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In 1988, he took off from his new base as Executive Creative Director of Ogilvy & Mather in Honolulu to fly to Guayaquil. From there, he boarded a series of brightly colored, sputtering buses and traveled one hundred miles up the coast to the city of Manta, a commercial fishing village, where he stayed overnight in the best hotel in town—at $2 a night. The next morning, he climbed aboard another bus to Montecristi. Before even getting off the bus, a nine-year-old boy appeared at his elbow. “Panama hat, meester. Panama hat, meester.” “There aren’t too many gringo tourists in Montecristi,” laughs Black. “So when one does show up, he’s bound to attract a certain amount of attention. And there is no rational reason anyone would ever visit Montecristi except to buy hats. “So, there I was. A four-foot-tall, self-appointed guide pulling at my shirt sleeve, a dog of rather questionable ancestry sniffing at my legs and before me lay the legendary town of Montecristi. To say the least, it wasn’t what I expected. “I guess I had pictured in my mind a quaint, colorful little village with revered artisans working patiently in their workshops. The reality was quite different. Montecristi is rather drab. The one—and two-story buildings are made mostly of wood and split bamboo, and they just blend into the dry, dusty hillside on which the town is built. Nothing colorful about them. Dogs and idlers lounge in whatever shade they can find. Children play in the streets and open areas. Pigs occasionally wander here and there. There are no hotels. No restaurants. The town only has running water a couple of hours each morning. So, a little dismayed, I yielded to the tugging at my shirt sleeve and followed my guide up the hill.” After a brief stop to meet 20 or so members of his guide’s family, Black went with the guide to the home/workshop/warehouse of the largest distributor of hats in Montecristi. It was a fairly substantial two-story building made of square red brick. A large two-inch-thick wooden door had been slid open to allow access to and provide light for the approximately 20 by 20-foot workshop. One man was working at finishing the weave on the edge of the brim of a hat, and a second was trimming the long ends of straws protruding from the inside of a hat. A dozen or so hat bodies in various stages of completion were stacked at their feet. “I felt like I had stepped into a legend,” Black reflects. “There they were—Montecristi Finos. I had to actually pick one up and look at it closely to be able to see the pattern of the weave. That’s how finely woven they are.” Black was introduced to the distributor. Conversation was difficult because Black spoke hardly any Spanish and the distributor didn’t speak English. With the help of a phrase book, a dictionary, pointing to objects and a lot of smiles, Black says he was able to communicate that he was interested in the hats and that he would be around for a week or so. “It was, and is, very important to me,” Black’s earnestness comes through in the tone of his voice and the way he leans closer as he talks, “to do business the way it’s done in Latin America, not the way it’s done in the U.S. I didn’t want to blow into town, buy some hats and leave. That’s the way most gringos do business down there. I wanted to get to know them and for them to know me before any money changed hands.” Black says the weavers were surprised when he pulled a chair over beside them and sat down. The distributor handed Black a stack of hats for his inspection and asked if he wanted to buy some. Black said yes,snapbacks, but not today. “Manana.” The distributor smiled, pulled his own chair over near Black and went back to counting and sorting hats. Sitting among the weavers for most of the week, Black learned firsthand about the craft, the history and the legend of the Montecristi Fino hat. Occasionally, Black would carefully sort through hats offered to him, putting aside ones he eventually wanted to purchase. And he constantly asked if there were any even finer. The weavers explained that the really, really fine hats are becoming rarer and rarer. They provided the estimate that there are maybe 20 master weavers left and shook their heads when asked if children were learning the trade. There’s a reason why this trade is dying: The work is hard. The finest hats are woven only at night, when it’s cooler, to protect the straw from being damaged by a weaver’s sweat, which might build up during the steamy equatorial days and stain the straw. The weaving is done from a bent-over position, with the weaver’s chest resting on a small cushion on top of a wooden block and his arms extended down toward the floor, fingertips working on the fine straw. It’s a posture that is not just uncomfortable, it’s painful. The younger generation, if they weave at all, prefer to work on simpler pieces such as ladies’ handbags, fans and animal
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