent Puerto Rico, but...if you put them all together and look at them collectively, then you can get an idea of what Puerto Rico is.”
  – José Blanco [51:59]

• “Puerto Rican fashion is living its moment”—
  – Raúl Vázquez-López [53:10]

Concluding Thoughts

Blanco and Vázquez-López emphasize the persistent, mutable, and politically-charged nature of Puerto Rican dress and fashion. Their book, written in accessible language, offers a sweeping yet personal look at how clothing operates as a language of power, resistance, identity, and aspiration for Puerto Ricans at home and in diaspora. The podcast reveals not only the breadth of their research but also their hope and excitement for future generations’ creative and decolonial reinvention.