Mexico Weaves Fashion Policy to Help Indigenous Communities

A model walks down the runway at the 'Original' fashion show in Mexico City Rodrigo Oropeza AFP
A model walks down the runway at the 'Original' fashion show in Mexico City Rodrigo Oropeza AFP
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Mexico Weaves Fashion Policy to Help Indigenous Communities

A model walks down the runway at the 'Original' fashion show in Mexico City Rodrigo Oropeza AFP
A model walks down the runway at the 'Original' fashion show in Mexico City Rodrigo Oropeza AFP

Clothing designers inspired by traditional Mexican motifs, embroidery and colors are exhibiting their work at a fashion fair in Mexico City promoted by the government to support marginalized Indigenous communities.

Traditional blouses made by the Tzotzil people of Chiapas, embroidered patterns from Michoacan and shirts from Oaxaca were among the garments on show at the first of seven parades at the "Original" event, AFP said.

"The creation of each product made in our community is a legacy of our ancestors," said Carlos Alberto Delgado Martinez, one of around 500 exhibitors at the event, which runs until Sunday at the Los Pinos former presidential residence.

"It's important that we artisans save our culture and defend it from plagiarism because each garment has a meaning. Each embroidery has an explanation," he added.

As with the first edition in 2021, "Original" aims to fight what Mexico calls plagiarism of Indigenous textiles by foreign clothing brands, and to create a more equitable fashion industry.

"We're not opposed to (the big fashion houses) using motifs of pre-Hispanic origin" as long as they recognize "the intellectual work and creativity" of Mexican artisans, President Andres Manuel Lopez Obrador said Friday.

"The government is pursuing a policy of rehabilitating the dignity of Indigenous peoples," Lopez Obrador's spokesman Jesus Ramirez Cuevas told AFP.

"Mexico would not be what it is without its Indigenous peoples," he said, underlining the government's social programs for impoverished such communities.

"It's time for them to play a central role in the construction of the (country's) identity. Today, we recognize their art," he added.

Mexico has lodged several complaints against major clothing brands including Zara, Mango and SHEIN for alleged cultural appropriation.

Last month it won an apology from US fashion house Ralph Lauren after Lopez Obrador's wife Beatriz Gutierrez accused it of plagiarizing Indigenous designs.

French designer Isabel Marant also apologized in 2020 for the use of the traditional patterns from an Indigenous community.

Mexico's culture ministry has called for "ethical collaboration" between clothing brands and artisans.

"No to plagiarism. No to cultural appropriation. Yes to original creations and the communities behind them," Culture Minister Alejandra Frausto said.

The government is also trying to retrieve pre-Hispanic archaeological pieces from abroad and stop foreign auctions of such items that Lopez Obrador has branded "immoral."

"You want to buy Mexican art? Buy this one, which is alive," Frausto said, pointing to models dressed in blouses, shirts and belts made by Indigenous artisans.



Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
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Dolce & Gabbana Debut in Paris, Showing Italian Artistry on French Soil

The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann
The logo of Italian designers Dolce & Gabbana is seen at a branch office at Bahnhofstrasse shopping street in Zurich, Switzerland September 9, 2020. REUTERS/Arnd Wiegmann

For the first time in their 40-year history, the Italian design duo Dolce & Gabbana are showcasing their work in the French fashion capital. Paris, the birthplace of haute couture, now finds itself hosting a powerful Italian counterpoint to French luxury fashion.
The message, as curator Florence Müller puts it, is direct: “Yes, Italy does it too.”
The landmark exhibition, Du Coeur a la Main (From the Heart to the Hand) running from Jan. 10 to March 31, is not only a love letter to Italian craftsmanship, but to the interconnectedness of fashion. “The story of couture is global,” Müller explained. “Embroidery, lace, brocade — they existed long before Parisian couture, in Italy, in India, and beyond.”
Spread across 1,200 square meters (1,400 square yards) of the newly refurbished Grand Palais, the exhibit showcases over 200 looks from the company's Alta Moda and Alta Sartoria collections and 300 handmade accessories, as well as objects like Sicilian ceramics. It includes 10 themed rooms that delve into the artistic roots of Dolce & Gabbana’s work.
Baroque grandeur defines the collection, unapologetically maximalist and layered with embellishments. Among the highlights is a gown inspired by Venice's Murano glass, encrusted with glass mosaics from Orsoni Venezia 1888, the glassmakers behind the golden mosaics of St. Mark's Basilica. Müller described it as “a sculpture on textile — pure craftsmanship elevated to art.”
Opera takes center stage. A black velvet gown softened by gold embellishments captures the drama of Bellini’s Norma, while a romantic blue dress for Verdi’s La Traviata flows like an aria, its tulle layers whispering love and loss. Meanwhile, icons of the brand, such as Sophia Loren and Naomi Campbell, are immortalized in giant paintings. Classical Italian opera and traditional Sicilian folk melodies provide the soundtrack, adding layers of drama.
But Du Coeur a la Main is not just about finished pieces. Five real seamstresses from Dolce & Gabbana’s Milan atelier work live during the exhibition, crafting bodices, bustiers and corsets before visitors’ eyes. “This seamstress is sewing lace to form a dress, while another is draping fabric by hand,” Müller said. “It’s extraordinary. This is not just fashion — it’s art.”
Sicily, Domenico Dolce’s birthplace, lies at the heart of the collection. Traditional Sicilian hand-painted carts, ceramics and lace-making techniques are woven into couture. Yet the exhibit also underscores fashion's often-ignored global influences.
“Luxury goods and artisans traveled more than we think,” Müller said. “The silk and brocades used at Versailles Palace came from India, and Italian artisans were hired to craft the Hall of Mirrors ... (Fashion) is constant exchanges and inspirations — this exhibit reveals what time forgot.”
Italian and French fashion have long been framed as rivals, with French conglomerates such as LVMH and Kering and Paris Fashion Week sometimes viewed as the pinnacle of the industry. But this exhibition challenges that hierarchy, showing that the two traditions are more interconnected than they are opposed. Both rely on les petites mains — "the little hands" — the artisans whose precision and passion elevate couture to art.
“The techniques may differ — Sicily’s lace traditions versus Paris’s tailoring — but the soul of couture remains the same: the human touch,” Müller said. The exhibit reveals the shared ingenuity of French and Italian ateliers, whether in a Sicilian workshop or a Parisian salon.
Even beyond couture, the exhibit highlights the breadth of “Made in Italy.” Everyday items like Smeg refrigerators and coffee presses given a D&G reworking reflect the ethos of Italian craftsmanship, transforming functional objects into canvases for artistry.
“Fashion is art. It’s meant to inspire, to dazzle, to make us dream. Whether you wear it once or never, its value is in its beauty, not its practicality,” Müller said.
When asked about hyperbole of the dazzling gowns — many of which seem impossible to wear on the street — she replies with a smile: “So what?”