Apologies for the silence. Summer got in the way, as did the reality of working with no financial backing. Like many freelancers, I end up prioritising paid gigs. If you’re thinking of becoming a fashion writer, don’t! (Unless you have rich parents or a spouse who can bankroll it 💰😂🫠). It’s underpaid, often thankless, and the industry can be unforgiving. So why keep at it? I know, I know… because there are too many stories worth telling, and I still believe it will be worth it.

Which brings me to some changes. I want to throw everything I have at GEN33 and launch a few new things I’ve been working on behind the scenes. To do that, I need support (💰💰💰), just enough to sustain myself while I focus. Right now, too much of my time goes into chasing leads, people and unpaid invoices. That energy would be better spent here.

The first change: I’m leaving Substack. The next edition will come from a different platform. Why? Because Substack has drifted far from its supposed mission of independent publishing. Setting aside where some of its financial backing comes from and the questionable associations of its founders, the platform now feels like every other social media outlet, pushing what it wants rather than what you chose to subscribe to. It has become just another channel designed to serve billionaire overlords, not the journalists and creators on it.

I also don’t like that the new follower system does not translate into real subscribers; it’s a database of users they keep. There are other aspects I’m not crazy about, and while I know there’s no perfect platform, I want to explore other options that seem to help users grow and monetise better. Growth marketer Lex Roman explains all of the issues with Substack in detail. I don’t have to take her word for it, I’ve experienced many of these firsthand.

For you, dear readers much won’t change. You’ll still get the weekly newsletter, you’ll still have the option to support with a paid subscription, and you’ll get extra perks if you do. But to make the move sustainable and prep the relaunch, I’m opening a reader raise. The link is live now.

The aim is to close it by 31 October to support GEN33’s future: this newsletter, upcoming interviews, and a new podcast spotlighting Latin America’s creative industries. Your contribution isn’t just financial, it buys time, independence, and space to keep reporting the stories shaping culture and business across the region.

Now for some announcements: I have a new article coming out in September featuring some of the most interesting Latin American brands and retailers right now (details soon). I also have my first podcast guest confirmed: they’re from Brazil and have just taken a top job at one of the country’s leading retailers.

This will likely be my last email from Substack, so if you want to keep receiving GEN33 once I move, make sure you’re properly subscribed. Otherwise you’ll drop off the list. Thank you again for your continued support!

And now, here’s this week’s round of news:

More than bringing economic prosperity to Puerto Rico, Bad Bunny’s historic residency revealed the island’s untapped potential.

10 weekends, 30 sold-out shows and more than 600,000 people are expected to fly into Puerto Rico to attend Bad Bunny’s “No Me Quiero Ir de Aquí” residency at San Juan’s El Coliseo. The influx is double the usual tourism traffic and is expected to inject around $200 million into the island.

That money is not just flowing into hotels and restaurants but also into local fashion labels as concertgoers shop for looks to wear inside and outside El Choli. The celebrity-studded run, with cameos from Ricky Martin, Jon Hamm, Penélope Cruz, LeBron James, Becky G, Austin Butler, and surprise acts from Latin American music stars like Ñejo, Wisin, Yandel, Eladio Carrión, Young Miko, Residente, and more, proves how far a cultural export can move the economic needle.

But as some reporters point out, temporary booms are no substitute for long-term investment. Bad Bunny and his team have shown what vision and marketing can achieve. The question is whether Puerto Rico’s leaders can match it with year-round strategy.

Chile and Argentina’s Lolapalooza 2026 Lineups revealed

Lollapalooza 2026 has unveiled its lineups for its Chile and Argentina editions, bringing nearly identical rosters to both countries. From regional stars like Danny Ocean, Young Cister and Akribb to major international acts like Tyler, the Creator, Sabrina Carpenter, Doechii, Chappell Roan, Skrillex, Lorde and more. The festival will take place in Argentina at the Hipódromo de San Isidro on March 13, 14 and 15, while Chile will host its edition on the same dates at Parque O’Higgins. More details at Lollapalooza Chile and Lollapalooza Argentina.

Governments in Latin America are taxing the surge of cheap imports to protect local businesses.

Governments from Mexico to Chile are adding taxes on cheap imports to protect local businesses from a flood of Chinese goods. Leading the charge are Chinese e-commerce players Temu, Shein and AliExpress, owned by Alibaba. They are still smaller than MercadoLibre and Amazon in the region, but they are catching up quickly. [BoF via Bloomberg].

How fast are these Chinese players catching up? I go into the numbers, main competitors and market size in my BoF piece about Mercado Libre, read here!

FASHION WEEKS

Volvo Fashion Week México has announced its next edition under the theme “City of Fashion,” set to take place 15–18 October 2025 in Santa María la Ribera, a neighbourhood in Mexico City known for its rich architectural and historic heritage.

After more than a decade under the Mercedes-Benz banner and an earlier incarnation as DFashion, the event secured Volvo as its new title sponsor this year. Founded in 2007 by Cory Crespo and organised thereafter by his creative agency Colours, Fashion Week Mexico has become the country’s most prominent fashion showcase. (Read the coverage the previous edition on BoF’s Worldview newsletter).

COLLABORATIONS

Saints Studio & Rafael Moura

Italian label Saints Studio has teamed up with creative director Rafael Moura on a handmade crochet shirt reimagining of Brazil’s iconic 2002 World Cup jersey. Each piece was crafted in Italy as a couture homage to the five-time champions, with the project filmed by Moura in Rio de Janeiro. [Saints Studio].

*(Not affiliated commercially with GEN33 in any way)

H&M Teams Up with Mexican Designer Lorena Saravia

Lorena Saravia will debut a 29-piece capsule with H&M on October 16, making her the first Mexican designer to collaborate with the Swedish retailer. In 2019, the company partnered with Colombian designer Johanna Ortiz.

Saravia launched her brand in 2010 and quickly built a following. Her cowboy boots are particularly popular and remain among her best-sellers. She is known for refining the modern Mexican wardrobe, drawing from landscapes and heritage with poncho shapes and artisan embroidery, and infusing it with elegant, architectural lines. The collection will be available in select stores and online. [VogueMx].

By the way, don’t miss the editorial by Vogue Mexico with photos by Santiago Sierra Soler. There is a lot of photographic talent in the region, which is why I wrote about Latin America’s New Wave of Fashion Photographers earlier this year. See here for more.

Argentinan rapper Duki launches collab with New Era

The limited-edition line features caps and apparel inspired in the rapper’s aesthetic of bold colour contrasts and graphic details. The collection is rolling out this September across New Era’s online stores in Europe and Latin America.

Duki, born Mauro Ezequiel Lombardo in Buenos Aires, is one of the leading figures of Latin trap. He first broke out through freestyle battles and went on to top charts with hits like She Don’t Give a FO, Goteo and Antes de Ameri. Today he is widely credited with putting Argentina on the global trap map. [New Era].

Willy Chavarria x Adidas: Sandal Scandal

In case you missed it, Mexico’s government is suing Adidas for cultural appropriation over a Willy Chavarria–designed sandal, prompting the designer to issue an apology.

Yes, there is an important conversation to be had about respecting heritage and protecting traditions from being mined by global corporations that churn out goods in China. This project could certainly have been approached differently. Still, the scale of the outrage feels a bit much, especially with President Sheinbaum personally weighing in. Mexico is facing far more pressing issues, from violence to corruption to economic instability, than a plastic slide. Just a thought.

PHOTOGRAPHY

We often focus on campaigns and editorials from US and European brands, so I wanted to spotlight this beautiful campaign by Brazilian photographer Hick Duarte for Misci, the fashion label founded by Airon Martin (who is part of the BoF 500). The designer is known for its minimalist yet culturally rich designs that celebrate Brazilian diversity and heritage through local materials, symbolic prints and community support. The brand's aesthetic contrasts with stereotypes, focusing instead on the nuances of everyday life and the strength of matriarchal figures in Brazil.

ART

Sorondo Projects kicks off Miami Art Week with Symbols of Identity, opening Saturday, November 30 at Black Ship Gallery. Curated by Victoria Maldonado, the show brings together Venezuelan artists Silvana Trevale and María-Elena Pombo, whose work leans on participation and material play to explore what identity looks like when shaped by cultural tradition. Running through December 3, the exhibition zeroes in on how Venezuelan heritage, in particular, has served as a unifying force.

Black Ship Gallery
853 NE 79th St, Miami, FL 33138

Female Peruvian Artists by Female Peruvian Artists

This beautiful shoot caught my eye and is one of the latest projects by photographer and multitalented artist Claudia Rivera, with whom I grabbed a coffee in Paris not too long ago. She worked with stylist Lisseli Santos to present three leading voices in contemporary Andean music: pop–huayno singer Milena Warthon, Karina Benites, vocalist of the group Amaranta, and folk artist La Miski. Through styled portraits, the series reinterprets traditional stage dress, showing how Peruvian women are carrying Andean identity into the future. [Meow Mag].

Thank you for making it this far! I will be back in two weeks (or sooner) with more updates on what’s coming to GEN33 and news from across the region.

Again I’d be eternally greateful if you help me fund the relaunch, I’m opening a reader raise. Every little bit means the world! Support me here and become an Alto Pana!

Your contribution isn’t just financial, it buys time, independence, and space to keep reporting the stories shaping culture and business across the region.

Until then, take care and stay inspired.

Graciela.

With the Met Gala just having taken place, I wanted to reshare this piece I originally wrote in 2018 for Shanghai-based Modern Weekly Style about the Harlem Renaissance. It was never published in English, and given this year’s theme, Superfine: Tailoring Black Style, it felt like the right moment to revisit it.

At the time, I had the chance to interview Monica L. Miller, a key figure behind this year’s event and exhibition through both her academic studies and curatorial work. Her 2009 book, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, served as the primary inspiration for the Met’s theme and the accompanying exhibition at the Costume Institute, which she also co-curated. The piece includes several quotes from our original conversation.

This is a slightly updated version of the original. I wish I’d had more time to revise it, as some references may feel a bit dated, but it still offers plenty of compelling material on the Harlem Renaissance, Black dandyism and the cultural threads that continue to shape fashion today.

(And don’t miss the roundup of news and standout Latin American stars at this year’s Gala. Scroll to the end!)

During the Spring Summer 2018 menswear season, Grace Wales Bonner’s show notes featured excerpts from an essay by Pulitzer Prize-winning critic Hilton Als. The text explored the legacy of James Baldwin, the African American writer whose examinations of race, identity, and spirituality shaped mid-century American literature and continue to influence cultural discourse.

Wales Bonner also cited The Homoerotic Photography of Carl Van Vechten, a key chronicler of the Harlem Renaissance whose portraits captured the intellectual and artistic energy of 1920s Black America. As a designer known for her intellectual explorations of menswear—particularly as it relates to Black male identity—it is clear why the New York of the 1920s would captivate Wales Bonner.

Set against the backdrop of the Roaring Twenties and the Jazz Age, the Harlem Renaissance reshaped African American history, transformed New York’s cultural landscape, and left a lasting mark on the world. It was a moment of rebirth, one that cast the Black American community as a vital force in literature, music, theatre and visual art.

Dressing A New Identity

This gave rise to a new way of dressing, which Monica L. Miller, Associate Professor at Barnard College and author of Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, describes as “an aspiration of a different way of being that honoured and created Black style traditions and creativity.”

“Stylin’ out” in the 1920s, or dressing up, came from a range of impulses. One was the Great Migration, which began in 1916, as African Americans left the rural South for cities like Chicago and New York, drawn by industrial work opened up during the First World War.

“Harlem was specifically magnificent, with wide avenues and broad sidewalks,excellent grand apartments,” says Miller. She recounts that the diverse group of African Americans who gathered in these urban areas for the first time "meant people dressed up to signal their new opportunity, their potential new lives, away from a rural-based proletarian life.

Contemporary menswear still draws from 1920s style, continually reinterpreted throughout the 20th century.

Single and double-breasted suits with high buttons and notch lapels were common, often paired with strong shoulders, pinstripe trousers and fitted vests. These silhouettes were captured in James Van Der Zee’s portraits of Harlem Renaissance figures like Marcus Garvey, Bill “Bojangles” Robinson and Countee Cullen, which helped define the era’s visual language.

“Dressing well was part of a campaign to express to the world that Black people were on the cutting edge of modernity.”

At the Cotton Club, a wealthy white crowd drawn to Harlem nightlife was served by Black waiters in red tuxedos and entertained by music legends like Duke Ellington, Fletcher Henderson, Louis Armstrong and Cab Calloway. The latter helped popularise the flowing zoot suits of the 1940s, especially striking on the dance floor.

The suits were embraced by Malcolm X, jazz musicians and young Black and Latino people in cities; in 1943, the Zoot Suit riots broke out when U.S. service members attacked Mexican American and Black “zoot suiters” in Los Angeles.(NYT)

“Harlem in the 1920s was an area in which self-confidence and independence was fostered for Black people as individuals and as a community,” says Miller. Dressing well, she adds, was both about impressing others and earning recognition within the community. “It was part of a campaign to express to the world that Black people were on the cutting edge of modernity.”

Literature, Art and Radical Collaboration

The segregation and repression of the Southern states had long stifled Black cultural expression. The Harlem Renaissance opened new space for creative exchange, where editors, writers and artists collaborated and published work on an unprecedented scale.

Participants sought to redefine their relationship to heritage and to one another. This vision was captured in The New Negro by Alain Locke, considered the leading voice of the Harlem Renaissance. Locke called for “race pride” and “stimulating race consciousness,” declaring that through art, “Negro life is seizing its first chances for group expression and self-determination,” with Harlem as the centre of a “spiritual coming of age.”

Langston Hughes championed the creation and appreciation of Black art on its own terms, without aspiring to “whiteness.” His groundbreaking work, rooted in lived experience, established him as one of the most influential poets in American history and continues to shape writers and thinkers today.

Also at the core of the movement was Wallace Henry Thurman, who, alongside Hughes and Richard Nugent, launched the literary magazine Fire!!. The publication brought together leading voices of the time, including Zora Neale Hurston, Gwendolyn Bennett, John Davis, Aaron Douglas, Arna Bontemps and Countee Cullen.

Fire!! was one of many examples of the cross-disciplinary collaboration that defined the era. Literary works were often accopmpanied by photography, illustration and design in magazines like The Crisis, Opportunity and The Messenger, or in poetry collections such as Sterling Brown’s Southern Road and James Weldon Johnson’s God’s Trombones, both featuring art by Aaron Douglas.

Books by Hughes, like The Weary Blues, featured covers by Mexican artist Miguel Covarrubias, while Countee Cullen’s Color included illustrations by Charles Cullen.

Aesthetic Tensions: Du Bois and the Purpose of Black Art

Leading sociologist and civil rights activist William Edward Burghardt Du Bois was a vocal critic of some Harlem Renaissance ideals. He believed Black art should be used to advance social equality rather than reflect the harsh realities of African American life. Du Bois co-founded the National Association for the Advancement of Colored People (NAACP) and served as editor of its publication, The Crisis, from 1910 to 1934.

“The height of popularity with jazz music created the perennially cool image of the Black man,” said writer and professor Jabari Asim, who was editor of The Crisis when he spoke to Mashable in 2015. He pointed to musicians like Dexter Gordon, Hank Mobley and Lee Morgan, who helped carry that image forward after the Harlem Renaissance and became household names.

From Political Empowement to the Rise of Hip-Hop

Asim also noted that during the civil rights movement, polished Black suits and crisp white dresses became a way to show dignity and challenge racist stereotypes. “They used clothing to show they would be as productive citizens as any whites if given rights,” he said.

Emmett Price, author of Hip Hop Culture, added that Black men have long used fashion to express pride and resistance, from dashikis in the ’60s to Afros in the ’70s and rap in the ’80s.

Both the Harlem Renaissance and the hip-hop movement opened space for a richer, more complex understanding of the African American experience, challenging prevailing stereotypes. Each gained broad, cross-cultural followings and continues to shape global culture today.

Dapper Dan and (some of) Harlem’s Style Modern Inspirations

A prime example is 1980s hip-hop outfitter Daniel Day, better known as Dapper Dan, who drew attention in 2017 when Alessandro Michele, then creative director of Gucci, allegedly copied one of his designs. During the brand’s Cruise 2018 show, Michele presented a fur-panelled jacket with balloon sleeves, nearly identical to a version Day created in 1989 for Olympic athlete Diane Dixon.

Day became known for his Harlem boutique on 125th Street, a favourite among artists like Big Daddy Kane, Eric B and LL Cool J. That same year, Kim Jones cited him as an influence for the bootleg aesthetic of Louis Vuitton’s Autumn.

Harlem Fashion Week, co-founded by Yvonne Jewnell and her mother Tandra Birkett, gives emerging designers a platform outside the official New York Fashion Week schedule. In September 2024, it marked its 13th season.

Brandice Daniel launched Harlem’s Fashion Row in 2007 to support and spotlight Black designers. It remains a key force in the industry and held its 17th Annual Style Awards in September 2024. Past supporters have included Mary J. Blige, Tracee Ellis Ross, June Ambrose and Dapper Dan.

Harlem’s style legacy remained a reference point well into the late 2010s. In spring 2014, Edward Enninful reimagined two Prada store windows with a 1920s Harlem-inspired set. In autumn 2018, Alexander Wang staged his show at the Hamilton Theater, and in January 2019, Stella McCartney presented her pre-fall collection at the historic Cotton Club.

“Harlem is my home,” says Guy Wood, CEO of 5001 FLAVORS and Harlem Haberdashery,ns with his wife Sharene. Both were born and raised in the neighbourhood. “It’s more than a place, it’s a source of inspiration,” he says.

Wood has dressed stars like Jay-Z, The Notorious B.I.G., and Jennifer Lopez. Looking at photos from the Harlem Renaissance, he sees confidence. “Men were dapper to compete with other men,” he says, noting how that energy helped shape fashion.

“Dandyism is a kind of time-travelling aesthetic in that it recognises the past,
comments on the present, and attempts to image a restriction-free future. I think this was as true in the 1920s as now,” says Miller.

Leave a comment

• NEWS

Latin American Stars at the Met Gala 2025
Shakira, Bad Bunny, Maluma, Willy Chavarria, J Balvin, Jenna Ortega and Omar Apollo were among the standout names who graced the flowered carpet of fashion’s main event.

To see the full list of stars at the Met Gala, click here.

• Vogue Brazil marks its 50th anniversary with a commemorative May 2025 issue that departs from the magazine’s traditional format. The 236-page special edition features in-depth conversations between 56 figures who have shaped Brazilian fashion and culture, exploring themes such as identity, creativity, diversity and politics. Instead of fashion, beauty and lifestyle sections, the issue focuses on intergenerational dialogue, pairing influential voices across sectors.

• The seven covers feature Anitta with Sonia Guajajara, Ney Matogrosso with Carlinhos Brown, Xuxa Meneghel with her daughter Sasha Meneghel, Luiza Brunet with Rita Carreira, Andrea Dellal with Sabrina Sato, Caroline Trentini with Isabeli Fontana, and Erika Hilton with Silvia Braz. Head of Content Paula Merlo describes the issue as a reflection on the magazine’s evolution and continued relevance in a rapidly changing cultural landscape.

• Bogotá Fashion Week returns from 19 to 23 May with a standout edition spotlighting over 140 Colombian brands, from emerging designers to some of the most established names in Latin American fashion. Led by director Rebeca Herrera, the week will feature 25 runway shows and a series of panel discussions curated by Latinness, aiming to foster dialogue around the region’s creative and cultural impact.

