Though Izcue largely frames El arte peruano as classroom material for primary school students, contemporary commentators emphasized another equally important use for the books: revitalizing domestic craft production by grafting it to a non-European fount of influence. The second volume provides suggestions for what kinds of objects — from book covers to curtains — might be most suited to each motif and even includes visual aids for how the figures might be flipped and tessellated. The adaptation of a pre-Hispanic visual vocabulary to modern design work would become a calling card for Izcue over the course of her own career: after winning a government scholarship in 1927, she moved to Paris along with her sister Victoria (an artist in her own right) and began studying under Fernand Léger. Izcue’s Indigenist aesthetic was enthusiastically received by the Parisian fashion world, and she soon found work with couturiers such as House of Worth and Elsa Schiaparelli, who attributes the inspiration for her signature “shocking pink” in part to Andean weaving (though it is worth noting that her employers rarely acknowledged Izcue’s contributions explicitly). Reviews of a 1935 art exhibition that Izcue curated in New York say that Peruvian-inspired designs had become all the rage in the United States, while another credits Izcue with setting off an artistic renaissance in Peru akin to Diego Rivera in Mexico.