From Raffia bags to ponchos, Latin American fashion is everywhere — but rarely considered.
Some surnames have been omitted for anonymity.
In the fashion world, there's much discussion about representation, inclusion, and diversity. But little is done. As discouraging news hits the headlines — for example, BoF recently shared that Loro Piana's $9,000 sweaters rely on unpaid farmers in Peru — important Latin American fashion stories are not even covered by other major fashion publications. For instance, after the Qatar World Cup, where Brazil and its soccer shirts became an overnight TikTok phenomenon, little writing was done on the trend — especially without even considering their national cultural significance. Now, Latinx fashionistas wonder if there is truly a place for Latin American fashion in the industry.
With their cultures often overlooked and stereotyped, Latin American fashion enthusiasts can feel frustrated and unrecognized in the fashion world. For the Argentinian user Iara Garcia, from the sub-community known as High Fashion Twitter, “Latin American fashion has no recognition in the industry." Paris, Milan, London, and New York are often on the tips of everyone's tongues. Celebrities and journalists go to the top four fashion capitals to bask in the spotlight or cover their talents, respectively. And yet it's impressive how little is said about Latin American fashion weeks — such as São Paulo, Mexico, Chile, and Buenos Aires Fashion Week — or about designers from the region. "There's so much talent, but it's not explored," added Juan, a Colombian fashion enthusiast.
But some argue that the region's fashion is appropriately represented. When Dior creative director Maria Grazia Chiuri presented the Cruise 2024 collection in Mexico, at the former Mexican Jesuit seminary Colegio de San Ildefonso, inspired by Frida Kahlo and her feminist essence and crafted in collaboration with several local artisans, it was seen by some as a noble gesture. But it was little to no time until controversy arose. The Internet murmur began, with some netizens pointing out the constant cultural references to Frida Kahlo instead of other Mexican artists who have also made history; the absence of Mexican models; and the appropriation of the song "Canción sin miedo," which has become a symbolic anthem of feminist resistance in the search for thousands of missing women in the country. "Femicide in Mexico is a deep wound that we live with every day in this country, Indigenous women are violated and discriminated against every day. How shocking and annoying to see that foreigners come to make a fashion show out of this tragic reality," declared Paulette González Muñoz on X regarding the use of the feminist hymn. Other audience members pointed out that the cross-cultural fashion shows were done in an uninspiring way, where everything was just for exhibition and profit.
Although some consider that — despite the controversies of the show — the results were rather positive for giving more exposure to the country's craftsmanship and culture, the question of why a European designer should be the voice of Latin American fashion rather than a Latinx artist has been raised significantly. Yes, the cliché of giving a voice to the voiceless is a point regularly made and defended by many. But isn't it better to listen to those who have been systematically silenced?
While some view the inclusion of different cultural, ethnic, sexual, and social groups in artistic projects as a means of promoting diversity and representation, others assert that this presence serves as a vehicle for imposing an ideological or political agenda that ignores value and coherence. In the current context, there's a fine line between sincere and calculated representation, particularly in an industry where countries like Mexico, Argentina, and Brazil have long gone unnoticed on the world map. Whether well-intentioned or not, the discussion of authenticity and purpose remains uncertain and controversial.
But the fashion industry is full of controversies — especially involving Latin American designers. At the beginning of May 2023, when celebrities, insiders, professionals, and fashion enthusiasts only had eyes on the Karl Lagerfeld-themed Met Gala, the Argentine brand Nana Studioz was not credited for its designs that appeared in the February 2023 issue of Schön! Magazine. After the Latin American designer was dismissed and the credit was given to Swiss brand Ottolinger, Sofia Abadi, owner and creative director at Nana Studioz, shared the incident on her X (formerly Twitter) account. "At first I thought I was being ripped off, but then I realized it was exactly the knitwear I made. I know them all by heart," Abadi said. While the subject was hardly commented on by the mainstream media, much buzz was generated by the designer’s mutuals on X. After Abadi's friends, followers, and peers started advocating for her name in the pages of the magazine, the creator finally received due recognition.