Amiri appoints Mexican boxer Saul “Canelo” Alvarez as ambassador. The American fashion brand has partnered with the athlete who has held world championship titles in multiple weight classes. [BoF Inbox]

Thank you for making it this far! I will be back next week with more stories, ideas and discoveries from across the region.
Until then, take care and stay inspired.

Graciela.

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Hello and welcome to GEN33! A newsletter about the business and culture of LATAM's creative industries.

I have something very special to share in this edition. Back in November, I spoke to London-based Brazilian stylist George Krakowiak for my BoF piece about Latin America's fashion photographers. Our conversation went far beyond the brief, offering remarkable insights into his collaborative approach to styling, Brazil’s innate talent for gambiarra and his long-standing creative partnership with Rafael Pavarotti.

Before we get to my conversation with George, here is what happened last week.

MENTIONED IN THIS ISSUE: George Krakowiak, Bad Bunny, Young Miko, Irina Werning, Gaba Najmanovich, María Corina Machado, Andrea Vidaurre, Sandra Díaz, Pope Francis and more…

MUSIC

Latin Grammys Announced

Latin music’s biggest night is headed back to Las Vegas this autumn – the 26th Annual Latin Grammy Awards will take place on Thursday, 13 November 2025 at the MGM Grand in Las Vegas. This marks a return to Vegas (for the 15th time) after last year’s Miami bash. No hosts or performer line-up have been announced yet, but the Latin Recording Academy is already teasing big changes, including two brand-new award categories: Best Music for Visual Media and Best Roots Song Award. (Via grammy.com.)

FASHION

Bad Bunny Brings the Heat to Vogue México

Benito’s back in the fashion headlines (last month it was a Calvin Klein campaign), this time fronting Vogue México. Lensed by Sebastian Faena, the performer’s feature spread comes ahead of his summer residency in Puerto Rico. Laia García interviewed the Boricua star in San Juan. "I’ve finished all my albums the day before they’re released. It’s something I’ve tried to change, but that’s just my way," he said. As reported, the first shows of the concert series will commence on 11 July and run through 27 July at the Coliseo de Puerto Rico, exclusively for residents of the island.

Benito Ocasio has become so influential that his legacy is going Ivy League.
This autumn, Yale students will dissect Bad Bunny in Professor Albert Laguna’s new course, which uses DeBÍ TiRAR MáS FOToS to explore diaspora, reggaetón and colonialism.

TikTok, Replicas and the Future of Luxury

Buenos Aires-based Gaba Najmanovich has a take on the TikTok trend of Chinese sellers exposing luxury manufacturing costs and offering replicas amidst the US-China trade war in Exprimido de Tendencias. Beyond the debate on price and authenticity, she raises a real question: What is luxury in a world where copying gets easier every day?

If it is everywhere, it is not luxury. Scarcity, quality and storytelling are what sustain desirability.

She states that luxury is no longer about the product but about experience, narrative and the universe a brand builds. In a world where communities form around shared interests, the true value is not the bag itself but belonging to the world behind it.

CULTURE

Latin American Women Recognised in TIME 100 for Transformative Leadership

The 2025 TIME 100 list honours several Latin American women for their influence across politics, activism and environmental science. Among them are Mexican president Claudia Sheinbaum, Venezuelan opposition leader María Corina Machado, Peruvian-American environmental activist Andrea Vidaurre and Argentinian ecologist Sandra Díaz. (Time).

PHOTOGRAPHY

In Ecuador’s Mountains, a Photographer’s Search for Ultra-long hair

For over two decades, Argentinian photographer Irina Werning has travelled Latin America in search of women, and eventually men, with the longest hair.
Titled Las Pelilargas (“The Long-haired Ones”), the series celebrates the region’s shared reverence for long hair, from small Indigenous communities to urban centres. Through her interviews, Werning uncovered personal reasons for growing ultra-long tresses, often linked to cultural identity and ancestral traditions. (CNN Style).

TECH

Latin American e-tailer Mercado Libre to invest $2.6 billion in Argentina. The Uruguay-based, Argentina-founded firm that provides e-commerce and fintech services to over 200 million customers across 18 Latin American countries said it plans to spend 53 percent more than it did last year to expand in the market. “This year, we will add 2,000 employees to reach a total of 14,000 in the country,” said Juan Martín de la Serna, president of the company’s Argentina unit. Argentina, a country often described as being in a ‘perpetual’ economic crisis, has reported tentative signs of a turnaround following the inauguration of libertarian president Javier Milei over a year ago, including indications of inflation and poverty reduction and an exit from recession. (BoF Worldview Newsletter.)

The Argentinian Pope Who Didn’t Return and Became an Unlikely Fashion Icon

Francis never set foot in Argentina as pope, concerned about political exploitation in a country where President Milei once insulted him before later making peace (NYT). Still, far from home, he became an unlikely symbol beyond religion; a quiet fashion icon whose simple cassocks and black shoes stood out in a world that once mistook him for wearing a Balenciaga puffer thanks to AI (CNN).

George Krakowiak on Collaboration, Cultural Identity and Brazil’s Moment in Global Fashion

The Brazilian-born stylist offers a glimpse into his collaborations with Rafael Pavarotti, talks about the pitfalls of typecasting and why Brazilians aspiring to go global are now in a stronger position than ever.

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With a foundation in anthropology and a deep curiosity about culture, George Krakowiak brings a distinctive lens to fashion. His approach to styling is thoughtful and unconventional, often merging fashion, art and social commentary. For Krakowiak, clothing is more than appearance; it is a form of communication, a way to spark dialogue and reflect on the world around us.

Hailing from Londrina, Brazil, his curiosity was ignited during his anthropology studies in São Paulo, where he recognised fashion as a bridge between creator and audience, offering a platform to challenge perspectives and encourage collective awareness.

Now based in London and represented by Streeters, Krakowiak has built a portfolio defined by cultural depth and visual impact, collaborating with leading photographers and editors along the way.

He was recently named among the 50 New Wave talents by the British Fashion Council, with his work appearing in Luncheon, Beauty Papers, Dust Magazine, The New York Times, British Vogue, AnOther and Dazed, among others.

Graciela: Your partnership with Rafael Pavarotti has produced potent imagery, and it’s clear you both share a deep creative understanding. How has working together shaped your individual work, and what do you think this collaboration says about the potential of Brazilian—and broader Latin American—talent in the international fashion scene?

George Krakowiak: This year marks a decade since I first met Rafael Pavarotti, so this answer is also a celebration of our friendship.

Since our first encounter in Brazil, there has always been a deep, organic connection and exchange between us. I remember those early years vividly, when we would spend countless hours discussing art, philosophy, and cinema. A decade later, not much has changed in that regard—we still share the same drive and passion.

Our creative connection is deeply symbiotic, built on mutual respect and understanding. I have always admired Rafael’s approach to his work and how he nurtures his creative spirit.

His process is intensely engaging, often transcending the bounds of fashion and venturing into something more profound. For him, and for us both, the goal has always been to look inward to resonate authentically outward.

With Rafael, I feel secure expressing my creative vision, knowing it will be met without judgment. His holistic and mature perspective on life has allowed me to push my creative boundaries further.

Over the past decade, I have witnessed the evolution of my work and recognized the importance of meaningful collaboration. For me, engaging in a project only makes sense when there is a genuine exchange with everyone involved in creating the final image. Storytelling can be a complex process, and I approach it with a broad vision that considers every detail. This is why my partnership with Rafael is so significant — our process is never one-sided. We constantly take into account all elements to create a cohesive whole. It’s essential to have the entire team aligned with a shared purpose.

Today, Brazilians aspiring to make their mark in the international fashion industry are in a stronger position, thanks in part to trailblazers like Rafael Pavarotti. He captured the world’s attention at a time when Brazil wasn’t on the radar, and his journey has become an inspiration to Brazilians and Latin Americans alike. Having been part of his journey from the beginning, I know firsthand how deserving he is of his place in this industry. Seeing his success fills me with pride and joy.

There often seems to be a preconception that being from a particular place and creating work rooted in that background can lead to typecasting, limiting how others perceive your range. Meanwhile, artists from major fashion hubs might not face the same scrutiny. What has been your experience?

Yes, there is indeed a prevalent Eurocentric perspective when it comes to certain contexts and a specific, often exoticized way of viewing Latin American artists working abroad. There is frequently an attempt to place us in predefined spaces that we may not belong to or wish to inhabit. For immigrants, this can amplify stereotypes. Brazilians, for example, are often expected to focus on familiar themes such as samba, Rio de Janeiro, and football. However, there is a wealth of creativity and narratives that extend far beyond these associations.

I recall vividly when I first arrived in the UK; the stories I was most passionate about were those that provided a deeper, immersive perspective on concepts I had been studying for years. One of these was ‘gambiarra,’ an approach rooted in Brazilian culture and daily life that embodies innovation and adaptability. Despite its commonality, it hasn’t always been celebrated as a source of national pride. To me, these elements are undeniably ours—woven into our identity—but when misunderstood, they can be viewed through an immature lens.

What truly fuels my interest in this subject is the unique dynamic of creativity inherent in this practice. Growing up in a country often labeled as “third world,” creating from scratch is ingrained in our culture. Brazilians are naturally creative; unfortunately, this creativity was rendered invisible for decades, largely because Europe has historically dominated the narrative, both creatively and intellectually.

However, I believe things have shifted over recent years and decades.

While some degree of exoticization still exists, there is also a growing curiosity to understand what we have to say.

There is a desire to see the perspectives of artists who transcend the Europe-North America axis, and this is both essential and exciting. The number of remarkable creatives worldwide who have yet to gain visibility simply because they fall outside this axis is significant.

Though challenges remain, it is no longer an impossibility. With technology bridging connections globally, ideas and talent can rise to prominence faster than ever, opening doors and fostering a more inclusive world for creatives everywhere. This progress is inspiring and paves the way for a broader, richer cultural dialogue.

What do you see as the main challenges for fashion photography and styling today, especially from the perspective of being Brazilian or Latin American?

Despite advancements, fashion creatives still face challenges in gaining full creative freedom. However, I believe fashion styling is evolving to embrace a more anthropological, political, and artistic approach. While many ideas have historically remained at a superficial level, there is a growing awareness of the deeper objectives that fashion can offer consumers.

Balancing creative vision with commercial needs can be complex, but the industry is beginning to shift toward more thoughtful, innovative storytelling. Personally, I find fashion most compelling when it engages with meaningful themes and encourages dialogue. There is ample opportunity to create beyond the transient act of simply showcasing clothing in front of a camera.

Consider the Mona Lisa—her attire alone provides insights into her historical period. While the painting embodies the artistic values of its time, it is imbued with social, historical, and political significance. Similarly, I believe there is space for a new wave of creatives committed to producing fashion imagery with deeper intent and purpose, paving the way for a more reflective and impactful industry.

The greatest challenge today is finding ways to express ideas without being overly constrained by trends or product-focused thinking. Trends and products may be relevant for a season, but images with profound and universal qualities can endure for decades. This is the aspiration for creatives: to craft timeless images that resonate beyond a single issue and contribute meaningfully to the cultural landscape.

A few years ago, while working in Brazil, I often encountered resistance when trying to bring my vision to life. Rafael Pavarotti stood by me as an ally, and together, we made things happen despite an industry that could prioritize commerce over artistic expression. Over time, I’ve seen progress. London, for instance, embraced me and sparked a new sense of optimism. Here, the emphasis on empowering creatives has marked a turning point in my career as a stylist. I felt an overwhelming sense of freedom, and the exchange of ideas with other creatives has been invaluable, helping to decentralize ingrained concepts and foster a healthier, more collaborative environment.

Looking ahead, I’m hopeful for the next generation of fashion creatives. There is a growing movement toward more inclusive and thoughtful practices that encourage, dialogue and resilience. With this shift, the industry can continue evolving into a space where creativity and commerce coexist harmoniously, inspiring timeless and purposeful work. ⭐

🔥If you’re as obsessed as me with George’s work, do give him a follow!👇

Antes de Irnos…

We’re Not Quite All The Same

MUSIC DROP

Young Miko launches new single WASSUP
Puerto Rico’s rising trap princesa Young Miko just popped back onto the scene with a booming new single appropriately titled “WASSUP.” This bass-heavy, unapologetically swaggering track is her first solo drop of the year. The song boldly interpolates Lil Wayne’s 2008 hit “Lollipop,” even featuring a surprise hype cameo from crunk legend Lil Jon on the outro hola.com.

Thank you for reading. I will be back next week with more stories, ideas and discoveries from across the region.
Until then, take care and stay inspired.

Graciela.

FASHION

🇧🇷 São Paulo Fashion Week turns 30 with a landmark public show by Piet. The 59th edition of São Paulo Fashion Week, the country’s largest fashion event, took place from April 6 to 11, marking three decades since its inception. This season featured 17 runway shows held across a mix of outdoor venues and key locations including JK Iguatemi and Casa Higienópolis.

Aluf, by Ana Luisa Fernandes, opened the schedule, setting the tone for a week that balanced established names including João Pimenta, Walerio Araújo, Alexandre Herchcovitch, Dario Mittman, Patricia Viera, Dendezeiro, Lino Villaventura, Handred, Weider and À La Garçonne with newer brands such as Normando and Reptilia. Exciting debuts included Leandro Castro and MNMAL by Flávio Gamaum.

“People didn’t believe a fashion week in Brazil was possible,” said Paulo Borges, founder and artistic director of SPFW, in a video posted to his Instagram account. Reflecting on the event’s trajectory, he said it helped shape professions and transform the industry.

The week closed with Piet’s anticipated return, after a six-year hiatus, drawing 4,000 attendees to its first public show at São Paulo’s Estádio Pacaembu. The SS25 “Farmers League Collection” featured collaborations with Oakley, Puma, Swarovski and KidSuper.

Renzo Rosso Eyes São Paulo for Diesel Building as Brand Expands Lifestyle Vision. Renzo Rosso is close to signing a deal for a Diesel-branded building in São Paulo, marking a new phase in the OTB founder’s growing real estate ambitions. During Milan Design Week 2025, Diesel Living unveiled two new projects: a sofa and armchair collection with Moroso, and a pendant light with lighting brand Lodes — both designed by creative director Glenn Martens. The move signals Diesel’s push to evolve beyond fashion into a full lifestyle offering. (Fashion Network.br)

ARTS

🇵🇪 10 Essential Books by Mario Vargas Llosa

On April 13, Mario Vargas Llosa, one of Latin America’s greatest literary figures, passed away in Lima at the age of 89. A towering presence in global literature, Vargas Llosa left behind more than 50 works, including novels, essays, plays, short stories, children's tales, and an autobiography. A key figure in the Latin American literary boom of the 1960s, he was awarded the Nobel Prize in Literature in 2010, celebrated as a "divinely gifted storyteller". His powerful explorations of authoritarianism, violence, and machismo, told through masterful language and imagery, cemented his place in literary history and brought international acclaim to Latin American writing. Beyond literature, he also made headlines with his bid for Peru’s presidency in 1990.

As the world reflects on his extraordinary legacy, these ten essential works offer a window into the mind of a writer who reshaped modern literature and captured the complexities of Latin America like few others.

From La ciudad y los perros (1962), the groundbreaking debut that marked his fierce defence of freedom against authoritarianism, to Conversación en La Catedral (1969), a personal favourite where he dissects Peru’s political decay, Vargas Llosa consistently challenged and captivated his audience. His memoir El pez en el agua (1993) offers an intimate look at the experiences that shaped both the man and the writer, while La fiesta del Chivo (2000) remains a landmark novel on dictatorship and tyranny in Latin America.

(CNN Español)

🇩🇴 Model Austria Ulloa Curates a Bold Rebirth of Dominican Women in Art

"Raíces y Renacimiento: Mujeres Dominicanas en el Arte" brings the powerful works of 22 Dominican women artists to the Hostos Center for the Arts and Culture. Curated by (top model) Austria Ulloa, the exhibition explores memory, identity and transformation through painting, sculpture, photography and mixed media, drawing from Dominican folklore, Afro-Caribbean spirituality and the diasporic experience. Where: Hostos Center for the Arts & Culture, located on the campus of Hostos Communtiy College | CUNY at 450 Grand Concourse, off 149th Street, in the Bronx. More info & tickets here.

PARTICIPATING ARTISTS
Adela Doré | América Olivo | América Rodríguez | Ana María López | Carmen Inés Bencosme
Citlally Miranda | Ileana García | Inés Tolentino | Iris Pérez | Joiri Minaya | Judith Mora | Julianny Ariza
Luanda Lozano | Luz Severino | Marcia Guerrero | Nathalie Landestoy | Patricia Encarnación
Paula Saneaux | Scherezade García | Soraya Abu Naba’a | Wildriana Paulino | Yelaine Rodríguez

MUSIC

🇲🇽🇵🇷 Vicente Fernández, Lin-Manuel Miranda, and Freddy Fender Join US National Recording Registry

Mexican icon Vicente Fernández, Puerto Rican-American playwright Lin-Manuel Miranda, and Tejano star Freddy Fender are among the latest Latin artists inducted into the US National Recording Registry. Announced on April 9, the additions include Fernández’s ranchera classic "El Rey," the original Broadway cast recording of "Hamilton," and Fender’s hit "Before the Next Teardrop Falls." They join the ranks of legends like Celia Cruz, Juan Gabriel, Daddy Yankee, Gloria Estefan, and Selena Quintanilla, bringing the total number of Latin recordings preserved by the Library of Congress to 29.​ (NBC News).

🎶 Billboard Names the 50 Greatest Female Latin Pop Artists of All Time

Billboard has released its list of the top 50 female Latin pop artists of all time. Icons like Shakira, Celia Cruz, and Selena Quintanilla top the ranking, alongside Jenni Rivera, Gloria Estefan, and Ivy Queen. Contemporary artists like Becky G, Kali Uchis, and Julieta Venegas also made the list. (Billboard)

🇩🇴 Rubby Pérez, Icon of Dominican Merengue, Dies at 68

Beloved Dominican merenguero Rubby Pérez died on 8 April after the roof of the Jet Set nightclub collapsed in Santo Domingo. Pérez, 68, was hosting an event at the venue when the incident occurred. The tragedy left at least 98 dead and more than 150 injured.

Known as “the loudest voice in merengue,” Pérez rose to fame in the 1980s and achieved international success in 1987 when he entered the Billboard charts. Born Roberto Antonio Pérez Herrera, he was awarded honours such as the Premios Casandra and Premios Globo. His voice and stage presence leave a lasting legacy in Dominican music and culture.

This was perhaps his most famous song: Volveré.

Venezuelan migrants relied on clickwork to survive. Now AI is replacing them

For years, Venezuelan migrants survived off clickwork — low-level digital jobs like tagging data, content moderation, or writing SEO content. Now AI is putting them out of work. ⁠

⁠“There could come a time when there are simply no more tasks, it’s over and forgotten. I think that would be a nightmare for all of us,” said Oskarina Fuentes, who trained as an oil and gas engineer in Venezuela. She moved to Colombia in 2019 and began tagging data for an AI platform. Fuentes competes with thousands of other workers for 5–25 cents per task, but the jobs are becoming fewer and further between. ⁠ Rest of The World.

