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It was almost dusk yesterday evening when we arrived at the Museo Anahuacalli in Mexico City’s Coyoacán neighborhood for Carolina Herrera’s Resort 2025 show. The museum and arts center was founded by the Mexican painter Diego Rivera in 1964 and houses his personal collection of pre-Hispanic and pre-Columbian art. For the house’s second resort show abroad (last year, it was in Rio de Janeiro), the scene was set in the courtyard, an expansive space flanked with volcanic rock in front of the building, which was designed in the style of a Mesoamerican temple
The square runway was awash in pink, with pink-painted stones (about 19 tons of them) poured into the middle. The bench seating, custom made for the 500 people in the crowd—among them actress Meghann Fahy and model and entrepreneur Karlie Kloss—was also pink. The museum’s facade was lit up just slightly, and almost exactly on cue with sundown, as the sky turned from sweet, soft blue to sepia, the show began.
The sound of Oscar Carrillo’s “Tlachinoli” pulsated through the pavilion as the first model appeared in a strapless silk faille ball gown in shades of marigold and fuchsia, accessorized with matching beaded tassel earrings. It had the eternally chic vibes of the house’s founder, Mrs. Herrera, but also the spirited elegance of its creative director, Wes Gordon, who, since taking on the role in 2018, has harnessed his seductive design vernacular to great success.
As Gordon explained the day before the show, the collection was conceived as a love letter to Mexico City. “I first came here years ago and fell in love with it because it has all of the things we love to celebrate at Herrera,” he said. “The color, the energy, the joie de vivre—all of it is so embodied by this city, and there’s a real energy here that you can feel.”
Color was the focus, as it typically is for Gordon, only this time the palette was directly pulled from the vibrant local landscape, specifically the sunsets of Mexico City: marigold, kelly green, cerulean, fuchsia, and that beautiful pink, a color that calls to mind one of the country’s most iconic architects, Luis Barragán.
The looks that followed the first were filled with pure, delicious glamour anchored in jewel tones, like a beautifully tailored, embroidered rose-hued cropped jacket and miniskirt, as well as a set that used the same material but included a balloon-sleeved jacket worn open at the front. These latter pieces were part of a collaboration between Gordon and four Mexican female artisans with whom he worked on details for pieces like the aforementioned skirt sets, couture gowns, and a beautiful sapphire-colored double-breasted jacket with ceramic tile buttons and a matching wide-leg trouser.
The buttons, as well as a few of the jewelry pieces, were made by an artisan named Jacqueline España from the state of Tlaxcala, while embroideries were crafted by María de los Ángeles Licona from Hidalgo and Virginia Verónica Arce, also from Tlaxcala, whose work was showcased on three of the most beautiful lace dresses in the collection. Araceli Nibra Matadamas, who is based in Oaxaca, worked with her team of local artisans to create hand-painted jewelry inspired by jícaras, which are traditional bowls made from dried gourd shells.
There was great care and dedication to honoring the local culture in this collection, and the efforts felt genuine and organic rather than forced (as often happens in the fashion sphere when too much marketing gets in the way.) Seventy percent of the models were Mexican, along with 100 percent of the hair and makeup teams that worked on the show.