While globalization and technology are great allies in helping illustrate these issues, social media is also where these communities reveal and unmask their experiences. For Dominican blogger Gabby, Latin America's fashion heritage is more than just textile export. This perspective is not exclusive. Likewise, Iara pointed out that the world sees Latin Americans as producers of raw materials and not as trendsetters. Trendsetters we are — all that's been missing is the recognition. From Raffia bags to ponchos, Latin American fashion is everywhere. Whether at national or luxury brands, fashion trends inspired by Latin American cultures are seen everywhere; all you have to do to confirm it is quickly open a few runway apps or labels’ websites. When confronted with saddle bags from the likes of Ganni, Dior, or Valentino, the answer is "Carriel"— a term that stems from original Colombian coffee bags, which have since become a fashion phenomenon due to their practicality. If the bags aren’t familiar, consider cowboy boots from "La Vacanza"-era Versace and Dua Lipa’s Resort 2023 collaboration. The cowboy boot, a popular footwear silhouette that originated in the Argentinian Gaucho style and has since found international traction across the past 200 years — and among celebrities such as model Bella Hadid, actress Lily-Rose Depp, and singer Miley Cyrus — has a long history of serving practical purposes in everyday life.
With purposeful garments deeply linked to functionality and nature, Latin American fashion is unique. Juliana Borobio, an Argentinian member of the digital community, states that the region's "complex mix of identities" also contributes to its individualism. Historically, Latin America’s abundant culture includes a combination of Indigenous, African, and European influences, shaping the aesthetic into something diversely rich and purely original. Not only claiming that the entire continent is a melting pot of diversity, Juliana also adds that "...there are fashions inspired by the mountains or the Amazonas but also the cities, the colonial roots, the Indigenous culture… there is so much talent here driven by everything we went through," a statement that enhances the multiculturalism of Latin America's culture, transported to a variety of fields, including fashion.
Translating this tradition into clothing, specific attributes such as patterns, colors, cut-outs, and certain materials completely embody our antiquity — antiquity that fashion often communicates. Consider Raffia palms, a species of approximately 20 distinct plants native to Central and South America, which emerged as the latest It bag during the summer. From Loewe to Saint Laurent, the accessory swiftly became a runway and street-style trend. As a common material in Latin American countries, artisans from various Indigenous communities developed their interpretation of the bag, resulting in a diverse range of models across different countries.
The combination of craftsmanship and nature has the potential to yield exceptional results, indeed. For Gabby, the manipulation of minerals is one of her latest obsessions. And Dominican designer Jenny Polanco emerges, too, as she makes jewelry with Dominican amber, sometimes even "shaped into different things like leaves and shells," as Jasmine, another enthusiast, shares. Fashionista Juan Sebastián additionally pointed out "...how past Indigenous groups manipulated gold to create such beautiful figures and jewelry," as a source of inspiration. But this creative stimulus isn't limited to jewelry. Last season in São Paulo, Maurício Duarte reaffirmed the need for Indigenous representation in the fashion landscape. Ever since his debut in 2022, he has left a lasting impression on the Brazilian fashion scene, be it through the casting of diverse models or the incorporation of Indigenous Kaixana elements in his designs. In his latest collection, presented in SPFW N57, he used raw fibers, native materials, and a lot of fluidity, drawing inspiration from the pirarucu, a species of fish found in the Amazon rivers, to create mermaid-like gowns made of fishing nets adorned with scales.
Ponchos are another example, brought up by Juliana. Defining it as the most traditional Argentinian garment, she shared that it originated from Indigenous people in the Andes, after developing a significant meaning during independent and revolutionary periods. While briefly explaining its history, the content maker clarified that "the name poncho comes from the Mapuches and, along with the decorations in the weaving, has lots of cultural meaning." Nowadays, each Argentinian province has its own model, with specific decoration and materials. It's not just a garment, it's history, and it's the symbol of Juliana's — and Argentina's — national heroes. And, as she says, the poncho "should be celebrated on a wider scale."
Speaking about cultural celebration, Jasmine mentions two Dominican Republic fashion legends, Oscar de la Renta and Farah Cabrera, who put a smile on her face. After leaving his home country to pursue his aspirations, Oscar de La Renta arrived in Madrid with a bang. In 1956, after designing a dress for the daughter of the Spanish ambassador that was then featured on the cover of Life magazine, he secured a position as Cristóbal Balenciaga's assistant. The designer later moved to Paris to work alongside Antonio Castillo at Lanvin, where he gained immense experience in haute couture. Seeking a more independent role, the designer drew several gowns for Elizabeth Arden, established more connections, and eventually launched his first women's ready-to-wear collection for his eponymous label, Oscar de la Renta, in 1965. Since then, the label's clever ability to combine vibrant colors with elegant silhouettes has made it one of the most mainstream and celebrated brands of all time — remember Miranda Priestly's Cerulean monologue and how she mentions "...that, in 2002, Oscar de la Renta did a collection of cerulean dresses"? Exactly. But this level of renown was not only for his innovative ideas but for his deep relationships with celebrities. "Oscar became more famous after dressing Jacqueline Kennedy," Jasmine adds. After designing a state visit gown for Kennedy, things really took off, eventually leading De La Renta to dress all of the First Ladies of the United States, as well as many celebrities, including Beyoncé, Emma Watson, and Sarah Jessica Parker.