Greetings from London, and welcome back (finally!) to GEN33!

I started writing this on the Eurostar back from Paris, then didn’t finish until the weekend… Sorry for the hiatus (yet again). It’s been a crazy start to the year!

In this issue: Carolina Herrera, Reinaldo Herrera, Alexandre Birman, Roberto Jatahy, Bad Bunny, Feid, Peso Pluma, Carmen Busquets, Gabriela Hearst, Johanna Ortiz, Willy Chavarria, Ca7riel & Paco Amoroso, Ana de Armas, Adriana Seminario, Trama Paris. Silvana Trevale, Enrique Leyva, Pedro Napolinario, Gleeson Paulino, BoF.

Before diving into the latest from LATAM’s creative industries, this just hit last night:

🖤 Reinaldo Herrera, 1932–2025

Reinaldo Herrera, Carolina Herrera’s husband of 57 years, has passed away at 91. Mrs. Herrera, born Carolina Pacanins took his surname after they married in 1968. Together they had two daughters, Carolina Adriana and Patricia Cristina. (Mrs. Herrera also has two daughters from her first marriage, Mercedes and Ana Luisa Behrens.)

Reinaldo was a fixture of Caracas’ high society (as was Carolina) and later became a key patron in his wife’s fashion career, thanks to his connections with the likes of Andy Warhol, Estée Lauder and Jackie Kennedy, whom Carolina dressed for over a decade. He was the Marquis of Torre Casa (a title he later lost), an editor at Vanity Fair and a regular at the kind of dinners and parties that defined a different era in Venezuela and New York.

Looking at Carolina Herrera’s archive photos, you really get a sense of what it was like to be part of Venezuelan high society in a country that back then had it all: perfect weather, paradise beaches and everything still to be built. Yes, Carolina was born privileged. Yes, she married well. So what? She built an fashion empire when she could have easily chosen not to, and frankly, I’m glad she brings that positive association to Venezuela: impeccable style, taste and a fashion pioneer, especially today when it’s a country immersed in perpetual chaos.

“Reinaldo Herrera was a keen cultural observer, a man of innate elegance and charm with a vibrant wit. Above all, he was a beloved family man... a proud supporter of the Carolina Herrera brand since its founding in 1981,” read the caption on the brand’s official Instagram account. More on CNN.

Q.E.P.D

BUSINESS

• Azza's 2154 Rift: Birman and Jatahy Near Split Just 8 Months Post-Merger

It’s been less than eight months since Brazilian powerhouses Arezzo&Co and Grupo Soma joined forces, but tensions between key shareholders Alexandre Birman and Roberto Jatahy are already pushing Azza's 2154 towards a potential split. Both have brought in legal advisors to explore their options, including a possible division of operations. However, concerns over how the market might react (plus potential tax implications) have slowed any final decisions, according to sources at Valor.

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MUSIC

• LATAM Artists Smashing the Charts at the iHeartRadio Music Awards

Monday was a big night for Latin music at the iHeartRadio Music Awards. Bad Bunny performed “EoE” and scooped up Best Pop/Urban Latin Song of the Year for his banger “Perro Negro” with Feid. The latter also snagged Latin Pop/Urban Artist of the Year, while regional Mexican star Xavi scored Best New Artist in his genre. Peso Pluma took home Regional Mexican Artist of the Year and Regional Mexican Album of the Year. Other nominees representing Latin America included Becky G, Ivan Cornejo and Oscar Ortiz. (Latv).

FASHION

Speaking of… guess who’s the new face of Calvin Klein Underwear?

Apparently Bad Bunny toasted his new Calvin Klein underwear photo shoot with croquetas and crispy tuna rice.(GQ).

You’re Not Invited

Will Latin America Be Left Out as Fashion Shows Downsize? This season, several big houses dramatically reduced their venues. Many framed it as “a return to intimacy” or “the creative director’s vision” but the reality is these shows cost hundreds of thousands, if not millions, and it’s no secret luxury has had a rough couple of years. Even Louis Vuitton scaled back from its usual 1000 seats to just 300, calling it an “artistic decision.” 2025 isn’t looking great for the luxury market either, especially now as the orange man threatens with more tariffs.

Milan saw similar reductions. Just days before Fashion Week kicked off, a prominent Latin American editor shared they were struggling to secure even one seat. As invitations become even more exclusive, will LATAM (and other smaller markets) be left out? I hope not. Let’s see how next season plays out.’

Carmen Busquets Hosted a Cocktail Celebrating Latin American Creativity

• Venezuelan entrepreneur and philanthropist Carmen Busquets certainly made a point of highlighting the importance of Latin Americans in fashion. During Paris Fashion Week she hosted a cocktail to honour Latin American creatives, and the soirée was packed with top-tier industry names from both the Latin American and global scenes:

  

  Among the attendees were Delphine Arnault, Mytheresa’s Michael Kliger, Ian Sielecki (Argentina’s ambassador to France), Karla Martinez de Salas (Head of Content for Vogue Mexico) and designers including Gabriela Hearst, Esteban Cortázar, Johanna Ortiz and Vetements’ Guram Gvasalia, among others. Busquets told WWD that nowadays Latin Americans are actually “quite a majority.”

  ---

  Case in point: Latin American talent continues to grow its presence at Paris Fashion Week.

• I was happy to see Willy Chavarria make his debut in Paris during menswear in January, and the wonderfully talented Young Miko take a front-row seat at the Miu Miu AW2025 show earlier this month. She’s exactly the kind of cool artist brands should be warming up to.

On that note, the duo of the moment, Ca7riel & Paco Amoroso, were also seen at Jean Paul Gaultier and Ludovic de Saint Sernin during Paris menswear in January.

(If you haven’t seen their new short film and EP, PAPOTA , stop everything you’re doing and watch it now. PAPOTA is a funny, candid commentary on their rise to fame, the rollercoaster of emotions that followed and the twists in their careers since going viral on Tiny Desk.

It also delivers a hilarious satirical take on the pressures of being musical artists, humorously imagining what would happen if they went to outrageous lengths to win a Latin Grammy (“Latin Chaddy”) under the influence of a shady label boss. PAPOTA is a four song EP plus all five live singles from their Tiny Desk performance, but it’s also the soundtrack to an outstanding piece of media.)

Back from that tangent. Other #LATAM celebs seen at #PFW include Camila Cabello at Chanel, Ana de Armas at Louis Vuitton, Tini Stoessel at Balmain and Ludovic de Saint Sernin. Meanwhile, Colombian influencer Jashlem has cemented his status as a best-dressed man, with the likes of Gucci and Adidas lining up to dress him.

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🚨New Brand Alert:

TRAMA PARIS

I finally had the chance to meet and catch up with the lovely Adriana Seminario, co-founder (with Cinthya Guerrero) of Trama Paris. They launched last year, specialising in knitwear made from alpaca, and were showing their collection at Premiere Classe.

Up close, the pieces are exactly what you want them to be: cozy, beautifully made and truly effortless. Five styles, a few colourways, straight to the point. A tight edit with impeccable craftsmanship.

The price point is close to what you’d pay for a cashmere blend jumper at The Kooples or Zadig & Voltaire, but with much better quality (and style) for your buck. [I had a Z&V wool turtleneck and was very disappointed with the quality, considering it was €250 (although I paid less for it on sale). I’ve had €20 Zara pieces last longer.]

Trama’s pieces are sustainably handmade from premium alpaca, one of the warmest, softest fibres around. I loved the brushed texture because it’s been meticulously “dishevelled” but looks incredibly comfy and elegant. How to wear them? Just look at founders Adriana and Cinthya for inspiration.

📸 BEHIND THE LENS
LATAM’s Photography Talent On The Rise

In case you missed it, I wrote a piece for BoF last month about the new generation of Latin American photographers. Talent hailing from Brazil, Mexico, Peru, Venezuela and Argentina is landing major fashion gigs by blending rich cultural storytelling with commercial appeal.

I had the immense pleasure of speaking to many of them, who told me their stories and what makes them tick. I also spoke to editors, stylists and consultants who helped me contextualise and understand their impact.

Some of key figures include Karla Martinez de Salas (Head of Content Vogue Mexico), Paula Merlo (Head of Content Vogue Brazil), Wes Gordon (Creative Director for Carolina Herrera), Katie Grand (Founder and EIC of Perfect Magazine), George Krakowiak (stylist) and Cami Straschnoy (consultant).

Photographers included Mariano Vivanco, Sofia Malamute, Silvana Trevale, Camila Falquez, Juan Brenner, Pedro Napolinario, Enrique Leyva, Paola Vivas, Khristio, Mar+Vin, Jacques Burga, Izack Morales and Victoria Ruiz, and more!

READ THE PIECE on BoF or message me for access.

On that note, The PhotoVogue Festival returned for its ninth edition. This time it’s focus was on celebrating the natural world while addressing some of today’s most pressing global challenges. It took place from March 6th to 9th, 2025, at BASE Milano.

The festival offered a rich programme of exhibitions, panels, presentations and digital showcases, including the Latin America Panorama, for which one hundred artists were shortlisted through a local open call.

Many LATAM artists participated in panels on topics like Fashion for Change: Raising Awareness Through Creativity, with Silvana Trevale (Venezuela) and Ana Margarita Flores (Peru), and Indigenous Voices: Honouring Cultural Heritage, with Gleeson Paulino (Brazil), Ana Caroline de Lima (Brazil) and Sara Meneses Cuapio (Mexico).

The panel Latin America Panorama: Through the Fashion Lens featured Rafael Paiva, Viridiana, Patricia Reyes, Thais Vandanezi, Karla Read, Andres Altamirano, Gabriel Gomez and Diego Bendezu.

Other artists present included Juan Brenner, Enrique Leyva (both of whom I interviewed for my BoF piece), Margarita Flores, Margarita V. Beltran, Carolina Arantes, Vilerx Perez and Chris Perez.

🎉 Congratulations to them all! 👏

You made it to the end! Thanks for reading ! I hope you appreciate the love and work I put into this newsletter. If you found it valuable, please share GEN33!

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ABOUT ME: I am a journalist based in London specialising in fashion and luxury and also work as a creative strategist for fashion, luxury and media brands, helping them find their voice and unlock bold storytelling to reach their full potential.

I give talks, offer consultancy and started this newsletter to talk more about LATAM’s creative industries in English because there’s so much happening that those who don’t speak Spanish or Portuguese are missing out on.

If you want to check out more of my work, click here.
Thanks for reading and do share if you found it valuable!

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This month I’m taking some time to refine GEN33’s structure and establish a consistent publishing schedule. My goal is to make this newsletter as insightful and engaging as possible 😊.

Before getting to this week’s topics I’m excited to share that I’ve been invited to Bernard Garby’s Fashion News show. (Garby’s channel has amassed 411.9K followers, making him a Top 5 Fashion TikTok creator, UK Top 4, and Global Top 33). I’ll be discussing the Proenza Schouler founders stepping down from their brand, the speculation about them moving to Loewe, and all the musical chair rumours surrounding this. Catch it Sunday on Garby’s TikTok.

The other news is that I have a couple of articles coming out soon, and one of them is a print cover story (shhh, it’s a big celeb!). I’m so excited about this and can’t wait to share more, so keep an eye on my socials

Ok let’s dive in!

In this edition:

🇦🇷 Why Argentina is a creative force to watch this year.
🏆 What the Fernanda Torres and Emilia Pérez wins mean for the industry.
📈 A Peak inside Latin America’s $2.64 billion retail media pie.

And much more…

Why 2025 Might Be Argentina’s Biggest Creative Year Yet

After 16 years, Argentina has pulled off what once seemed impossible: a financial surplus. Milei's government slashed spending by 29% year-on-year in real terms (a feat last recorded in 2008), and the surplus now is between 0.2% and 0.3% of GDP, according to Paolo Manzo.

For those who haven’t been keeping tabs: Argentina has spent decades in a near-permanent cycle of crisis and inflation. But lately, there are signs—both in spreadsheets and on Spotify—that the country is mounting a slow, steady recovery.

It's fascinating that even in the depths of economic turmoil, Argentina's response has been to create. Over the past two years, music hailing from the country has been breaking into the global scene in a way not seen in decades.

What does all this mean for the creative industries? It’s something I’m looking to explore further. This is why I’m keen on speaking with my favourite trend expert, Buenos Aires-based Gaba Najmanovich. Her newsletter Exprimido de Tendencias offers a wealth of insights into consumer trends and culture.( It’s thanks to her that I discovered CA7RIEL & Paco, photographer Dagurke and the and Brazilian artist Randolpho Lamonier).

In the meantime, I can tell you that Argentina's creative forces to watch include fashion, naturally. Argentinians love shopping and are famously stylish people. It’s no surprise Dazed recently spotlighted Buenos Aires’s Neomarik, a queer rave where DIY couture and pop star tributes set the tone for the new year.

How fashion will be affected becomes especially interesting now that, according to Fashion Network, Milei's government is advancing plans to implement a system allowing local businesses to accept dollar payments. Also, in 2024, vacant commercial spaces in Argentina decreased, with La Plata experiencing as much as an 80% reduction in vacancy.

What’s more, Argentina has long hosted Buenos Aires Fashion Week, a beloved event. While not as upscale as the main four or their São Paulo or Mexico counterparts, it has long been a platform to showcase iconic brands, some of which are quite popular across the continent, like Kosiuko, Rapsodia and Jazmín Chebar, among many others. (In 2023, the outlook was much bleaker, as I reported for BoF).

And then, there’s Mercado Libre, LATAM’s undisputable leader. The $90-billion e-commerce powerhouse is pulling out all the stops to battle China-founded ultra-fast fashion incomers like Shein and Temu. I wrote all about it for The Business of Fashion. If you’d like to read that deep dive, just reply to this email or message me.

Fernanda Torres and Zoe Saldaña Make History at the 2025 Golden Globes

Unless you’ve been completely off the grid, actresses from Latin America made headlines at the latest Golden Globes. I’ve been writing about I’m Still Here and Emilia Pérez for a while, noting their Oscar potential. So I was pleasantly surprised when Fernanda Torres became the first Brazilian actress to win a Golden Globe. She won Best Performance by a Female Actor in a Motion Picture for Walter Selles’ I’m Still Here – beating heavyweights Angelina Jolie (Maria), Kate Winslet (Lee), Nicole Kidman (Babygirl), and Tilda Swinton (The Room Next Door). That’s a pretty big deal.

Torres’ win comes 25 years after her mother, Fernanda Montenegro, became the first Brazilian actress to be nominated for a Golden Globe in the same category for Central Station in 1999.

Then, there's Emilia Pérez. A musical film, by French Director Jacques Audiard, about a Mexican drug dealer who undergoes gender-affirming surgery to begin a new life as a woman It led the nominations with 10 nods and won the most among all the films, with four statues, including Best Foreign-Language Film and Best Supporting Actress in a Musical or Comedy for Zoe Saldaña, who is American and of Dominican and Puerto Rican descent.

I’ve said before that my main criticism of Emilia Pérez was the various ambiguous accents that felt inauthentic. Still, Emilia Pérez rose above criticisms, and Saldaña’s award was well deserved. Karla Sofía Gascón was notably disappointed not to win, but she was just as worthy of recognition.

It seems the Golden Globes have regained some of their lustre after two scandal-ridden years due to their former elitist composition among other issues. Now, with revamped rules to broaden their selection base and aim for greater diversity both in their results and in their annual reports, the awards seem refreshed. This year’s hosting was also redeemed by Nikki Glaser’s quick wit and sharp, genuinely funny material.

Somehow these wins for Emilia Pérez and I’m Still Here don’t feel like mere box-ticking diversity gestures but a real acknowledgment of the undeniable talent that exists beyond the traditional names of Hollywood.

Latin America’s Retail Media Boom

If you’re keeping an eye on e-commerce trends, the eMarketer 2025 Trends Report for Latin America is one of your essentials. Expert Matteo Ceurvels highlights the explosive growth of the region’s retail media ecosystem. I highly recommend following Matteo, he offers so many invaluable insights on the topic and is always posting updates.

Ceurvels recently reported that over 80 players are vying for a piece of Latin America's $2.64 billion retail media market, which means competition among smaller and mid-sized networks is heating up. He also pointed out that this year promises to be transformative for the region, as political and economic shifts create new opportunities across sectors. Retail media and AI will drive growth and innovation, while new tariffs and regulations will reshape cross-border dynamics for both global and local players.

Here are some of his key takeaways:

1. Mercado Libre will lead the retail media charge as smaller players struggle to scale.

2. Policy shifts will have ripple effects on cross-border e-commerce across Latin America.

3. Social media platforms will face growing pressure to protect minors.

4. AI will supercharge efficiency, personalization, and sales growth.

These are just a few of the trends shaping Latin America’s digital economy in 2025. How retail media, policy shifts, and AI innovation will continue to advance the region is something to watch closely. (eMarketer by Matteo Ceurvels).

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News Roundup

Gearing up for 2025’s Colombiatex. From 28 to 30 January 2025, Plaza Mayor in Medellín will host Colombiatex, one of Latin America's leading fashion showcases. This edition features 36 Brazilian companies under the Texbrasil programme, highlighting Brazil's role as a major textile exporter and innovator in sustainable and cutting-edge technologies. (LatinPyme).

According to FashionNetwork, the fashion market surpassed $34 billion in 2024, growing 5.2%, contributing 2% of Colombia's GDP and over 10% of its industrial GDP. Despite global economic challenges, Colombiatex will connect over 27,000 industry professionals with national and international buyers.

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Tiffany’s Unveils a Two-Storey Flagship in São Paulo

Tiffany & Co. has opened its first flagship store at Iguatemi São Paulo, marking a new chapter in its 20-year presence at the location. The new space spans an impressive 408 square metres over two floors and features an interior design inspired by the House’s iconic Fifth Avenue flagship while also incorporating touches of Brazilian culture, including works by local artists João Carlos Galvão and Humberto Campana.

This is a good example of a global brand adapting to local culture and tastes to resonate more effectively with customers. Brazil’s economy has shown remarkable resilience during the disinflation process over the past two years. The country reported a 0.9% growth in the third quarter of 2024; not impressive, but enough to keep luxury brands, including Tiffany’s, optimistic about its prospects.

Natura, Brazil’s largest cosmetics company by revenue, has created a sonic logo to add a new layer to its identity. Working with Soundthinkers and Africa Creative, the team captured the electrical signals of Amazonian trees using electrodes to craft a unique sound. This video offers a glimpse into the process and its results. (Exprimido de Tendencias).

Bad Bunny Does it Again. This time he made history on Apple Music with 'BAILE INoLVIDABLE,' the first salsa track to hit #1 on the platform in the US. Featured on Debí Tirar Más Fotos, his latest album. The song, Benito’s personal favourite, blends congas, piano and trumpets to tell the story of a man haunted by memories of a lost love who taught him how to dance.

His voice lends itself well to salsa, and although I don’t listen to Bad Bunny much, I love that he’s giving visibility (or audibility, shall I say) to salsa(Los 40 Chile IG).

BTW… It seems the artist is going head-to-head with none other than Taylor Swift. Fans online have pointed out striking similarities between each artist's discography as the two compete for the top spot on the Billboard album chart. (Rolling Stone).

The Global Pantry. According to a recent WGSN report, pantries are evolving to reflect global eating trends, featuring flavours from across cuisines. For example, Mexican salsa macha, Chinese chili crisp, Japanese yuzu koshu mayo, Indonesian sambal, Mojo Rojo, pandan kaya curd and ube halaya all coexist in the same space.

