The traditional dress of Shipibo-Konibo women has undergone changes over time, influenced in part by the imposition of Western dress by missionaries. In the past, the women used to wear a woven cloth or skirt that left their breasts bare, but the missionaries forced them to change this way, to wear a short, brightly colored blouse. The women's traditional attire includes a skirt called "chitonti" and a colorful blouse known as "Kotton". The belt is another important element of women's clothing and can be made with thousands of beads, weighing more than two kilos. Clothing was also related to status, for example, married women could wear more elaborate belts.

The chitonti, a traditional skirt made of cotton, was linked to beliefs and superstitions. For example, it was believed that a woman should not wear the skirt of a "crazy" partner for fear of catching a disease. There were also beliefs associated with infidelity, it was said that a young woman who is unfaithful to her husband should exchange her skirt for her grandmother's, since the latter is not as interested in men.

As for men's clothing, the "Kushma" was a garment that was associated with magical powers whose motifs embodied symbols of male life, hunting and fishing scenes, family events and rites. This garment was highly respected, and for fear of the spirit believed to reside in it, men dared not touch it, or wear another man's Kushma. It was considered that a Kushma could guard the house, as if its owner were present. It was owed absolute respect.

In addition, it is said that it was the Inca who introduced the kushma in the Ucayali area. It was also the Inca who taught women to weave with cotton. The Shipibos say that in the sky-world the spirits are dressed with bright kushmas and they have to imitate the spirits.

The cloth for the Khusma is woven in one flat piece, with a width of 70 cm. Two strips of equal length are sewn leaving an opening for the arms and a free space in the center seam for the head to pass through. The kushma presents vertical lists of structural tailoring.

In addition to the daily dress, the meraya, who are Shipibo-Konibo healers or shamans, used the longer ceremonial tunic for their rituals, while a shorter tunic was used for daily use and another for sleeping. The ceremonial dress of the meraya was ankle-length and has a special significance in the context of their spiritual and healing practices.

The manufacture of crowns or maiti in Shipibo-konibo, are made by women. The crowns are used for special moments, in big festivities, as part of the clothing and enhancement of female and male beauty.

There are two types of crowns: one made with cotton or cayamanzo fabric, embroidered with thread, and the other made with beads, of more recent use. The beaded crown is considered the most sophisticated and requires a great deal of work due to the size of the pieces.

As for the difference between women's and men's crowns, it is the location of the feathers. Women wear the feathers on the front of the crown, while men wear them on the back. These feathers usually come from birds such as macaws, parrots and white herons.

The crown of a shaman or meraya was different in both design and finish. The feathers they wore were longer and more colorful, which distinguished them from the crowns used by the rest of the community.

The crowns represent a significant element in the artistic and cultural expression of the Shipibo-Konibo people, and their manufacture and use have been passed down through generations as part of their identity and tradition.

The kori and resho are ornamental elements used by women and men to highlight their beauty and cultural identity. These ornaments are part of the traditional aesthetic practices of the Shipibo-Konibo people.

The kori was a hoop that was placed under the lips, and the resho was a hoop that was placed on the nose. Both ornaments are made of materials such as silver or aluminum, which give them a shiny and attractive appearance. These elements were considered important to enhance the physical appearance and, at the same time, expressed the cultural identity of the community.

Kori and Resho earrings were not only considered as merely aesthetic adornments, but also had cultural and social significance within the community. Their use could be associated with certain stages of life, ceremonies or specific festivities.  Although today the practice of wearing the earrings may have changed or diminished, their cultural and symbolic value endures as part of the rich history and traditions of the Shipibo-Konibo people.

Body designs are a significant part of celebrations and rituals in the Shipibo-Konibo culture. These designs are painted on the body during big festivities, such as weddings or the ani xeati ritual. Natural dyes such as huito and achiote are used. Achiote is particularly important for men, who used it two days before the big feast so that the paint would adhere properly to their skin. Women, on the other hand, used achiote at the time of the celebration itself (L. Panduro,2023).

In ancient times these designs were painted on different parts of the body, such as the legs, between the legs, feet and hands. These body motifs not only had an aesthetic purpose, but also served to identify the members of the community to other peoples, or during specific ceremonies.

In addition, body painting had a protective function. For example, when men went hunting, they painted their bodies to protect themselves from evil spirits that might roam the forest.  These body designs are an important artistic and cultural expression among the Shipibo-Konibo people and reflect their beliefs, traditions and ways of relating to their environment. Although today there may be changes in the practice of body designs, their historical and symbolic value remains relevant to the identity and culture of the Shipibo-Konibo people.