As for Farah Cabrera, who devoured fashion books from an early age and began designing clothes at 10, she revolutionized Dominican fashion as the pioneer of the boutique concept in the country. Later, Jasmine explains how "two people with different backgrounds and different clothes can make a huge impact," revealing a factor that contributed to her affinity for fashion and the role her cultural heritage played in it. But the Dominican blogger isn't the only one with fond memories of fashion and culture walking side by side. For Juliana, it is history that made her fall even more in love with fashion — like how Eva Perón, the first lady of Argentina from June 1946 until her passing in July 1952, made political use of fashion. When speaking about the Evita Museum in Buenos Aires, dedicated to Perón, she said that the exhibition, which includes some of the '40s dresses and suits worn by the politician, who was first a model and actress, was one of the ways to see her culture represented in fashion.
The moving sensation of seeing yourself in fashion is also a frequent experience throughout Gabriela Hearst's career. For instance, in Spring/Summer 2024, which was her last collection for Chloé after three years at the label, Hearst closed the runway held in Port de la Bourdonnais with a grand finale. After models in motorcycle jackets, Gaucho boots, flowy floral and embroidery white dresses, draped suede pieces, and spiral ruffles walked for the last time, Mangueira, a legendary 20-piece Brazilian band, joined the designer and models on stage to create a joyful atmosphere. Whether in New York or Paris, giving space to artisans or musical crews, Hearst brought (and continues to bring with her eponymous label) Latin American visibility in this competitive industry. And her eponymous label has been a vehicle for this visibility since its foundation. In an interview with Harper's Bazaar, Hearst shared that she had honored her family's heritage by launching her label in the fall of 2015, after taking over the operations of her father's ranch in Uruguay. Following the establishment of her label in 2015, Gabriela Hearst was compared to the likes of Hermès for its meticulous craftsmanship and quality. In 2017, Hearst demonstrated her ability to innovate, releasing fabrics with unique effects. These included an anti-radiation fabric that protects from the radiation emitted by phones, presented in the Resort 2017 collection as padding for pockets, and microfine merino wool and aloe-treated cloth in Resort 2018. Since then, the label has become renowned for its careful attention to environmental and sustainability concerns. "I wanted to create a brand that reflects a slower pace and process: where things are made with care and detail, where tradition is more important than trend, where there is a purpose to every piece," the designer added.
In the same interview, Narciso Rodriguez states that his Latin roots are the core of who he is as a person and designer. From his Resort 2012 collaboration with Cuban-American artist Carmen Herrera to his Fall/Winter 2013 collection influenced by Brazilian sculptress and painter Lygia Clark's exhibition at the São Paulo Biennial, these roots are clear. Infusing his elegant, sharp lines with a touch of Latin flair, the designer has transcended minimalism while drawing inspiration from his Cuban heritage, the natural allure of his country, and the brave and charming Latinas he grew up with. Such a rare creative philosophy has pushed his brand globally, dressing the likes of Carolyn Bessette Kennedy, Michelle Obama, Jessica Alba, and Kate Winslet.
As Latin American production techniques, textiles, patterns, and elements have gained momentum in recent years for their activism, sustainability, and tradition, with names like Narciso Rodriguez, Carolina Herrera, Oscar de la Renta, and Gabriela Hearst rising to prominence in such an exclusive industry, the construction of a more diverse global fashion landscape has begun. But their rise has not been without obstacles — be it internal or external. As the Peruvian fashionista Valeria observed, fashion isn't valued in her country. She noted that this lack of interest extends to designers too, with the tourism industry and the government showing no interest in promoting national fashion, suggesting that the indifference of some countries towards their own fashion is a significant component in its non-evolution and low influence on global fashion ramifications. It's not just Valeria who has commented on this aspect. Alan Smith, a Panamanian fashion-lover, has spoken out about the lack of originality in his country's clothing. He claims that there aren't many cool and innovative designers, and while most fashion events are small, they try to "mix and match" with concepts from Paris, London, Milan, and New York, which makes them even more distant from local rarities. With Latin American countries looking to the current trends of European and American countries for inspiration, our fashion underestimates how beautiful and rich it already is.