Thanks for reading! I hope you appreciate the love and work I put into this newsletter. If you found it valuable, please share GEN33!

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Proenza Schouler's Jack McCollough and Lazaro Hernandez are reportedly set to become the next creative directors of Loewe, following Jonathan Anderson's final collection in Paris this March. These announcements have yet to be formalised.

Rumours have been swirling for months that Anderson is poised to replace Maria Grazia Chiuri at Dior, overseeing womenswear collections and possibly menswear too, taking over from Kim Jones.

Jack McCollough and Lazaro Hernandez met at Parsons School of Design and launched their label in 2002, quickly gaining recognition for their impeccable craftsmanship, attention to detail and ability to merge modernity with an artistic edge.

Back in the day, when I interviewed the late Maria Luisa Poumaillou in 2012, I remember her mentioning “two great aesthetics regarding the way of dressing,” one being Balenciaga and the other Prada. “After you mention those two, you have opened two ways in which you will find your style according to the current times we live in. Everything that is modernism, minimalism, steers towards Balenciaga. Celine is from the school of Balenciaga. I love Celine,” she said.

When Philo left Celine, Proenza Schouler emerged as one of those viable "alternatives," so to speak. They captured a similar intellectual and artistic underpinning, with a sophisticated blend of modern minimalism and artisanal craft, which makes them a great successor to Anderson's creatively charged reign at Loewe.

More critically still, they excel at the accessories game. Who could forget Proenza Schouler’s PS1 satchel, a defining "it" bag of the late 2000s? And Loewe, after all, is a leather goods brand first and foremost.

What do you think about the PS duo helming Loewe?

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Before I dive into the best Tiny Desks of 2024 by Latam artists, I want to share some data about Latin American artists that stoodout to me (as reported by Billboard).

One little thing first though. Calling “Latin music” a genre is a misnomer. It’s reductive and wrong for at least two reasons. One: music in Spanish has as many genres as music in English or any other language including rock and pop. Would anyone lump Snoop Dogg and The Rolling Stones into the same category?

Two: the term should be “Latin American” not just Latin. I know this is debatable for many reasons but using just “Latin” is another misnomer. When I read “Latin,” I think of cultures tied to Romance languages—Spanish, Portuguese, French, Italian—not specifically Latin America. Although it’s been used for years as a demonym to lump all Luso and Hispanic identities of countries across the Americas into one.

I’ll never forget in Paris one day when a group of Colombians asked me where to find the “Quartier Latin” because they were hoping to get Colombian food 🤦‍♀️. The Quartier Latin is called that because of its historical association with the Latin language not Latin America. In the Middle Ages, this area was the academic hub of Paris centred around the University of Paris (the Sorbonne). Latin was the language of education and scholarship so the name stuck.

Anyway, I’ll dig into this more another time, but here’s the thing—it’s nearly impossible to write about Latin America without running into reductive concepts at every turn. The main point, though, is the unstoppable growth of music by Latin American artists or from Latin America.

HOT DATA

Thanks for reading my rant, now here is the music data that caught my attention:

• According to Luminate's 2024 Mid-Year Music Report, Latin American music in the US alone, streams jumped by 15.1% from 2023 to 2024, making it the fastest-growing music category in the country. Early in 2024, the same report highlighted that Spanish was the second most-consumed language for music globally, trailing only English.

• Billboard Boxscore’s year-end report shows 15 Latin (American) artists’ tours cracked the top 100 in 2024, marking a 37% increase from 2023. “Latin music” (whatever that means) now ranks as the third-highest revenue generator in touring, behind only pop and rock (in English, I presume?). (Again, there’s pop and rock in Spanish and Portuguese too, sigh).

• At 54, Luis Miguel has broken records with his 2023-24 tour, now the highest-grossing tour by a Latin American artist ever. By 28 August in Caracas, the tour grossed $318.2 million, selling 2.2 million tickets across 146 shows, surpassing Bad Bunny’s “World’s Hottest Tour” ($314.1 million) and Karol G’s Mañana Será Bonito ($313.3 million). How could he not? Luismi is an ICON! I remember seeing him in concert when I was 14!

• Chile’s Turn in the Spotlight. Artists like FloyyMenor and Cris MJ’s reggaetón hit “Gata Only” have put Chile on the map. The viral track topped Billboard’s Hot Latin Songs chart for 14 weeks, became 2024's Top Hot Latin Song, ranked No. 9 on the Billboard Global 200, and was TikTok’s most popular song of the year.

(Read the full article here on Billboard)

The Best Tiny Desks of 2024 by LATAM Artists

It’s a fact, Latam’s musical growth shows no signs of slowing down. A major indicator was Ca7riel & Paco Amoroso’s Tiny Desk Concert, which racked up 20 million views to date since its premiere on October 4th—outpacing Dua Lipa, Justin Timberlake and Chappell Roan this year.

Their show wasn’t just a musical hit – it marked a cultural shift. As Anamaria Sayre, Tiny Desk producer and Alt.Latino co-host, noted, “It’s the ushering in of a new era of musical innovation for the country and the continent.”

But while the Argentinian duo dominated headlines —I just wrote about why fashion and luxury brands need to tap them— 2024 also delivered a wave of unforgettable Tiny Desk performances by Latin American artists, proving they excel in just about any genre imaginable.

If you loved CA7 & Paco, make sure you listen to these too!

1. Nathy Peluso 🇦🇷
The Argentinian powerhouse refuses to be boxed in a single category. Her genre-blending Tiny Desk performance was a masterclass in versatility, showcasing jazzy, feel-good, and playful tracks. With urban sounds meeting salsa beats, she transformed the acoustic space into a vibrant playground for her unique artistry. In May, she released her studio album Grasa, which has been atop the charts.

2. Danny Ocean 🇻🇪
Amid political protests and turmoil in Venezuela, Danny Ocean’s Tiny Desk concert struck a poignant balance between love and resilience. Performing hits like “Me Rehúso” and “Volare,” Danny used plastic bottle caps and saxophones to evoke the feel of a beachside serenade. Addressing his home country with heartfelt words, he dedicated a moving performance of “Por la Pequeña Venecia” before returning to his uplifting melodies.

3. Juanes 🇨🇴
Rock legend—yes, rock. Juanes, beloved by all of Latin America, played legendary hits like "Nada Valgo Sin Tu Amor," "Cecilia," "Mala Gente," "La Luz," and "A Dios Le Pido." The performance featured 12 musicians on stage. Juanes is renowned for his versatility and irreplaceable contribution to Latin music in his 25 years of career.

4. Álvaro Díaz 🇵🇷
Puerto Rican rapper Álvaro Díaz’s Tiny Desk was a vibrant homage to his roots. From the jazzy piano and breezy riffs of “Todo Bien” to the soulful guitar on “Chicas de la Isla,” the performance celebrated the community that fuels his music. Sharing the stage with a mix of Tiny Desk veterans and newcomers from Puerto Rico, Díaz created an atmosphere that felt like a joyful jam session among friends.

5. Luciana Souza 🇧🇷
Brazilian jazz singer Luciana Souza showcased the deep connection between Brazilian music and jazz with her elegant Tiny Desk set. Performing alongside Trio Corrente, she delivered tracks from their Grammy-nominated album Cometa. The intricate harmonies and improvisational flair of her set made it a standout for jazz and world music enthusiasts alike.

6. Ana Tijoux 🇨🇱
French-born Chilean rapper Ana Tijoux brought decades of political critique and cultural commentary to the Tiny Desk. Her first album in ten years, Vida, provided a rich backdrop for a performance filled with vitality and purpose. Danceable beats met sharp lyrical delivery, reaffirming her role as a global voice for love, resistance and joy.

7. Yasser Tejeda 🇩🇴
Dominican guitarist Yasser Tejeda redefined traditional music by blending it with jazz and rock in his Tiny Desk performance. Songs like “En El Naranjo” and “Amor Congo” celebrated Dominican rhythms, while “La Vereda” added a contemporary twist. His music is a testament to the enduring power of cultural roots meeting modern innovation.

What Tiny’s do you want to see in 2025?

I know for sure I'd love to see Young Miko. I think she's a truly talented rapper and one of the region's most promising artists. Elena Rose's tunes would be incredibly suited for a stripped-down Tiny Desk performance. Although she's Spanish, I'd absolutely love to see Rosalía featured as well and hear how her hits adapt to that setting.

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Hello and welcome to GEN33! A newsletter about the business and culture of LATAM's creative industries.

In this edition, I want to shift focus back to music and highlight why the world should pay attention to the rise of Argentinian duo CA7RIEL & Paco Amoroso, especially after their viral Tiny Desk concert in October 🔥.

Back in 2018, when I wrote about reggaeton stars landing high-profile gigs for BoF, it was a pivotal moment for musical crossovers. Luxury brands were eager to tap into the fanbase of these artists, drawn by their undeniable swagger and hit-making prowess. Bad Bunny, as you know, is a prime example.

In that same piece, I pointed out it was only a matter of time before women followed suit. Soon after, we saw Anitta landing a Dolce & Gabbana campaign and Karol G becoming the face of Loewe. I see many parallels between that wave of Latin American artists and CA7RIEL and Paco’s rise. I’m taking a deeper dive on them and their presentation in London. Keep reading!

(Send me a message if you want to read the BoF Business of Reggaeton Style Piece)

(This email is already too long—click “view in browser” to read all of it).

🎬 🎵 But before delving into the Argentinian duo of the moment, I wanted to revisit the drama around Selena Gomez’s criticised Spanish in Emilia Pérez. (Buzzfeed has a solid recap of the events).

As I’ve said before, I don’t think it’s her fault. Selena’s accent was just one of many issues revealing that Emilia Pérez—despite its merits (like Karla Sofía Gascón’s standout performance)—is yet another portrayal of Mexico through a Eurocentric lens. Non-native Spanish speakers probably won’t notice the three or four inauthentic Mexican accents in the film. But what about the 600 million native speakers who will?

Zoe Saldaña, playing a Mexican character, had an ambiguous accent. At least the script added a few lines to explain she was of Dominican origin—her real-life background—to justify it. Selena deserved a similar consideration, one might argue. Meanwhile, Edgar Ramírez, despite using some Mexican slang, sounded very Venezuelan. Again, it’s not the fault of the actors; this is on the director for lumping all Latin American identities into one. 🙄 The usual.

Imagine a film where Irish, Scottish and British actors were cast to play Americans, yet they all kept their native accents. Would anyone find that believable outside a comedic sketch? Don’t get me wrong, though, I did enjoy Emilia Pérez, overall.

On a brigther note, few know rising Venezuelan singer, Yadam, was featured on the Emilia Pérez soundtrack and they’re amazing!

🎬 One of the most anticipated premieres of the year is Netflix’s adaptation of Cien Años de Soledad (One Hundred Years of Solitude) by Gabriel García Márquez, one of the most revered Latin American literary works. I had to read the whole thing back in school—no Google or summaries back then). It’s not an easy book, folks.

For those unfamiliar, it tells the story of the ill-fated Buendía family, serving as a metaphor for the isolation and stagnation of Macondo, a symbol of Latin America’s struggle with cycles shaped by its history.

Cien Años de Soledad also introduced the world to magical realism, where the extraordinary intertwines with the mundane—much like the surreal realities Latin Americans know all too well. A concept still very much alive.

🍫 Another highly anticipated book-to-screen adaptation is Laura Esquivel’s Como Agua Para Chocolate (Like Water for Chocolate), produced by Salma Hayek. Set in early 20th-century Mexico, the novel also incorporates magical realism elements. It follows Tita, a young woman forbidden to marry her true love, Pedro, because of a family tradition binding her to care for her mother. Her emotions, poured into her cooking, deeply affect those who eat her food.

I’ve heard good things about both adaptations, though I haven’t watched them yet. Remezcla has a great piece about the Colombian writers who brought One Hundred Years of Solitude from book to screen. If you’ve seen these I’d love to know your thoughts! Comment below 👇

Looking for more Spanish Language shows? Here are the top 12 according to LA Times.

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COMO LA ESPUMA

Forget Bad Bunny—Fashion and Luxury Brands Should Have Their Eyes on CA7RIEL and Paco Amoroso

On a cold December night in London, thousands of fans lined up outside the sold-out Electric Brixton, marking the near end of CA7RIEL and Paco Amoroso's 2024 tour. London was one of many cities where the Argentinian duo had to upgrade to a bigger venue after selling out their entire European tour just days after their famous Tiny Desk concert aired on October 4th.

As showtime approached at 9 pm, the room crackled with anticipation. Teal Ushanka hats and red heart-printed vests visible among the crowd nodded to the viral looks the duo wore during those viral 17 minutes on YouTube. That performance has since clocked 19 million views, making it the most-watched of 2024. Their popularity has spread like wildfire ever since. (BTW shoutout to Gaba Najmanovich of Exprimido de Tendencias for bringing them to my attention).

CA7RIEL and Paco Amoroso—whose real names are Catriel Guerreiro and Ulises Guerriero—have been committed to their visual storytelling as much as their music since they began officially working together. They had previously collaborated on several tracks before launching Baño María, their first album as a duo. (And yes, their similar last names are purely coincidental).

A great example is their Buenos Aires concert that kicked off the 2024 Baño María tour. There, the duo flew through the air à la Cirque du Soleil and had several outfit changes. Meanwhile, their accompanying short film of the same name blurred the line between music videos and avant-garde cinema. It’s one of the best depictions of how they infuse chaos and humour into their music and performances.

That night in Brixton was no different (minus the flying). CA7RIEL stepped onto the stage in a feathered top hat and fan, check trousers and a graphic tee layered under a patent trench coat. Paco followed in head-to-toe black vinyl. All the musicians had styled looks, notably the bass player Feli who rocked the Tiny’s triple sunglasses and a bra-over-shirt ensemble.

They adapted their live sound to echo the raw, soulful essence of their NPR session. Paco shared in an interview that fans who discovered them through that performance were often surprised when they heard the album versions on Spotify. Apparently, fans said, 'it was shit!' he laughed.

When I first heard their Tiny Desk performance, I remember thinking how refreshing it was to hear something punchy and pop-driven that wasn't reggaeton. I'd even say these sounds are just as catchy — if not more — and with real crossover potential.

The concert was a short but potent 70 minutes, weaving a blend of their genre-defying style going from electronic to hip-hop, trap, pop while throwing in some lasers for good measure. As they put it, they're "sin género, degenerados" — and yet they pull it off quite effortlessly (though it surely isn't).

If you had seen their IG stories, the frenzy in London was a recurring tableau throughout the tour. But what was very telling of their influence is that while all this madness was happening, back in Buenos Aires, Florencia Tellado, the brilliant milliner behind Paco's Tiny Desk hat, was overwhelmed with requests for replicas of the piece. Tellado is a legend, she has designed for the likes like Rossy de Palma and Marilyn Manson and showcased her work at London Fashion Week in 2017.

However, the duo's eye-catching style largely comes down to Celina Lattanzio, their longtime stylist. Her collaboration with them began serendipitously at a party, where she bluntly told Paco, "Vos te vestís muy mal" (you dress terribly). Instead of taking offence, he handed her the reins. Since then, Lattanzio has curated a fashion narrative for the pair that prioritises independent designers, especially Latin American talent.

While touring, she relies on Instagram stories to source recommendations for cool local boutiques. For instance, In London, Lattanzio turned to Argentine designer Nikole Tursi and in Berlin she sourced clothes from Therapy, an upcycling-focused label from Argentina. Meanwhile, in Valencia, she picked pieces from Laka. Rolling Stone in Spanish published an article on how she came up with the entire look for the Tiny Desk concert, including The T-shirts with the TikTok chad-filtered faces of Catriel and Paco.

Back in 2018, in The Business of Reggaeton Style for BoF, I wrote about how Latin American music stars—particularly reggaeton artists—were poised to become the next big thing for luxury brands. At the time, reggaeton's crossover success in the midst of a digital shift had made these artists masters of brand creation, promotion and social media dominance. Take for example Bad Bunny who by then had already amassed 4 billion views on YouTube.

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As I wrote in that article, it was only a matter of time before women started landing these high-profile gigs, too. Not long after, we saw Anitta fronting Dolce & Gabbana campaigns and Karol G solidifying her fashion icon status with that Loewe campaign in April 2023—which ultimately led to my BoF 500 cover interview with her. (Paywall-free on CNN Style).

There are so many parallels I see with the buzz around CA7RIEL and Paco Amoroso. But, I'd argue Argentina is also having a big international moment with breakout artists recently — Nathy Peluso, Tini, Wos, Bizarrap, María Becerra, Duki, Nicki Nicole — some of whom the duo has collaborated with. They're all part of a new(ish) wave carving out space in the global music scene.

However, Cato and Paco, who knew each other from school, had remained relatively under the radar as they pursued their individual music careers. Outside Argentina, many weren't paying close attention until that Tiny Desk set hit like a lightning bolt.

Will they (and Lattanzio) still favour smaller, upcycling-focused labels when the big hitters (let's say Louis Vuitton or Dior) come knocking at their door? Would love to know your thoughts!

The boys are now gearing up for another tour covering LATAM, US and Europe in 2025 with even bigger venues—and tickets are already flying. So if you missed them there’s your chance!

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🇵🇪 Meet Milena Warthon. She’s a Peruvian singer-songwriter blending Andean traditions with modern sounds. In 2023, she captivated audiences at Chile’s Festival Viña del Mar with her song “Warmisitay,” a heartfelt tribute to Andean women inspired by her grandmother’s experiences at Peru’s Puka Polleracha carnival. The song, blending Quechua and Spanish, earned her first place in the Festival’s Folklore category and resonated with listeners across Latin America, celebrating cultural identity and self-love. (Remezcla).

Podcasts could be key to engaging the LatAm audience in the U.S.

🎤 The 2024 Latino Podcast Listener Report reveals a 72% surge in monthly podcast listenership among U.S. Latinos since 2020 . Women now represent half of Latino podcast audiences, and 43% of U.S. Latinos aged 18+ are monthly listeners (Latino Newsletter); mirroring the national average of 47% for Americans aged 12+ (Backlinko). Notably, 47% of Latino listeners discovered podcasts via social platforms, a 30% increase since 2020.

Toni Ruiz steps in as interim CEO of of Mango after founder Isak Andic tragically passed away in a hiking accident in Montserrat, Catalunya, on 14 December while walking with his son. The Catalan police continue their investigation, confirming the death was accidental. (El Mundo).

OTB Prepares to Launch in Mexico with Maison Margiela
Fashion group OTB is set to enter the Mexican market, strengthening its global presence through one of its most iconic brands, Maison Margiela. As reported by Fashion Network, the Renzo Rosso-led conglomerate is pursuing a direct retail strategy for this expansion.

Cuban painter Zilia Sánchez Domínguez has passed away in Puerto Rico. She was a pioneer and a unique voice in Caribbean and Latin American modernism.(Diario de Cuba). This Guardian piece delves deeper into who she was and her work.

Did you know former Mexican President Andrés Manuel López Obrador was Latin America’s top Spanish-language streamer? In 2023 alone, his press conferences were watched for 49 million hours, fueling the rise of content creators who built thriving platforms around his daily broadcasts. Now, with his term ended, many are pivoting to stay relevant under new leadership. reports RoW.

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Mango founder Isak Andic has died following an hiking accident near Barcelona, the Spanish fashion retailer announced in a statement on Saturday.

Andic, 71, originally from Turkey, he served as the company’s non-executive chairman.(CNN)

His unexpected death has gone largely uncovered by major international fashion outlets including WWD, Vogue and BoF revealing how peripheral Spanish fashion appears to remain in the broader global industry discourse.

Andic had a net worth of $4.5 billion, according to Forbes, making him the richest man in Catalonia and one of the wealthiest in Spain. He founded Mango in 1984, building it into one of the world’s largest fashion retailers.

Today, Mango is one of Europe’s leading fashion groups, with 2023 sales exceeding $3.2 billion. The company operates 40 stores in the US and plans to open 20 more next year, according to its website.

Hello, welcome to another edition of GEN33! A newsletter about the business and culture of LATAM's creative industries.

Firstly, apologies for the brief hiatus over the past few weeks. Balancing article deadlines with the newsletter has been challenging, as these updates require considerable time to prepare. That said, I’m working on something I’m very excited about and eager to share. I’ve had the privilege of speaking with some incredible people—more on that soon!

The topic of this week’s newsletter comes after a heated discussion that recently erupted in Latin American fashion circles during a panel on cultural appropriation, Orígenes, held in Lima, Peru last week.

The controversy centred around José Forteza, senior editor of Vogue Latinoamérica, and designer Anís Samanez, following a comment Samanez made about the Shipibo-Konibo community. Her remarks appeared to express frustration that female artisans from the community had requested payment for their work instead of accepting her design teachings as compensation. Unsurprisingly, this sparked significant backlash. Forteza's comment suggesting the community would be starving without Samanez’s contributions further added fuel to the fire.

Both figures have been scolded considerably for their out-of-touch comments, so I don't see the need to rehash it further; Infobae, CNN and other outlets have reported it extensively in case you want to known more.

What I want to emphasise is that Samanez’s behaviour reflects a broader, deeply rooted issue across many Latin American countries. We are just as classist and racist as nations in the North. Yet there’s a tendency to present an “integrated” facade to the international world, leveraging the fact that most outsiders have little understanding of Latin America or its realities.

Over 15 years ago, when I was still living in Caracas, I saw countless women launching swimsuit lines or selling handbags (often pseudo-knockoffs of luxury brands). They underpaid seamstresses and artisans—women crafting crocheted bikinis or other handmade pieces—while selling the products for hundreds of dollars to their wealthy friends at the gym or at Christmas bazaars. If you’re from Latin America, you know exactly what I mean.

Back in the day this divide was so normalised that we never even thought about the exploitation that lay behind their entrepreneurial practices, let alone cultural appropriation.

Telenovelas provide a rather caricaturesque yet accurate glimpse into the mentality of the time. If a maid dared to speak back to her patron, defending herself against vile treatment, she’d likely be called igualada (and probably slapped too). Igualada essentially means, “How dare you act like you’re my equal?” It’s a reprimand rooted in the audacity of crossing class boundaries. I haven’t watched telenovelas recently, but I can assure you this was still a thing in the '90s.

As a continent historically waiting for the US and Europe to set the tone, these issues only began to be called out when scrutiny started in those regions. And of course, it's easier to spot the problem when, let’s say, a brand like Loewe placed designs evoking the Ecuadorian people of the Otavalo culture on their knitwear (SS18), or when Marc Jacobs used coloured dreads as part of the styling of his SS17 catwalk show.

But as writer Guillermo Fonseca notes, within our countries, there's a persistent false narrative of mestizaje (racially mixed), which is used to justify the appropriation. Like when Samanez said, "I'm just as Peruvian as you are." Well, sharing the same passport does not entitle someone to commercialise the heritage of a community that happens to be from their country. No seas igualada.

Just like our northern counterparts, the attempts at solving the problem often involve enlisting local creatives or celebrities to craft and sell products, framing it as collaboration and empowerment. In reality, however, these businesses are rarely led by the communities they claim to uplift or provide them with substantial positions.

So far, 99% of the brands I’ve come across are led by white women, usually from privileged backgrounds. I might be wrong, and I welcome suggestions of brands that don’t fit this pattern.

The appropriation issue has worsened as the world began to romanticise Latin American themes under these supposed new narratives of diversity. (Even Hungarian brand Nanushka, for example, is selling Wayúu bags now. 🙄 What’s next? The Row? I hope not.)

Today, many brands aspire to weave sustainability into their identity, often coupled with narratives of community empowerment. While some efforts can feel performative, many are genuinely impactful. Take Chiara Macchiavello’s Escvdo Perú, which has collaborated with local communities long before it became trendy or Genaro Rivas’ partnership with Peruvian retailer Ripley, launching an accessible line made entirely in Peru, 70% of which is crafted by independent entrepreneurs.

But the more popular something becomes, the greater the risk of superficial exploitation for monetary gain. Again, back to the Wayúu bags example, you can even find them on Amazon these days. 🤦

Even when brands seek permission, grant full creative freedom, and pay artisans well—as seems to be the case with Sara Flores' recent bag for Dior (Peruvian journalist Adriana Seminario interviewed her about the experience) appropriation still exists the moment the craft becomes commodified. That's just how fashion operates.

To some extent, we must make peace with this. By the time something becomes trendy and widely copied, its meaning is inevitably diluted. But what we cannot tolerate is wealthy outsiders exploiting marginalised communities for profit.

Designers like Yenny Bastida offer a brighter example. She works closely with Indigenous and non-Indigenous communities, collaborating with local artisans and seamstresses from her hometown of Chivacoa, Venezuela. Yenny knows these women's daily lives, their children and their struggles. She weaves alongside them, they eat together, they are basically family.

As Rivas remarked, "The mistake is not including all voices and always maintaining this 'them' and the designer perspective."

I would like to continue discussing how we sometimes mistreat our people for different benefits and reasons. I've been hearing a lot about what is happening behind the scenes regarding the recent surge of events that are supposedly aimed at highlighting Latin American talent, but I'll save that discussion for another time…

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NEWS ROUNDUP

Speaking of Indigenous communities, this BoF piece discussing The Rise of the Indigenous Model, caught my attention.

This article focuses on Native Americans in the United States, but we can draw many parallels with the issues faced by indigenous talents in Latin America. It discusses how, in the past four years, Indigenous models like Quannah ChasingHorse have risen in the industry, working with renowned brands likeChanel, Gucci and Marc Jacobs, etc. Nearly two dozen Indigenous talents landed high-profile campaigns and agencies between 2020 and 2024.

Ah! But let's not forget that being conventionally pretty is essential. As you can expect, this new 'trend' is rife with stereotypes and tokenism, exoticising Indigenous identities while neglecting the rich cultural diversity of Indigenous communities. It’s a great article. (More on BoF).

How Mexican Actress Silvia Pinal Saved Viridiana From Censorship

Elle Mexico

Following the passing of Silvia Pinal, one of the greatest divas of Mexico's Golden Age of Cinema, on 28 November, the industry is revisiting the controversy surrounding her film Viridiana. Pinal was a multifaceted talent—an actress, singer, dancer and producer—featured in classics such as Un Extraño en la Escalera, El Inocente and Locura Pasional. Viridiana, by acclaimed Spanish director Luis Buñuel, was an award-winning, controversial masterpiece that defied both the Vatican and the Spanish government. This led to Pinal famously smuggling a copy of the film to Mexico, ensuring audiences around the world could see it.

Meet Roberta Woodworth, host of Libre & Loca, one of the top 50 most-listened-to podcasts in Mexico and Latin America.

Meow Magazine

Roberta Woodworth is not only a famous podcaster but also a writer and content creator, amassing an impressive 567k followers on Instagram. The Mexico native is known for her introspective explorations of personal growth, love and self-discovery.

Meow Magazine is an indie publication offering great insights into Mexico’s fashion and culture scene. It’s run by Olivia Meza. In the interview, Meza asked Woodworth about the name of her podcast. She said:

“Women have been described with many adjectives throughout history: witch, dramatic, hysterical, feminist, crybaby, loud, bossy, arrogant, bitch, slut… all for not fitting into the standard of what society expects from us.

Subscribe now

Art Basel Miami 2024: Emerging Talents to Watch

There's so much to report from this! In the meantime, I wanted to briefly highlight four relatively new talents. One of them, I’ve mentioned before thanks to the wonderful Gaba Najmanovich who featured Randolfo Lamonier in her newsletter Exprimido de Tendencias .

Lamonier is a Brazilian artist using textiles like rugs and carpets to blend personal and political narratives. His layered embroideries depict fragmented urban landscapes, protests and violent encounters, offering a visceral reflection of Brazil's socio-political realities. (Art Basel).

Argentine artist Jimena Croceri presents a striking exploration of form and meaning in her project at Piedras gallery. She features nine sculptures —crafted from copper, bronze and aluminium— moulded to fit bodily cavities such as the clavicle or the voids formed between intertwined figures. The works are accompanied by photographic documentation of their creation and these draw upon the talismanic adornments of pre-Columbian Andean culture, reimagining their potential to imbue contemporary bodies with symbolic power.

Mexican Diego Vega Solorza subverts traditional notions of masculinity, presenting a nuanced critique of gender and power. His works draw from his upbringing in violence-stricken Sinaloa. At LLANO, Mexico City, Solorza presents a double horse saddle sculpture in black leather and metal, a nod to regional ranchero culture. Complementary video and photographic works feature performers in traditional Sinaloan attire engaging in repetitive, deconstructed movements.

Colombian artist Rosario López, integrates archaeological research and local narratives Inspired by the Monsú site near Cartagena. Presenting with Espacio Continuo, Bogotá, her series includes tapestries, embroidered maps, and ceramics informed by interviews and excavation findings. López's work bridges historical memory and ecological awareness, emphasising the interconnectedness of place and identity.

And that’s all the space I have for today! THANK YOU for reading!

I’d love to hear from you—what would you like to see, read about, or who should I interview next? Drop me a line at gen33mag@gmail.com or just reply to this email! 💌

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Matthieu Blazy (currently creative director of Bottega Veneta) has been named the creative director of CHANEL. The brand has yet to release it officially; however, according to Lauren Sherman's newsletter Line Sheet of Puck News it’s a done deal. She reported the official announcement is set for December 16th.

Why was Matthieu Blazy chosen? Several names were in the mix, including

Jacquemus, Marc Jacobs, Thom Browne and Hedi Slimane who was a strong contender. Even Phoebe Philo was rumoured to be considered.

Blazy was likely chosen because he’s fresh yet proven. He brings creativity without the burnout that often comes with years at the top. Unlike some of the other contenders, he doesn’t have his own brand, which means his focus won’t be split or detract from Chanel’s spotlight. Candidates like Jacquemus and Jacobs, with their celebrity status and own labels, might have introduced complexities Chanel wanted to avoid.

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Chanel likely sought someone they could manage—a visionary who wouldn’t completely dominate or redefine the brand in a way that might alienate its core audience, like John Galliano (also rumoured) or Hedi Slimane, who would probably want to control all aspects of the brand. Another key aspect is that Chanel execs want to avoid the revolving doors, hoping Blazy sticks around for the long run much like Lagerfeld did.

Blazy's work at Bottega Veneta has consistently demonstrated his ability to create beautiful, forward-thinking designs while respecting heritage. Chanel needs evolution, not revolution.

As to who’s succeeding Blazy at Bottega Veneta, well, of course, Sherman has the scoop.

We have to stop waiting for others to define us or tell us what our culture is. I’m tired of that—we need to take charge and show the world who we are," said Karla Quiñonez León, who hosted her exhibition at Royal Oak Yard in Bermondsey in October, a vibrant celebration of her Ecuadorian roots. The showcase brought her heritage into conversation with London’s dynamic creative scene.

The outspoken hair and makeup artist was recently named one of this year’s New Wave Creatives by the British Fashion Awards, an honour spotlighting 50 groundbreaking talents from around the world. The awards ceremony was held on Monday, 2 December 2024, at the Royal Albert Hall in London.

I sat down with Karla to talk about her journey—why she was hesitant to work with hair at first, her experience collaborating with Skepta and how she decided to leave makeup school behind to master her craft on her terms.

How did you get into makeup?

I took a course in Belgium at an American makeup school called MUD. I did a lot of research before enrolling. I remember calling them to ask, 'Do you teach how to do makeup for people of colour?' They assured me they did, which was very important to me. The reason I wanted to learn makeup was that I used to see how Black women were represented in magazines. Their makeup often didn’t match their skin tone, and they were given lipstick shades that didn’t suit them. I knew I could try to do better.

But when I got to the school, there was only a half-day course on dark skin and eyes—that was it. The entire course was €2,000 and lasted three weeks. So I prefered to just figure it out on my own. They later invited me to a six-month course, saying I had talent, but I declined. By then, I had already seen what they were teaching. I decided to learn from YouTube and books.

Later, I found a mixed-race woman in Belgium who was looking for assistants, so I reached out to her. She agreed to let me assist and gave me advice on what to do and what not to do, which was invaluable. I learned a lot from her. She also did hair and insisted I learn at least the basics, even though I didn’t like it. I would say, 'No, I don’t want to touch hair,' but she explained how important it was.

When I moved to London, I started looking for jobs through Facebook. I would apply for everything, and that’s how I got started. I quickly realised that the best makeup artists in Belgium didn’t even come close to the talent in London. I reached out to people like Ana Takashi and younger artists to assist them. Some would ask if it bothered me that they were younger. I’d say, talent has no age. I can learn from you just the same.

How was it growing up between Antwerp and Ecuador? How did that influence your practice?

I moved to Belgium when I was nine, in 2001. I studied there, learned Dutch and French and spoke English from a young age. In Belgium, I started drawing a lot and became more immersed in art. But in Ecuador, life is more about being out on the streets. I had so much energy to burn, so I would draw to keep myself busy.

Creating came naturally to me, but I didn’t recognise it as a calling. Later, during my teenage years, I drifted away from it. Still, I always loved getting ready, doing my makeup and hair. I’d wake up early to style myself for school, sometimes even wearing heels.

Every summer, my mum sent me back to Ecuador. I’d return to Belgium full of reggaeton vibes, CDs and letters from my friends there. I’ve always felt like half of me belongs to Ecuador and half to Belgium. But I try to highlight Ecuador more because it doesn’t get enough attention. At the same time, I recognise the privilege I had in Belgium—access to museums, art events and creative spaces in Antwerp.

Sundays, for instance, we’d go see Dries Van Noten’s shop windows. That was just part of life—being surrounded by fashion and art. Antwerp is so fashion-forward, but it’s effortless. People just live it every day.

At home, though, my mum made sure our Ecuadorian roots stayed alive. But I also understand European culture deeply and know how to connect it to my art. My stepdad, too, exposed me to art and music, which built my confidence to explore creativity. I knew I loved makeup. But I felt I had started late—I didn’t truly pursue it until I was 28. Now, at 33, it feels like everything has come together.

Tell me about working with Skepta.

I did Skepta’s grooming—it was his first Met Gala, which was so exciting. I worked as his main groomer for four years. Last year, I went to the Met Gala with him, and also last year’s British Fashion awards, he even paid for my ticket. Working with him was very inspiring, he helped me dream even bigger and see how far I could go.

Eventually, we parted ways. I realised I didn’t want to be tied to one artist or their schedule—I needed to stay open to other opportunities. I was so focused on helping him achieve his dreams, but I needed to focus on my own too. I used to tell him, “I want to help you, but I can’t just be Karla Q León for you. I want to be Karla.”

I wanted to diversify, work with new people, and gain more experience. The job took up so much of my time although I loved it. I am incredibly grateful. But it was time to carve out my own path.

Photos: Madelayne Arroyo Bedoya itsmadyab2.0

The exhibition was a way to talk more about your culture and bring this multicultural dialogue to the London creative scene too. Tell me more about it.

This is why I called it Para Ecuador Con Amor (For Ecuador, With Love). My country is going through such a difficult time, and I wanted Ecuador to make the news for something positive, not just the usual bad headlines. It’s part of what I try to do because it hurts. There is so much richness.

[At this point, Karla and I went off on a tangent about how bad the situation is across so many countries in Latin America, if not all of them. We talked about the corruption, the lack of safety and the scarcity of opportunities. Coming from Venezuela, I shared my experiences, while Karla described how unsafe her home country has become.]

I have a contract that allows me for certain freedom so I can pick projects strategically, making sure to balance commercial jobs with things that resonate with me. This is especially important when I take on Latin-focused projects.

Helping other Latinos move forward is a priority for me. I support people whose work I admire and who I connect with as individuals. We have to stop waiting for others to define us or tell us what our culture is. I’m tired of that—we need to take charge and show the world who we are.

My exhibition showed me it’s time to engage directly with brands, organise more events, and create new opportunities. I’ve also started workshops, like one with a Zumba instructor, to give women a space to dance, relax, and reconnect with themselves. I want Latin American women to step out of their comfort zones and explore beyond their communities. Sometimes we get stuck only socialising with our people, but meeting others can open minds and spark new ideas.

We need to be proud of who we are. I always say, first and foremost, I’m Ecuadorian. People often try to label me as just Latina, but I remind them—Ecuadorian comes first. We’re not less than anyone. We’re talented people who are only now beginning to get opportunities. The doors that were closed to us are finally opening, but we need equal chances to prove ourselves.

You said sometimes you felt intimidated because you didn’t have that same kind of formal training other hair and makeup artists had. But there was a way you did hair that no one did, and that sparked interest.

I never went to hair school, so the way I work is different from how a traditional stylist would. For me, hair is a form of expression—it’s a medium, but not in the usual way people think about it. I see it very differently.

I see how people look at me and my work. They try to understand or even imitate it, but it’s impossible—they don’t know where my inspiration comes from. It’s something I saw when I was a child and inspired me. I wanted to create it, so I did.

Sometimes I do feel nervous—not like I’m less than anyone, but sometimes when I saw someone who was super trained or educated, it made me anxious. Then I realised they often think the same about me. That was a turning point. I thought, “Stop. Everyone has their own thing.”

I’ll never forget when I was giving a workshop and finishing a girl’s hair. Sam McKnight was there and said, “Oh my god, how do you do hair like that?” It’s because I know from personal experience—I know things they don’t. But there are also things I want to learn from them. It’s a mutual admiration. No one is better than anyone else.

Hello and Bem-vindos a GEN33! A newsletter about insights into the business and culture of LATAM’s creative industries.

In this edition, I spoke to the wonderful Paty Dantas, who shared her top films from the London Film Festival, and insights about two potential Oscar contenders for next year – one a Brazilian film and the other a French production featuring top-notch international talent (LATAM and non-LATAM).

I also had a great chat with Gabriel Fusari from FFW, who covered São Paulo Fashion Week and shared his top shows and thoughts. (By the way, keep reading for an exciting discovery from our chat—no clickbait!). I also have highlights from Mexico Fashion Week and other updates from the GEN33 territories.

Let’s go!

Could Emilia Pérez and I’m Still Here be LATAM’s Oscar Contenders?

The BFF London Film Fest (yes, it feels like ages ago, but there’s only one of me writing this newsletter!) ran from 9 to 20 October 2024, and 15 films by Latin American directors participated (a full list below). I had the chance to chat with 🇧🇷 Brazilian-born, London-based film journalist Patricia Dantas, who’s been covering the festival for 12 years! She shared her top picks from this year’s films and insights into two potential Oscar contenders.