But Alan believes there are some Latin American countries showing commitment to developing the region's position in the fashion industry, such as Argentina, Brazil, Colombia, Chile, and Mexico. From maximalist patterns, artisanal work, and dresses with a dancing silhouette at Bogotá Fashion Week to classic fabrics made by native artisans, traditional gestures, and tributes to the beauty of nature at Mexico Fashion Week, some countries are indeed investing in raising the visibility of their own fashion, establishing partnerships and resorting to international platforms to cover events.
Other internal considerations, however, do not facilitate this process. For Berenice Buendía, Mexican web editor for DNA Magazine, the devaluation of the fashion and art industries is a consequence of the countries' economic and social structures. The prevalence of low salaries, frequent social inequalities, and high taxes lead individuals to prioritize their daily needs over investing in fashion — and they can't be blamed. "Who has the money and energy to think about fashion when the minimum wage, at least in Mexico, is $11.88 dollars [sic] a day?" Buendía asks.
When it comes to external issues, the list gets even longer. From stereotypes to cultural appropriation, even supposed celebrations of Latin American fashion find trouble. In 2021, when Elle magazine announced its September issue, which featured singer Selena Gomez and was the magazine's first Latinx issue, many Latin American fashionistas expressed opposing views. "From what I know, there is only one single story in the entire issue dedicated to Latinx talent. If this is the case then it's not an entire issue dedicated to the Latinx community so why call it that?" José Criales-Unzueta, a Bolivian writer for Vogue Runway, said on his Instagram in 2021. The journalist, who often covers talents like Willy Chavarria and Luar's Raul Lopez, adds, "this ... could have been a celebration of Latine stories, and most importantly an open dialogue about the nuances of the Latin identity that are so often misconstrued/overlooked."
Besides the absence of Latinx professionals on the project, the following comments pointed out that the exclusive coverage of Latinx stories in mid-September and October may be seen as a marketing program. "You don't see Latine designers, critics or influencers getting opportunities when it's not Latino Heritage Month," Thatiana Diaz, editor-in-chief of Remezcla, a global media company that focuses on a Latinx audience, told Fashionista. The project also didn't resonate with Danielle Alvarez, founder and CEO of Latinx public relations agency The Bonita Project. "Nothing about the Elle cover spoke to our roots," Alvarez told the publication. In Elle’s issue, Gomez is not styled by any of the Latinx designers featured in the edition. She wore Chanel on the cover, as well as other labels like Moschino, Louis Vuitton, Prabal Gurung, and Brandon Maxwell. "Instead, the look had her resembling a platinum blonde Marilyn Monroe, dressed in European designers. It was a huge missed opportunity," Alvarez added.
But opportunities also arrive. Recently, at Italian luxury label Moschino, Argentinian Adrian Appiolaza was appointed as creative director. Born in Buenos Aires, his youth was shaped by music; from music, he went to architecture. And, after graduating, Appiolaza left at the age of 21 for the UK. Through the clubs and the friends he made in London, his love for fashion began; and when he learned he could study it at Central Saint Martins, Appiolaza knew what to do. He invested in a course specializing in portfolio-building and got in. At the same time, Alexander McQueen was recruiting for a junior assistant designer, and Appiolaza got the position. While juggling studies with work for McQueen and as a barman, he was getting burned out and subsequently left McQueen to focus on his studies. When Sebastian Pons, McQueen's first assistant, introduced him to Miguel Adrover, following summers found Appiolaza working for Adrover in New York. In 2002, after completing his studies and winning the Best Womenswear Collection award for his Argentine-inspired graduation collection, he became Phoebe Philio's right-hand man at Chloé; worked with Miuccia Prada at Miu Miu; with Marc Jacobs during his Louis Vuitton era; and, more recently, Jonathan Anderson at Loewe. Now, he is in charge of continuing Moschino's legacy while pushing even more boundaries. "We must keep pushing limits," Maria, a Brazilian fashionista stated. But how to do it? With the evolution of technology and media, the truth is that there are multiple success pathways. As Juan declared, "...creating spaces where Latin American talent can show their craft to the world and it could reach new opportunities or a job at a fashion house or magazine" has proven to be an effective method. Before joining Vogue Runway, José Criales-Unzueta would take prints of collections and review them in his stories. Now, he's in the spotlight of the Vogue team, covering stories, reviewing collections, and still keeping his humorous tone on social media.