One of this year’s most anticipated films, Emilia Pérez, is a musical directed by award-winner Jacques Audiard. It stars Selena Gomez, Zoe Saldana, Spanish-born Karla Sofia Gascón and Edgar Ramirez. Gascón made history as the first openly trans actor to win Best Actress at Cannes for her role in the film.This month, Gascón, who has lived in Mexico since 2009, also landed the cover of Vogue Mexico's November issue. The film will be available on Netflix on November 13th, but do see it in the theatre—it’s apparently worth it.

Dantas says it’s entertaining but she remains sceptical about its premise, where a notorious drug lord undergoes gender reassignment surgery to change their life. However, it could still be nominated for the 2025 Oscars, joining Brazilian film I’m Still Here by Walter Salles in the International Film category.

I’m Still Here is a reminder that we should never go back to a similar era where our human rights are not respected. — Paty Dantas.

Indeed, Brazilian cinema seems to be having a moment, particularly with I’m Still Here gaining traction globally. Starring Fernanda Torres, Fernanda Montenegro and Selton Mello— all industry legends. Based on a true story, it’s a family drama that sheds light on a dark period in Brazil’s history during the dictatorship—"a reminder that we should never go back to a similar era where our human rights are not respected," says Dantas.

After winning Best Screenplay at the Venice International Film Festival and an Audience Award at the Vancouver International Film Festival, Dantas believes the film has a strong chance at an Oscar nomination. "It’s been a long time since Brazilian cinema had such international visibility," she says, noting that the last film from the country to receive an Oscar nomination was Central do Brasil in 1999, also by Walter Salles and starring the Fernanda Montenegro.

Dantas also highligths the film Bury Your Dead, directed by Marco Dutra. It’s a unique horror set in apocalyptic rural Brazil, and it marks actor Selton Mello’s first foray into the genre. As Mello celebrates 40 years in the industry, he shared his excitement about being simultaneously involved in both projects.

More of Paty’s Favourites from the Festival:

CLICK HERE FOR THE FULL LIST

If this post brightens your day or brings you insight, share it and subscribe – you’ll instantly be on my favourites list! ⭐️

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São Paulo Fashion Week Marks the Return of Alexandre Herchcovitch and Homages Journalist Regina Guerreiro

Last week marked the 58th season of São Paulo Fashion Week, which has been running since 1996 and is considered the largest fashion week in Latin America.

I didn’t attend personally but spoke to Gabriel Fusari producer at FFW, who attended all the shows and gave us the lowdown.😎

This season, SPFW returned to Ibirapuera Park as the main showspace; shows also took place at Iguatemi São Paulo shopping mall and other locations across the city. A total of 40 brands showcased their collections, with the debut of Normando and Dario Mittman joining veterans João Pimenta, Salinas and Lilly Sarti. The legendary Alexandre Herchcovitch inaugurated the event alongside Ponto Firme. Meanwhile, Fernanda Yamamoto closed on Monday 21st.

São Paulo Fashion Week continued its Cria Costura project, a social programme now in its sixth edition. Developed by Inmode and São Paulo's Economic Development and Labour Department, it's aimed at training in sewing, design and entrepreneurship in the city's deprived neighbourhoods. On this occasion, students were taught by renowned designers Jefferson de Assis and Rita Comparato, with styling by Dudu Bertholini.

This edition had the theme "The Queen's Jewels," paying tribute to journalist, and editor Regina Guerreiro, for which an exhibition was created at Pavilhão das Culturas Brasileiras in the Ibirapuera Park. It showcased items from her archive, including furniture and designs from her residence, curated by Renato de Caro.

Guerreiro is a sort of Diana Vreeland of Brazil (or so I was told). She edited Claudia magazine and was an editor of Vogue Brasil and Elle Brasil. She analyzed the fashion trends of the 2000s for Caras Moda and even had a YouTube channel. Previously, she had stints at several prominent Brazilian news journals and Interview magazine (yes, the famous magazine created by Andy Warhol had a Brazilian edition in the 1970s)*. She also founded a fashion consultancy firm in Brazil called Choc, (a playful mix of Chic and Shock). Guerreiro attended the exhibition's opening day.

*(That was the discovery I mentioned at the beginning. More on this soon!).

And now the show highlights with commentary by Gabriel Fusari.

"Going back to my favourite runway shows, I think the first one was Normando. They kicked off with a classy collection – it's a brand from Amazonas. They showcased elegant clothes with latex and Brazilian cultural elements in the designs. If you're in Brazil, you should visit their store."

"The second show I liked was João Pimenta, a classic Brazilian designer, known for his tailoring. Everything was so beautifully crafted. It felt like true fashion, the kind that shows the designer really knows what they're doing.”

“I also liked Rafael Caetano. He's a menswear designer, and this collection was inspired by the work of Mauricio de Sousa, the creator of Turma da Mônica, a comic which is hugely popular in Brazil.” (Note: De Sousa is one of the most successful cartoonists in Latin America and arguably the world outside the US and Japan). “Those who grew up with it felt a deep emotional connection – how can I say – emocionado (excited). Like, "Oh my God, this is so cute, I need it." It was really beautiful.”

(Walerio Araujo also drew inspiration from De Sousa's Turma da Mônica, but his style is more playful and fantastical, with a Jeremy Scott-like flair. — Graciela Martin)

For it's part, Sol de Algodão, is a project promoting the importance of Brazilian cotton. They invited 12 Brazilian designers to create three outfits each for the runway. It was cool to see the same materials used but interpreted in different ways by each designer.

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Mexico Fashion Week Focuses On Menswear for Spring Summer 2025

Another fashion week I appreciated from afar, but thankfully, my sources provided some insights and highlights. Also held last week but shorter than SPFW, Mexico City hosted the Spring Summer 2025 Fashion Week from 15 to 18 October at the Autocinema Coyote.

With over sixteen years of history, the event featured 20 runway shows and a series of talks. The latter were held through the MBFWMx Lab in collaboration with industry leaders from Marie Claire, Pinterest, and Vogue Mexico, aimed at creating educational dialogues about fashion and trends.

This edition spotlighted menswear, with brands like Boyfriend’s Shirt, Cristeros, Diego Zúñiga, Fábrica de Punto, Harris & Frank, MANCANDY, and Porfirio Leather showcasing their collections.

The event opened with the beloved Julia y Renata, showcasing a collection that I can described as monochromatic, ethereal and beautifully delicate. The event closer was veteran Alfredo Martinez, who found inspiration in powerhouse feminist artist Carmen Mondragón.

Other notable names included Alexia Ulibarri, with her edgy, rock-infused glam aesthetic; Daniela Villa, whose collection La Piscine offered a palette transporting us to the golden summers of the Côte d'Azur; Kris Goyri with vibrant sunset hues; and Sandra Weil, who found inspiration in the intersection between tech and humanity. This edition of MFW also welcomed newcomers Regina Guiot and Santosia.

I was a bit confused when I saw photos of Sandra Weil’s runway show with a girl sitting on the catwalk with her laptop – the ultimate remote work setup! Turns out it was Moncaya, a Spanish singer-songwriter based in Mexico, who opened the show with a performance alluding to Weil’s theme of “the technology of nature.” 🙃

For its part, 10-year-old firm Yakampot unveiled uniforms for Aeroméxico, inspired by the Cuauhpilli (noble Aztec eagle warriors.) These pieces connected the past and future of Mexican design. With support from @ngoimpacto and @dostierrasgoods, over 230 artisans from Los Altos de Chiapas crafted 33,000 patches.

As is customary, there was a special guest: Peter Sposito from Spain. Known for his focus on garment deconstruction, Sposito is a past winner of the Mercedes-Benz Fashion Talent award in Madrid.

Thanks for the tips!

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IN THE NEWS

Choquequirao: Peru’s New Machu Picchu in the Making?

As Machu Picchu’s popularity continues to soar, Peru is turning to Choquequirao, a lesser-known but equally breathtaking Inca site, to alleviate visitor pressure. Often called Machu Picchu’s “younger sister,” Choquequirao is poised to become a major attraction and a significant boost to Peru’s tourism economy.(The Brazilian Report).

Día de Muertos Celebrated as UNESCO World Heritage

Día de Muertos, one of Mexico’s most cherished traditions, has secured its place as part of UNESCO’s Intangible Cultural Heritage of Humanity list. This pre-Hispanic festivity brings together the living and the dead in vibrant celebrations, blending remembrance with community. As a globally recognised symbol of Mexican heritage, Día de Muertos remains a powerful tribute to the culture’s enduring spirit.(MXC.com)

Vogue Hosts Día de Muertos Gala

Vogue Mexico celebrated Día de Muertos with a stunning black carpet gala. Hosted by its head of content Karla Martínez de Salas with co-hosts actresses Zuria Vega and Yalitza Aparicio, the evening included a Cancino runway, who unveiled the “Plateros” collection. Later, DJ Mariana BO musicalised the night, and it was a star studded eve with Chiara Parravicini and Jorge López and a gathering of Vogue’s November cover stars Karla Sofía Gascón and Kenia Os. Explore the Gala and Tune in to VogueON, Vogue Mexico’s latest podcast. (It’s in Spanish though!)

Ecuador at Dutch Design Week 2024

Ecuadorian craftsmanship is being showcased at Dutch Design Week with a curated display led by KIKI, an independent platform promoting Ecuadorian design. The exhibit merges ancestral techniques with contemporary trends, showcasing Ecuador’s creative ethos: crafting with care, respect for nature and cultural reverence.

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Mexico City Debuts ‘Pasado de Moda,’ at Museo del Estanquillo.

Pasado de Moda, the first exhibition in Mexico to explore the multifaceted world of fashion beyond individual designers or luxury, has opened in Mexico City. Curated in collaboration with viral Instagram project ficheraz (a Digital archive dedicated to preserve the legacy of vintage showgirls from Latin America), the exhibit delves into fashion’s impact on trade, culture and identity. It’s a major step forward for Mexican institutions recognising digital archives in shaping cultural discourse. from Sept 29 until January 2025 (Museo del Estanquillo).

Random Recs

Lara Ricote GRL/LATNX/DEF

As some of you may or may not know, I’m a comedy fan and, according to friends and family (not me!), a funny woman myself. So I wanted to recommend Lara Ricote’s comedy special.

She has such a sharp, quirky persona and this special is full of captivating, hilarious stories, all infused with her mischievousness and charm. In her very first full-hour special she discusses what it means to be a blend of (mainly) Mexican, American and Venezuelan, her hearing disability and not fitting others' expectations. Lara is funny, give it a watch.

THE MEME

On that note, I’m going to take a stab at doing a “Meme of the Week”. Magazines and newspapers always have (or had) a comic section, so I guess this is my version of it. I love memes and welcome your suggestions too!

THANK YOU for reading!

I’d love to hear your recommendations—let me know what you'd like to see, read or who you'd like me to interview. I’m currently accepting submissions for articles, photo essays, fashion and beauty editorials, as well as written and photographic travel stories. Feel free to reach out at gen33mag@gmail.com or reply to this email!

Give us a follow on Instagram and GEN33 Mag. Most importantly, share this publication, like and comment.

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The BFF ran from 9–20 October 2024, and 15 films by Latin American directors participated (a full list below). I had the chance to chat with 🇧🇷 Brazilian-born, London-based film journalist Patricia Dantas, who’s been covering the festival for 12 years! She shared her top picks from this year’s selection and some insights about two potential contenders for the oscars.

One of this year’s most anticipated films, Emilia Pérez, directed by Jacques Audiard and starring Selena Gomez, Zoe Saldana and transgender Spanish Mexico-based actress Karla Sofia Gascón, (who resides in Mexico since 2009), premieres tomorrow, 25 October. (Gascón, by the way, also landed the cover of Vogue Mexico’s November issue.)

Dantas says it’s entertaining but she remains sceptical about its premise, where a notorious drug lord undergoes gender reassignment surgery to change their life. However, it’s a potential contender for the Oscars, alongside the Brazilian film I’m Still Here by Walter Salles in the International Film category.

Indeed, Brazilian cinema seems to be having a moment, particularly with I’m Still Here gaining traction globally. Starring Fernanda Torres, Fernanda Montenegro and Selton Mello. Based on a true story, it’s a family drama that sheds light on a dark period in Brazil’s history during the dictatorship—"a reminder that we should never go back to a similar era where our human rights are not respected."

After winning Best Screenplay at Venice and an Audience Award at the Vancouver International Film Festival, Dantas believes the film has a strong chance at an Oscar nomination. "It’s been a long time since Brazilian cinema had such international visibility," she says, noting that the last Brazilian film to receive an Oscar nomination was Central do Brasil in 1999, also by Walter Salles and starring Fernanda Montenegro.

Dantas also mentions Bury Your Dead, directed by Marco Dutra, as a unique horror set in apocalyptic rural Brazil, marking renowned Brazilian actor Selton Mello’s first foray into the genre. As Mello celebrates 40 years in the industry, she shared that he "was happy to be in this movie that he loves."

More of Paty’s Favourites from the Festival:

Memoir of a Snail (Australia)

Directed byAdam Elliot. Stars: Sarah Snook, Eric Bana, Jacki Weaver.
A stop-motion feature, My Memoir as a Snail is a witty and touching film about personal transformation and healing. Dantas calls it a reminder that "it's never too late to change and let go of our past selves, especially after enduring trauma."

Four Mothers (Ireland-UK)

Director: Darren Thornton. Stars: James McArdle, Fionnula Flanagan, Dearbhla Mollo. For those in need of a laugh and a relatable story, Four Mothers tells the tale of parents ageing and the dilemmas faced in deciding how best to care for them. Dantas notes it’s a story that touches on something we all will face one day.

Anora (USA)

Director: Sean Baker. Stars: Mikey Madison, Paul Weissman, Lindsey Normington
A fun and whimsical fairytale, Anora is about how your luck can change overnight, though you never know if or how long it will last. Dantas describes it as a lighthearted story full of charm and unpredictability.

We Live in Time (UK-France)

Director: John Crowley. Stars: Andrew Garfield, Florence Pugh, Grace Delaney.
"A tear-jerker about meaningful relationships and how to enjoy life to the fullest in the present moment with our loved ones when adversity and disease come into the foreground."

Conclave (UK-USA)

Director: Edward Berger. Stars: Ralph Fiennes, Stanley Tucci, John Lithgow, Sergio Castellitto, Isabella Rossellini
In this gripping drama, Ralph Fiennes delivers a standout performance as the head of a conclave following the death of a Pope. Conclave delves into the political manoeuvrings within the Catholic Church, one of the world’s most powerful institutions.

Other Films Worth Watching:

• The Apprentice: A film that gives insight into Donald Trump.

• Maria: Starring Angelina Jolie as soprano Maria Callas.

Have you seen any of these films? Would love your opinon

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The full LATAM film selection of the festilval:

Argentina:

• Collective Monologue (2024) – Directed by Jessica Sarah Rinland

• El Llanto (The Wailing, 2024) – Directed by Pedro Martín-Calero

Brazil:

• Baby – Directed by Marcelo Caetano

• Bury Your Dead – Directed by Marco Dutra

• Cidade; Campo – Directed by Juliana Rojas

• I’m Still Here – Directed by Walter Salles

• Praia Formosa – Directed by Julia de Simone

Colombia:

• Nido de Cocodrilo – Directed by Jazmin Rojas Forero

Dominican Republic:

• Bionico’s Bachata – Directed by Yoel Morales

• Olivia and The Clouds – Directed by Tomás Pichardo Espaillat

• Sugar Island – Directed by Johanné Gómez Terrero

Mexico:

• La Cocina – Directed by Alonso Ruizpalacios

• Maria Candelaria (1944) – Directed by Emilio Fernández

• Sujo – Directed by Astrid Rondero and Fernanda Valadez

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Hello, hello and welcome back to your weekly dose of insights about the business and culture of Latin America’s creative industries.

For those of you who are new here (welcome!) and haven't read the about section, the 33 refers to the 33 countries that comprise the LATAM and Caribbean region. Different organisations count it differently, so there might be more or fewer countries, but I settled on 33 according to the United Nations. The GEN comes from "gente," meaning people in both Spanish and Portuguese. 🇧🇷🇲🇽🇦🇷🇨🇱🇨🇴🇵🇪🇻🇪🇺🇾🇧🇴🇵🇾🇬🇹🇸🇻🇨🇷🇵🇦🇩🇴

If you saw my Instagram stories recently, you might have noticed that I wasn’t too impressed with the return of the Victoria’s Secret show (more on that soon). But first, in this edition of GEN33, I chatted with Ángela Ortiz, co-creator of the first Quito Design Week, about how it all came together, and she recommended some top design studios and talents to look out for.

🎥 The BFI London Film Festival, running until Sunday, hosted some films by Latin American directors, including Brazil’s Oscar submission, Ainda Estou Aqui (I Am Still Here), directed by Walter Salles. I’ll have more on this next week after speaking to the lovely Brazilian journalist Patricia Dantas, who attended the premiere and will give us the inside scoop.

👀 Keep an eye out on ‘s Latin Zine. I had the most fun chat with her, and it’s coming out soon!

Also in this edition: Museo de Lima’s Peruvian textile heritage auction, Iguatemi’s expansion plans in Brasília, make-up artist Karla Leon’s London exhibit, Exprimido de Tendencias by trend forecasting superstar Gaba Najmanovich and more.

Ah! A quick note on Mexico and São Paulo Fashion Weeks wrapping up this weekend—I’ll give you more details next week after I’ve connected with my sources in MxCity and São Paulo on the ground for the full details!

This newsletter is free, and I plan to keep it that way, but premium perks are coming soon. If you find it interesting or useful, please share, like and subscribe!

Let’s dive in!

Selling Underwear To Women Can’t Be Like Selling Beer to Men

Let me explain why the latest Victoria’s Secret show wasn’t particularly exciting for me. I grew up in a culture where, as soon as you're born female, your worth is tied to physical beauty. As a Venezuelan, we’ve got this ridiculous reputation for having the "most beautiful women in the world" (most surgically enhanced, might I add, but that’s another story). We’ve literally won more beauty pageants than any other country (trust me, I looked this up for a joke). Women in Venezuela are expected to live up to that standard.

I’ve been 175 cm tall since I was 15, and all I ever heard was people asking my mum if I’d enter Miss Venezuela. Nobody cared about my interests or what I wanted to study. It was all about being pretty, and that obsession runs deep in my country. I grew up seeing billboards with beer ads featuring ugly, fat men and bikini-clad women, or worse, ads where women were equated to beers. Yes, it was literally just a body with no face, called la catira. Colloquially, catira means blonde woman, but here it has a double meaning, also referring to the beer.

I even lost friends to the Miss Venezuela pageant—they came out so mentally scarred, we couldn’t even have normal conversations anymore. There’s a normalisation of eating disorders, boob and nose jobs at 16. And let's not forget how racist and Eurocentric this whole idea of beauty is.

Then referring back to the VS show, even from a business perspective, their revenue and image had been in sharp decline for years, especially with the boom of other brands like Parade and Rihanna’s Savage x Fenty, which had a completely different and more genuine approach towards the representation of bodies.

Then they bring back the same, if not worse, tacky spectacle and think that adding two curvy girls and a few older models (Tyra, Carla, Kate) fixes everything. As I said in my post, referring to one of Michelle Wolf’s jokes, “can we stop acting like women posing with almost no clothes is an accomplishment?”

VS’s problem goes beyond the issue with body shape or age, it’s their very limited vision of women. It’s essentially a glittery, candy-hued sex doll sort of thing. Let’s not even discuss the specific look choices for the 'token' models, with their strategic coverage and all-black outfits—the only way to fit them into this narrow, dumb ideal, as if anything unsightly might slip out. This is as dehumanising as the billboards of La Catira. Let’s set aside the VS show for a moment. Whose idea was it to put attractive women in lingerie on a runway? Obviously a man’s. It’s no surprise that Hillary Super, the new VS CEO, didn’t approve of the show, according to Lauren Sherman’s Line Sheet.

I’m not sure what the right strategy for this brand is. Since they sell to women, perhaps I'd start by making them human and more relatable—however that might be interpreted.

Anyway, this topic could easily fill the entire newsletter, so I’ll stop here. There’s so much more I want to discuss!

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Could Quito Become LATAM’s Next Design Hub?

Quito Design Week concluded in Ecuador, celebrating a week of innovation and creativity in design, marking the country's first event of its kind. I spoke with Ángeles Ortiz, co-founder of the event, who shared how it started, why she believes Quito could be Latin America’s next design capital and her top recommendations for design studios to watch.

The featured activities and events across the city included graphic, interior, product, fashion and multimedia design. The idea for the event came from Ángeles Ortiz and Gireth Ovando, both product designers passionate about the industry. They saw great potential in Quito and wanted to connect local design with a global audience.

A turning point for Ortiz was when she moved to Madrid to study design and was introduced to its design culture. Her interest grew through further experiences in Italy and San Francisco. Returning to Ecuador, she was excited to connect with local designers.

“Design is booming in Ecuador,” she says, noting the rise in new businesses that have increased demand for interior designers and bespoke items like custom tableware for restaurants. She also attributes this to Ecuador’s growth as a tourism hub and its economic stability due to the use of the US dollar.

Ortiz also pointed out that many Ecuadorians in their 30s and 40s are staying or returning to the country after studying abroad.

We’ve come to take pride in our roots and to understand why our work is valued in the international market from a design perspective. — Ángeles Ortiz.

A key goal of Quito Design Week is to pave the way for a new generation. “My commitment now is to open doors for new design students and create opportunities for them,” Ortiz emphasised, highlighting the importance of making the event accessible to all Ecuadorians. To achieve this, they curated a series of talks and workshops, both in-person and online, so that those unable to attend can still participate.

“We’ve invited some international speakers from IED Barcelona and other provinces in Ecuador. Our curator is based in Miami, so we’re really making this an international event.

We want to position Quito as a design hub in Latin America and encourage locals to support homegrown design

Ortiz and Ovando are still determining if the event will become biannual. “It’s been amazing so far. We’re really motivated.”

Some names to check out Ulbio Cevallos Cerámica - Ömere - Texturas de la Selva - Soroche De Los Andes - Lunalunares Studio - El Fulgor - Pamela Abad - Claudia Anhalzer - Quito Design Week.

🧶 XXXII MALI Auction Celebrates Peruvian Textile Heritage

On 19 October, Lima's Museum of Art (MALI) will host its 32nd auction dedicated in this edition to textile art, a heritage that has played a fundamental role in the cultural history of Peru. The event will showcase a selection of more than 70 pieces of art, ranging from historical textiles to innovative contemporary creations. Armando Andrade, honorary president of the auction, highlighted Peru's significant textile legacy, which often goes underappreciated. (Cosas Peru).

The 68th BFI London Film Festival is in full swing until October 20, taking place in London and across the UK!

Critics have highlighted Pepe from the Dominican Republic, directed by Nelson Carlos De Los Santos Arias, as a must-watch. Pepe is essentially the voice of a dead hippo 🦛—the first and last hippo killed in the Americas—telling his story with the overwhelming orality of these towns.

Another highlight is I’m Still Here, directed by Walter Salles and starring Fernanda Torres and Selton Mello. The feature film is Brazil's submission for the Best International Feature category at the 2025 Oscars. (Follow @Patydantas for more!)

More LATAM films at the Festival:

Iguatemi Brasília Announces Major $236 Million Expansion

Brasília is booming, and the famous Iguatemi luxury mall chain is leading the charge to meet the demand for high-end fashion, food and entertainment. Iguatemi is expaning its Brasília location with a $236 million BRL (around $42 million USD) investment, increasing the mall’s size by 50%. This will add 15,500 square metres, bringing the total to 50,100 square metres.

Set in the fast-growing Northwest region, Iguatemi Brasília will introduce 90 new stores, five restaurants, four cafes, three VIP cinemas, a wellness area, and a VIP event space. The expansion solidifies its position as the region's top luxury shopping destination region.

ICA Miami Buys Former de la Cruz Collection Building for $25 M

The Institute of Contemporary Art Miami is set to double in size after purchasing a building previously housing the de la Cruz Collection for $25 million. The acquisition adds 30,000 square feet to the museum, which plans to use the adjacent space for exhibitions and programming. (Via Artnews).

I wrote about the sale of Delacruz collection here 👇.

Para Ecuador Con Amor

Ecuadorian Hair and Makeup artist Karla Quiñonez León's debut exhibition, "Para Ecuador, Con Amor" ("With Love to Ecuador"), will be held in London from 24th to 27th October. This exhibition is her heartfelt tribute to her homeland, and she warmly invites everyone to come and experience her work. Karla will be present throughout the exhibition during opening hours.

Hot out of the oven!

🔮 And last for this week but certainly not least is a newsletter I can’t recommend enough: Exprimido de Tendencias (which means something along the lines of "Trends Squeeze"). It’s written by Buenos Aires-based Gaba Najmanovich, a dear friend I met while studying at the London College of Fashion. Every month she shares updates and insights on trends; how emotions influence consumption and design, innovative experiences, new aesthetics, social movements, design strategies and plenty of inspiring data.

I second her recommendation for this Tiny Desk concert…

..and the artist Randolpho Lamonier. Here are Gaba’s insights:

Gaba has been reflecting on Latin America—its future, what unites and separates the region, and its shared worldview. In this mindset, she discovered Profecías, a series of textile collages by Randolpho Lamonier. What stood out to her was his approach to prophecies, which aligns with future design. She appreciated how future scenarios can be expressed artistically, not just in reports. For Gaba, Randolpho’s work signals change, and she plans to explore what larger shifts it connects to.

You made it, you read the whole thing, THANK YOU!

I’d also love to hear your recommendations—let me know what you'd like to see, read, or who you'd like me to interview. I’m currently accepting submissions for articles, photo essays, fashion and beauty editorials, as well as written and photographic travel stories. Feel free to reach out at gen33mag@gmail.com or reply to this email!

Give us a follow on Instagram and GEN33 Mag. Most importantly, share this publication, like, and comment. Thanks again!

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First off, thanks to everyone who shared their thoughts about fashion show seating, sparked by Karla Martinez's IG story (Head of Content, Vogue MX & LATAM), which I reposted. I’ve gathered some great insights, spoken with industry figures, and have shared my findings below.👇 Keep reading!

Before diving in to the show seating story, I’d like to share some exciting bits and pieces I've gathered from across the web. Some of my favourites include the Caballitos de Totora fishermen/surfers of Peru (a 3500-year-old craft!) and the incredible Imilla Skaters from Bolivia, flipping tricks in their traditional skirts.

I’m also keen on a thought piece on the meaning of Hispanic Heritage Month by the brilliant strategist and brand consultant Camila Straschnoy, whom I had the pleasure of meeting a few years ago at Colombiamoda.

I’m also happy to share that Ecuador is hosting its very first design week, and Vogue MX is launching a podcast this Monday, 14th, so stay tuned. There’s much more in this info-packed issue, which is why it was a bit late! And don’t miss a special treat: a playlist courtesy the super talented multimedia artist Helena Cebrián 🇧🇷.

IN THE NEWS

🌊 The Caballitos de Totora: Could They Be the Oldest Surfboards in the World?

Think surfing started in Hawaii? Think again. Meet the caballitos de totora, ancient reed boats crafted by the fishermen of Huanchaco, Peru. Some consider them one of the oldest surfboards in the world, used to ride the Pacific's massive waves. These narrow, reed-bound vessels have been used for over 3,500 years, not only for fishing but also for surfing back to shore. Unfortunately, fewer people are learning the craft, meaning this ancient tradition could disappear in the coming decades.(BBC Mundo).

🛹 Meet The Bolivian Skaters Breaking Stereotypes One Trick at a Time

The Imilla Skaters are a group of young Bolivian women who gained fame for performing skateboarding tricks while wearing polleras, the traditional skirts of Indigenous Aymara and Quechua women.

By skating in polleras, we want to show that girls and women can do anything, says founder Daniela Santiváñez.

Founded in 2019, the Imilla Skaters shot to internet fame in 2020, amassing over 170,000 followers on Instagram and TikTok and have since been invited to participate in international festivals. (NPR).

@imillaskate @imillaskate ♬ sonido original - ImillaSkate - Cholitas Skaters

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These women aren't the first to go viral for practising sports in traditional attire. The Corredoras Rarámuri, indigenous runners from Mexico’s Tarahumara community, are famous for long-distance running in traditional sandals. Meanwhile, the Amazonas de Yaxunah softball team wear the hipil as their uniform.

🎉 Is Hispanic Heritage Month Just a Once-a-Year Performance?

According to Argentinian brand strategist Camila Straschnoy, Hispanic Heritage Month often feels like a hollow marketing ploy. "As long as US brands treat us as a homogenous group, their strategies will miss the mark," she says. She points out how there's no single Hispanic identity, and the real depth of our cultures gets lost when brands fail to engage on a meaningful level. (LinkedIn)

🎨 Quito’s First Design Week is Here

Quito Design Week (14-20 October) will turn the city into a design hub with over 60 events, workshops and exhibitions. From graphic design to fashion, QDW has something for everyone, including the Ruta de Diseño, a guide to Quito's top design spots (QDW).

🎬 Latin American Highlights at Sitges Film Festival

Sitges Film Festival, the heart of fantasy and horror cinema, is in full swing until 13 October. This year, 30 films from Latin American directors are in the spotlight, featuring works from Mexico, Brazil, Argentina, and more. Highlights include Marco Dutra’s Bury Your Dead from Brazil and Isaac Ezbán’s Párvulos: Hijos del Apocalipsis from Mexico. (SFF).

Business

Mercado Libre reported record sales in Argentina, driven by a surge in consumer demand. In August alone, the platform saw 20 million products sold, amounting to $916 million. While food and basic necessities were the focus earlier in the year, shoppers have now shifted towards non-essential items such as computers, tablets and mobile phones. (Bloomberg).

For more, read my dedicated feature on BoF, Inside Latin America’s $90 Billion E-tailer Mercado Libre, to learn about the company’s fashion strategy and business plans.

GEN33 Investigates

The Politics of Fashion Show Seating: Is Latin America Being Overlooked?

Last week, Karla Martinez, Head of Content for Vogue Mexico and Latin America, shared on her Instagram stories that she had felt sidelined at a couple of major shows during Paris Fashion Week as she was seated behind her counterparts from other Vogue editions. It's worth noting that these were global brands that advertise in the magazine.

To fashion outsiders, this might seem trivial, but in fashion, where you are seated at a show reflects the industry's hierarchy and your position within it.

Don't just take my word for it. American journalist Lauren Sherman, a seasoned professional, briefly addressed this in her newsletter Line Sheet (which is fantastic by the way).

After reposting Martinez's remark on my feed, I received a flood of responses. Naturally, the question arose: how do the experiences of Latin American editors compare to those of their counterparts from other Vogue editions? To investigate, I reached out to a few industry figures from the region.

Gabriel Fusari, a content producer for , commented on my original Instagram post and shared that at a Philipp Plein show, Brazilian journalists were seated with their backs to the catwalk. 😮

Meanwhile, one editor I spoke to, under the condition of anonymity, believes brands are simply not interested in Latin America.

Some shows still seat us in the front, but this season, most of us were in other rows," they said, adding that influencers are now the priority. "At Lacoste, even the German editors were in the second row, while influencers were in the front. That's alarming.”

In an era where life is lived through a screen and everything revolves around social media, the influencer front row isn't exactly surprising. While I understand that engaging new audiences is good for business, the seat shuffle feels like a slight for the professionals and magazines that have supported these brands for years.

This phenomenon has historical precedents. About 20 years ago, the rise of fashion bloggers—like Tavi Gevinson, Bryan Yambao (Bryanboy), Leandra Medine of Man Repeller and Susanna Lau of Style Bubble—caused controversy as they started getting prime seats next to legacy media representatives. Most of those names are now top editors, writing for major publications, including those they once rivalled. It will be interesting to the current influencer situation evolves.

"About 10 years ago, Brazil was in the front row," Fusari recalls. "I remember photos of Daniela Falçao, Donata Meirelles, Bárbara Migliori and Bruno Astuto (former editor of Vogue Brazil), sitting next to Anna Wintour, and Brazilian teams from other magazines there. Now, Brazilian magazines send only one or two people."

(Note: The reason for sending fewer people is mainly economic—most traditional media outlets have smaller budgets now and it's not feasible to send big teams to shows anymore.)

In most cases, brands typically invite only the editor-in-chief or a senior staff member, rarely offering more than one or two seats per publication (unless you're Anna Wintour and her team). If a senior editor can't attend, they might ask another team member or a local journalist to cover, but the brand may withdraw or downgrade the seat. (Is that bad etiquette? I wonder.)

In the end, who deserves the front-row seat more—a Suzy Menkes or a Jools Lebron—warrants its own discussion. But when space is needed for someone new, how is it decided who gets downgraded?

Fashion's fast pace and the internet's influence mean things change every season, and the politics of fashion show seating are incredibly complex. As a Launchmetrics article explains, creating a buzz-worthy seating chart is key for brands. For instance, "Queen Elizabeth next to Anna Wintour at London Fashion Week" generated headlines.

With 28 international editions of Vogue, plus other major titles like Elle and Harper's Bazaar, not everyone can have prime seating. Someone asked in the comments why all Vogue editions need to be at the show. The answer isn't simple. Most of Vogue's runway content is centralised and syndicated, with reviews typically written by US journalists. However, each market has its own needs and specific characteristics. So yes, it's important for international editions to attend the show as well.

Mexican and Latin American readers prefer Martinez’s take, as they watch her Instagram stories and value Spanish-language reporting. When I attended Burberry SS25 for Vogue Mexico, I wrote a short piece with a different angle, aiming to bring the brand closer to the local audience.

The question remains: how do major fashion houses prioritise some regional editors over others from the same publication? If the brands are advertisers, is it based on market size, luxury spending, store presence, or media impact value? Are other regions, like Africa or Australasia, deprioritised too?

From a luxury market perspective, Latin America's luxury goods market is projected to reach $36.6 billion in 2024, according to Euromonitor. Although growing at 8.2% annually, it remains much smaller compared to Asia Pacific's $640.7 billion, Western Europe's $352 billion and North America's $324.7 billion. Even the Middle East and Africa surpass it at $50.8 billion, making Latin America relatively minor, though still significant.

Let's not forget that high taxes in countries like Mexico and Brazil drive a lot of international shopping as well. As Martinez once told me, you can pay up to $800 more for the same bag in Mexico (I wrote about this for BoF).

I heard about a Dubai-based editor who complained about being seated in the third row at a Dior couture show, for which the brand apologised. With so few people able to spend €4,000 on a bag, let alone €300,000 on a couture dress, couture shows are clearly even more exclusive. However, if there’s a region that might have these kind of clients, it’s the Middle East, and I’d suggest the Euromonitor numbers seem to support this.

"For many brands, it depends on the venue and its configuration," says PR executive Cristina Cabarcos, founder of C3 PR Agency. "Some shows have everyone seated in the front row. I've seen this often in New York and Milan. This season I attended Sunnei and all the guests were seated in the front row."

Simone Rocha in February had single row seating.

Also, you can't overlook the long-standing relationships between magazine editors and brands or executives. Some magazines may not be that significant, but if an editor has valuable connections and networks, it can make a difference. Just like in jobs or business relationships, it's all about who you know.

Some editors may find themselves in less favourable positions due to PR teams' limited knowledge of global markets, particularly smaller firms that focus primarily on the US and Europe. A London-based editor who has worked with African and Chinese media told me many global markets are still seen as "obscure," and PRs often don't recognise the quality or importance of regional publications.

Major brands like Dior, Vuitton, and Chanel have regional PR teams that manage seating allocations for each season, especially in markets with stores. Many factors influence seating, making it a complex task for PR teams.

My final take is that, yes, sometimes it’s due to outright unfairness, while other times it can be an honest mistake. In some cases, Latin America simply isn’t a priority market for certain brands, and that’s understandable.

One brand reached out to Martinez to apologise for the seating arrangement. Hopefully, this shows they recognise the importance of Latin American coverage, and next season, she’ll share the front row with her counterparts. I also hope the rest of global editors are treated fairly, but only next season will tell!

I would love to know your thoughts on this, please drop some comments below!

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THE PLAYLIST

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If you found value in this publication, please share it with your friends and colleagues! I’d also love to hear your recommendations—let me know what you'd like to see, read, or who you'd like me to interview.

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Welcome back to GEN33! Your dedicated newsletter for the latest news and insights on the business and culture of Latin America's creative industries.

In today’s issue, with Paris Fashion Week just wrapping up, I’m sharing a special trend report from visual artist Lauro Samblás. There are also some top recommendations from the San Sebastián Film Festival, a peek into the bookshops of Mexico City, and a look at the 200th anniversary of Uriarte Talavera. And don’t miss a very special playlist at the end!

Mentions in this issue:

Prada Bottega Veneta VALENTINO S.P.A. Alexander McQueen CHANEL Maison Moschino Christian Dior SE BALENCIAGA Céline, Lauro Samblás, Karla Martinez De Salas, Olga Ianul, Fer Millán, Amanda Marcucci, Rafael Azzi, Ignacio Alen, Mariana Rondón, Maite Abelardi, Diego Lerman, Cecilia Atán, Valeria Pivato, Mariana Rondón, Salvador del Solar, Helena Christensen, Emiliano Villalba and James Richmond, Uriarte Talavera, Tim Blanks, Nicole Phelps and Suzy Menkes and more…

Oh, what a whirlwind fashion month it was! Everyone had something to say about Michele's debut at Valentino and McGirr's sophomore collection for Alexander McQueen.

Then there was the star-studded lineup at Miu Miu—Sunday Rose (Nicole Kidman's daughter), Alexa Chung, and Hilary Swank, with Willem Dafoe closing the show. Louis Vuitton went all out with a trunk-filled runway. But the week ended with the (not so) shocking news that Hedi Slimane has left Celine. Michael Ryder, formerly of Ralph Lauren, will be stepping in.

Now, we're all wondering if the long-awaited speculation about Slimane heading to Chanel is true. I'll leave it to industry veterans Tim Blanks, Nicole Phelps, and Suzy Menkes to give you the play-by-play on these events. In the meantime, I've teamed up with the talented Spanish visual artist Lauro Samblás to create a trend report with a rather unexpected flair.

Indeed, this spring recap isn't your typical rundown of pastels, sheer fabrics and florals for spring. This all came about during our spontaneous daily chats about fashion shows. He's too humble to brag about this, but he's worked with the likes of Louis Vuitton, Hermès and Adidas, to name a few. Enjoy!