Another recently-established creative project is bringing Latinx talent worldwide. Founded by the Cuban-Nicaraguense designer Silvia Argüello and Argentinian fashion entrepreneur Constanza Etro, the Latin American Fashion Awards is an unprecedented global platform created to celebrate the most distinguished Latin American talents and honor the region's rich heritage. The first ceremony was held on November 4, 2023, in the Dominican Republic. It was a milestone for Latinx talent worldwide, as it was the first time that the fashion industry came together to reward them. The second edition will take place once again in the Caribbean hot spot of the Dominican Republic in November 2025, and will again bring together "...celebrities, top fashion industry leaders, international jury members, influencers, international press, and creatives from around the world to support [the] Latin American talent that is revolutionizing the global fashion industry."
With this newly conquered space, changes are beginning to emerge. But for Juliana, it's still important to keep having conversations and discussions about representation and Latinx visibility, all to analyze what we can do as fashion consumers. While some in the Latin American fashion audience point out that many boundaries still need to be pushed, Katherine, an American-Colombian fashion-lover, says that things don't have to be done artificially. "I wasn’t looking for Carolina Herrera or a name to represent Latin American fashion. But I recognized at that moment that representation was important," she claimed.
When I saw a photo of Beyoncé wearing a sparkly PatBO body piece for the Vancouver leg of the Renaissance tour, I understood this. Latinx representation matters — to comprehend where we come from, who we are, and to know that, despite obstacles, we still have a seat at the fashion table.
"[Representation is] important to me because I don't need an agenda to be pushed. I want representation to be there because the art of it is loud," Katherine adds. Want something loud? Look directly at our commemorative seasons. Juan mentions La Feria de Cali, citing "the several parades where the costumes are so colorful and beautiful," which turns the experience into something completely glowing. In Brazil, there is Carnaval, and the floats, feathery garments, shiny sets, and great energy all paired together turn all the Samba parades into truly a fashion show. It's about the intensity. It’s about the vividness. It's what makes the event unique — and so does our fashion. As Juan states, our "passion and wanting to be heard, collided with the rich history that all the region has..." sets the region's fashion apart from others.
For many, representation is already blooming. Whether it's through the presence of journalists like Unzueta, photographers like Rafael Pavarotti, designers like Lopez, Appiolaza, and Chavarria, or editors like Diaz at Remezcla, Ana Cólon at Fashionista and Erik Maza at Town & Country. Now, the power to be seen has passed to the public.
"I know our representation is evolving," affirmed Katherine while chatting with me about our inclusion. Among the conversations regarding the evolution of representation, Katherine mentions one occurrence that clicked in her mind. Surprisingly, it was at the Met Gala. "I felt that recently seeing the music artist Bad Bunny walking at the Met Gala wearing Jacquemus... the designer has been inspired." Indeed, it’s been a while since the French designer has presented Latin American references in his brand. Already captivated by Raffia in Spring/Summer 2023, the designer fell in love with Rio’s magical New Year's Eve celebration in 2022. Deciding to come back to Brazil to shoot one project in some of the most popular spots of the Carioca capital, Jacquemus’ team went from Copacabana to Pão de Açúcar illustrating typical places that seemed taken from those city's souvenir cards. In addition to Simon Porte Jacquemus, Brazilian-American Marcelo Gaia, founder and designer of Mirror Palais, is another figure drawing attention to the country.
Due to his family's relocation from Rio de Janeiro to New York City at an early age, Gaia shares that he always longed for a deeper connection to his culture. While his mother spoke Portuguese at home, prepared churrasco, a traditional Brazilian barbecue, and played music from legendary artists such as Chico Buarque and Rita Lee, he didn't visit it due to financial constraints. “Thanks to her I've always been surrounded by the culture of my home country,” he writes on his Instagram. After the founding of Mirror Palais in 2019, the designer began to spend more time in his mother's country and reconnect with his family. "Despite the many problems currently, it really is one of the most beautiful and inspiring places with the most beautiful people in the world," Gaia adds.
Establishing closer relations with the region seems to be a promising move. For Maria, that's the beauty of multiculturalism. "I believe that by taking the appropriate actions and ensuring visibility and awareness to discuss and identify issues, Latin America’s fashion will grow," she states. Fashion’s growth can help us reach other achievements, too, such as challenging stereotypes; creating new economic opportunities for native artisans; promoting sustainability in fashion and cultural exchange, and, overall, creating a more inclusive fashion environment that moves us to the so-wanted fairer industry many talk about and few look forward to. 🌀
Ana Reitz is a Brazilian fashion writer who breathes fashion. As a Latin American fashionista, she values a diverse and inclusive fashion landscape and aims to make a difference in the complex yet beautiful industry that surrounds her. She writes anything fashion-related for her own Substack For Fashion’s Sake.