Spring Sumer 2025 Trend Report

There are three macro trends overall. First, a more colorful and optimistic vibe, celebrating life and art. I’d say we could throw in some Italian brands like Moschino, Bottega Veneta, and Prada here. Then there’s the middle ground, which honestly feels stale, emotionless and rather formulaic, if you will. Personally—and sorry, but—I’d put Michele’s Valentino in this group. I mean, let’s face it, we’ve seen it all before. I’m not saying it won’t work; it’s just not exactly surprising. The final bow of Hedi at Celine? Sure, super pretty and sellable but far from life-changing. As for Dior? It feels like Maria Grazia is deep in burnout mode.

Which, honestly, makes me wonder if Dior belongs in this third, more funereal, “celebration of death” kind of category. Especially with all that black. It’s supposed to be spring! Chitose Abe at Sacai, one of my all-time faves, delivered an amazing collection, but it was also devoid of colour. And then there’s Balenciaga—nothing screams “depressed rich Gen Z” like Demna’s collections, and the latest one is no exception. Most brands’ moods or themes fall somewhere within these categories.

That said, the trends we’ve lined up might not follow this classification, and they’re all open to interpretation. Take a look at what we’ve come up with and let us know your thoughts!

Gone With The Wind

This is rather fun to look at. Dresses and scarves swirling around like the model is caught in a gust of wind, almost hurricane-like. Yet, somehow, it’s not entirely chaotic—the hair and the rest of the look stay flawless. In Loewe’s case, it's less about the wind and more like a crinoline dress, with visible circular underhoops. But some coats gave the sense that the wind was blowing from below. It’s a paradoxical play on making these stiff garments appear in motion. Like capturing a single frame, frozen in time. (Brands: Victoria Beckham, Kiko Kostadinov, Prada, Loewe)

Museum of Modern Art

Life and art. Sculptural shapes and geometric pop art vibes—easily one of the most fun and optimistic trends of the season. Jonathan Anderson, as always, played with proportions at J.W. Anderson, while Prada added a fun twist to bucket hats and skirts with circular cut-outs, embracing the '60s vibe of the collection. Meanwhile, Balmain took it to the next level with 3D faces even stamping Kylie Jenner on some pieces (as if we needed to see more of her). Other brands channeling MOMA energy? Pierre Cardin, Zommer, and Libertine.

Boxing Boots

This concept comes from those nostalgic, highly sellable fashion trends, in this case, the '90s. However, it also resurfaced in the 2000s. Remember Million Dollar Baby? Yes, the film from 2004 that won Hilary Swank an Oscar. She made an appearance walking in the Miu Miu SS25 show. Maybe it’s just a coincidence. Perhaps it’s simply one of those trends without a deep concept behind it. I think it’s a fun one, and I remember having a pair of Diesel boxing boots in 2006 that were similar to these. What’s your take on the return of the boxing boot? Seen at: Stella McCartney, Loewe, Dior, Ottolinger.

To Market

For Fall 2024, designers really leaned into everyday objects. Take Balenciaga's show last year in Los Angeles, for instance, where leafy greens peeked out of grocery bags they created in collaboration with Erewhon. Then, at Adrian Appiolaza's Moschino debut for Fall 2024, the baguettes and veggies sticking out of a paper-like grocery bag were actually individual clutches. Fast forward to the SS25 season, and Bottega Veneta unveiled a double-bag look, pairing its main accessory alongside leather grocery bags that sported cheeky, playful prints. More thoughts here.

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Latin American Designers in Paris

Every season, there are plenty of Latin American designers setting up showrooms in Paris—it's no small feat! It’s expensive and crowded with designers; PFW is by far the most competitive. I'm curious to see how they fared this season.

Venezuelan designer Efrain Mogollón presented his SS25 collection titled Rosa América, a deeply personal ode to his roots and a homage to his mother, Rosa, whom he credits as one of his biggest inspirations. He showcased his signature voluminous shapes, this time focusing on roses and favouring organza as a textile. His showroom looked pretty busy, with visits from Vogue’s (Mx) Karla Martinez and influencers like Olga Ianul and Fer Millán, among many others. Well done!

Meanwhile, the lovely Italian jewellery designer Amanda Marcucci popped me a message inviting me to her showroom. I couldn't make it, but she shared that Helena Christensen wore one of her necklaces to the recent BoF gala—and she looked stunning! (I had mistakenly stated Marcucci was Brazilian).

For their part, PR firm Azzi+Co led by Rafael Azzi launched its first Paris showroom, set in a former Banque Francaise on Rue Vivienne. Brands inclided Dominican Republic’s Isla & White, the Venezuelan shoe brand Andrea Gómez, which Moda Operandi can't seem to get enough of; the eye-catching Wai Wai Rio handbags from Brazil; and the architectural jewellery of Venezuelan Nayibe Warchausky, alongside modern accessories from Ecuadorian brand Sensi Studio. Thanks to Rafael Azzi for the invite and to Ignacio Alen for the coverage.

By the way, you should know Ignacio was the editor of the style section of the journal “El Carabobeño” of Valencia, Venezuela for eight years and also had a line of the most impeccably tailored shirts. Now, he shares his thoughts and the latest lifestyle trends on his new site Sinequamode.

So, with the big four fashion capitals behind us, it's time to look ahead! Mexico Fashion Week and São Paulo Fashion Week are just around the corner on October 15th and 16th, respectively. Journalist has a thought-provoking post pondering the question: Is Mexican Fashion Week relevant?

I promise to share some insights about São Paulo very soon. Ah! Emiliano also shared with me his top desigers for Mexico Fashion Week, more about that in the next edition!

Must-See Films
I’m happy to report that two critically acclaimed films by Latin American directors that premiered at the San Sebastián Film Festival will be on Netflix this October: El Lugar de La Otra, directed by Maite Abelardi from Chile, and El Hombre que Amaba los Platos Voladores by Argentina's Diego Lerman. I’m still not sure where you can watch these, but you also won't want to miss La Llegada del Hijo, directed by Argentinian duo Cecilia Atán and Valeria Pivato; the award-winning Zafari by Venezuelan director Mariana Rondón, and Ramón y Ramón, directed by Salvador del Solar from Peru.

City Musings

I stumbled upon Louie James Richmond's Instagram, where he posted a beautiful video about bookshops in Mexico City. He has a whole series of reels showcasing different spots in the Mexican capital. Do give him a follow; it’s a joy to watch.

Uriarte Talavera's 200th Anniversary
Founded in 1824, Uriarte Talavera is a gem of a ceramics studio in Puebla, Mexico, known for its exquisite hand-painted Talavera pottery. Each piece reflects Mexico's rich cultural heritage through intricate patterns and vibrant colours, crafted using time-honored techniques. Their collections of tableware, tiles and decorative pierces are designed to elevate any space.

What does it mean to speak about Mexican fashion?

The exhibition Pasado de Moda: Pasarela de Estilos in México City invites you to explore a unique perspective on fashion that has never been seen in a museum project. This showcase delves beyond luxury, revealing the deep connections between fashion and art, graphic design, media influence, and the commerce that sustains the industry. Museo del Estanquillo with free entry is free until January 2025!

The Playlist

Fashion Month—namely, the world’s most important fashion weeks in New York, London, Milan, and Paris—came and went, bringing with it a slew of trends we’ll be seeing in the months to come. But this trend report isn't your typical rundown of pastels, sheer fabrics, and floral patterns for spring.

This all came about during my spontaneous daily chats about fashion shows with my dear friend, the incredibly talented Spanish visual artist Lauro Samblás. He’s too humble to brag, but he’s worked with the likes of Louis Vuitton, Hermés and Adidas to name a few.

Fashion is such a good barometer of what’s going on in the world; the mood of the collections, the level of risk-taking—or lack thereof—says a lot about our current times and where things are headed. Tim Blanks wrote for BoF about Paris shows “Playing it safe season,” but I honestly think that sums up all the fashion weeks.

Everyone’s raving about Prada and Miu Miu, and while I get that they still sell well despite the luxury slowdown, I don’t think there’s that much new. Miuccia Prada is excellent at reworking her best-sellers each season, but hey, that’s kinda the whole business of fashion anyway. Then Lauren Sherman mentioned in one of her newsletters how we shouldn’t dare criticize Dolce & Gabbana, since they’re one of the few brands actually making money from ready-to-wear. So, you know—whatever works.

I do sometimes miss that sense of boundary-pushing and freshness, which is why I’ve been cheering lately for brands like Duran Latnik, Abra, Kiko Kostadinov, Sunei, among others. If I’m being honest, I’ve never been a big fan of brand revivals or the whole designer musical chairs situation. I know it’s not the most popular opinion, but I believe that when the original designer is no longer there, it’s time to move on to new labels. So many brands stray so far from what the founder originally envisioned that it’s kind of sad. The brand just becomes a piñata, where the heritage takes a beating until there’s nothing left. Of course, there are exceptions. But anyway... what do I know?

There are three macro trends overall: Life and Art, The Stale and Emotionless, and Death. Almost all brands have their moods or themes falling somewhere within these categories. In any case, these trends we’ve lined up have a bit of a different reading, but they’re all open to interpretation. Take a look at what we’ve come up with and let us know your thoughts!

If you haven’t seen Lauro’s work before, you’re in for a treat. The best way I can describe it is as an instant hit of serotonin. Check out his IG after you’ve read (or visually enjoyed) this report.

GONE WITH THE WIND

This is rather fun to look at. Dresses and scarves swirling around like the model is caught in a gust of wind, almost hurricane-like. Yet, somehow, it’s not entirely chaotic—the hair and the rest of the look stay flawless. In Loewe’s case, it's less about the wind and more like a crinoline dress, with visible circular underhoops. But some coats gave the sense that the wind was blowing from below. It’s a paradoxical play on making these stiff garments appear in motion. Like capturing a single frame, frozen in time. (Brands: Victoria Beckham, Kiko Kostadinov, Prada, Loewe)

MUSEUM OF MODERN ART

Life and art. Sculptural shapes and geometric pop art vibes—easily one of the most fun and optimistic trends of the season. Jonathan Anderson, as always, played with proportions in his namesake label, while Prada added a fun twist to bucket hats and skirts with circular cut-outs, embracing the '60s vibe of the collection. Meanwhile, Balmain took it to the next level with 3D faces. Other brands channeling MOMA energy? Pierre Cardin, Zommer, and Libertine.

MILLION DOLLAR BABY

This concept originates from commercial fashion trends that evoke memories of the '90s—definitely a nostalgic one. However, it also resurfaced in the aughties. Remember Million Dollar Baby? Yes, the film from 2004 that won Hilary Swank an Oscar. She made an appearance walking in the Miu Miu SS25 show. Maybe it’s just a coincidence. Perhaps it’s simply one of those trends without a deep concept behind it. I think it’s a fun one, and I remember having a pair of Diesel boxing boots in 2006 that were similar to these. What’s your take on the return of the boxing boot? Seen at: Stella McCartney, Loewe, Dior, Ottolinger.

TO MARKET

For Fall 2024, designers really leaned into everyday objects. Take Balenciaga's recent show in Los Angeles, for instance, where leafy greens peeked out of grocery bags they created in collaboration with Erewhon. Then, at Adrian Appiolaza's Moschino debut for Fall 2024, the baguettes and veggies sticking out of a paper-like grocery bag were actually individual clutches. Fast forward to the SS 25 season, and Bottega Veneta unveiled its amazing bags, double-bagged alongside leather grocery bags sporting with cheeky, playful prints.

Ok that’s it for now. Do give Lauro a follow!

Hello, and welcome back to GEN33, your go-to source for the latest news and insights on the business and culture of Latin America's creative industries.

Yes, it's been a bit fashion-heavy lately, but with fashion month running until 1 October, there's no shortage of developments—especially when it comes to Latin American talent.

A perfect example: seven new Latin Americans have been inducted into the Business of Fashion's 500 Class of 2024. Representing Brazil, there is designer Airon Martin, models Angelina Kendall and Zaya Guarani, music sensation Anitta and Elle Brazil's editorial director Susana Barbosa. Also joining the ranks are Mexican photographer Enrique Leyva and Argentine Juan Costa Paz, co-founder and chief creative officer at Paris-based creative agency Convoy. His business partner, Nordine Benotmane, who hails from Algeria, is the other co-founder and design director. Congrats to all the new inductees!

I certainly have a few opinions regarding the fashion shows, but there are plenty of others who are actually there to break it all down. My personal favourite to follow for this is Lauren Sherman, who spills insider info in her Line Sheet newsletter—I'm addicted to her Chanel rumours like a telenovela!

This week, she said that a decision on the next creative director for Chanel could be announced after the show "once the contract has been signed". Sherman mentioned potential candidates like Simon Porte Jacquemus, Daniel Roseberry, Thom Browne, Hedi Slimane, Marc Jacobs, and Pieter Mulier. I concur with Sherman—I'd love to see Marc take the helm, but Mulier is doing great work at Alaïa, so I'd hate to see him leave. She also hinted that Pierpaolo Piccioli at Fendi sounded "like a fine idea".

On that note, it's the perfect moment to share this infographic from Stylist magazine that came out a couple of weeks ago; it explores different fashion houses and potential creative director pairings.

More news from the fashion front: Social media has been buzzing about a star-studded cocktail party hosted during Milan Fashion Week (MFW). The lavish event was organised to celebrate the winners of the inaugural Latin American Fashion Awards (LAFA), which took place in November.

LAFA is a biennial event, with the off-year used for touring and promotion. And as promised, in addition to getting a lot of pictures that look good on Instagram, as part of the perks of winning, the 15 honorees got to take part in the Fashion Hub Milano, an immersive exhibit supported by the Camera Nazionale della Moda Italiana, showcasing the work and stories of the winners. Among them are designers Willy Chavarría, Luar, Karoline Vitto and Verdi, as well as photographers Camila Falquez and Elliot & Erick.

Additionally, fashion and accessory designers were also featured at the WHITE showroom, giving them prime access to buyers who may not have had these brands on their radar. Meanwhile, Brazil's Vitto, whose expertise in designing for curvier body shapes won her the Emerging Designer category, will receive a six-month mentorship programme from the CFDA.

The mentorship programme is one of the most hands-on benefits the winners receive, as there aren't cash prizes involved, just exposure. I have to say, the creators of the awards, Silvia Arguello and Constanza Etro, have worked hard to get as much press as possible, but I do wonder how much of it will actually translate into something meaningful for the winners.

Many already have solid reputations and industry recognition. For example, Hiandra Martinez, named Model of the Year, has graced every major runway and magazine cover, largely thanks to her hard work and dedicated agent, Sandro Guzman (whom I actually covered in 2017 for BoF, along with Lineisy Montero's rise to fame). However, Willy Chavarría is best known in the U.S., so this could boost his presence in Europe.

There's also the question of how LAFA defines "Latin American." Take the Rodarte sisters, for example — nominees for Designer of The Year. They were listed as Mexican, but their Latin American heritage comes from just one Mexican grandparent. While their heritage may have influenced their work, they are primarily recognized as American designers, as far as I know at least.

I wonder how this compares to designers like Silvia Tcherassi or Johanna Ortiz, who have built their brands in Colombia, or Chavarría, whose work makes a direct statement about his heritage and political views. It raises an interesting point about the balance between cultural background and the role it plays in defining Latin American talent. Of course, not every designer has to centre their work around their heritage, but it's worth considering how much weight that carries in this context.

Nonetheless, it's fantastic to see big industry names rally behind these designers, and this extra exposure undoubtedly brings new opportunities. However, whether these awards have a lasting impact remains to be seen. Let's hope the ripple effect reaches beyond the usual suspects!

Now before diving into some exciting developments of the week, I'd love your help in spreading the word and getting more people on board who might enjoy this newsletter!

I'm gifting up to a year of paid subscriptions. The content is free for you to read, share, and comment on (archives older than 4 weeks will soon be paywalled). BUT, soon I’ll be offering perks for supporters—like private Q&A chats, special print products for year-long subscribers, event invites and exclusive calls with VIP guests. Not asking for money (yet! ;), just asking you to share GEN33 with your circle—and you can enjoy all these perks, free for up to a year!

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Fashion

Chiara Machiavello Wins CNMI Sustainable Fashion Award

Chiara Machiavello, founder of Peruvian brand Escvdo, won "The Bicester Collection Award for Emerging Designers" at the CNMI Sustainable Fashion Awards 2024. Known for her vibrant knitwear handcrafted by Peruvian artisans, Chiara competed against Marco Rambaldi and Kartik Kumra. Escvdo continues to champion sustainability with its blend of traditional and experimental techniques. Follow @escvdo for more!

Beauty 🌸
Lizeth Selene Joins YSL Beauty

The Acapulco-native joins the ranks of Hailey Beiber and Precious Lee as YSL’s beauty ambassador. Selene is known for her role in the Nexflix reboot of Mexican telenovela Rebelde and musical hits like Sin Ti and Pa Darle. (WWD).

Photography 📸
Angela Cappetta: Puerto Rican Girlhood in NYC

Angela Cappetta’s new photo book "Glendalis" offers an intimate look at a Puerto Rican family in pre-gentrification Lower East Side. Spanning over a decade, the book highlights Glendalis, the youngest daughter, and her coming-of-age story surrounded by the love and support of her community. A beautiful portrait of life in NYC’s Latinx neighborhoods. (Service95).

Film 🎬
Mariana Rondón’s “Zafari” Premieres at San Sebastián

Venezuelan filmmaker Mariana Rondón is back with Zafari, a dystopian fable set in a deteriorating Latin American country. Premiering at the San Sebastián Festival, the film builds on her acclaimed 2013 work, Pelo Malo. Keep an eye on this thought-provoking new release from one of Latin America's most exciting directors. (Firmand.es).

XII Premio Sebastiane Latino: LGBTQIA+ Representation
Four Latin American films are finalists for the prestigious XII Premio Sebastiane Latino, which honours films that best represent the values and struggles of the LGBTQIA+ community. Competing titles include Los Amantes Astronautas, Reas, Baby, Vera y el placer de los otros . The award highlights diverse voices and productions from Brazil and Argentina.(Premio Sebastiane).

Music 🎵
The Chilean Artist Who Went Viral Using Bad Bunny’s Voice,
Mauricio Bustos has gained fame by using AI voice-cloning tools to create a viral track featuring Justin Bieber, Bad Bunny, and Daddy Yankee—without their involvement. While the track is a hit with fans of the Latin Urban genre, it has also sparked debates about the ethical use of AI in the music industry. A glimpse into the future of digital creativity! (Rest of The World).

Art 🎨
New MALBA Exhibition Space Opens in Argentina
Buenos Aires’ Museo de Arte Latinoamericano de Buenos Aires (MALBA) has launched a new exhibition space in Puertos, Escobar on September 22. The opening featured four exhibitions and drew a crowd of 1,000 special guests, including local artists and architects. The new space promises to be a dynamic addition to Argentina’s thriving art scene. (Arquitectura Viva).

Film & Culture 🎞️
Cineteca Nacional Chapultepec Opens in Mexico City
Film lovers rejoice! The new Cineteca Nacional Chapultepec has opened its doors in Mexico City, offering eight theaters, an outdoor forum, a videotheque, and workshops. The highly anticipated venue aims to be a cultural hub for cinephiles, blending film screenings with educational and artistic spaces for the community.(MXC).

That’s it for now! Thank you and thanks for reading!

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