Brazil is in Fashion, as Brazilians Like to Say. Here’s Why

A tourist wearing a jersey in Brazilian colors poses for photos on a terrace at the Rocinha favela in Rio de Janeiro, on Sept. 2, 2026. (AP Photo/Silvia Izquierdo)
A tourist wearing a jersey in Brazilian colors poses for photos on a terrace at the Rocinha favela in Rio de Janeiro, on Sept. 2, 2026. (AP Photo/Silvia Izquierdo)
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Brazil is in Fashion, as Brazilians Like to Say. Here’s Why

A tourist wearing a jersey in Brazilian colors poses for photos on a terrace at the Rocinha favela in Rio de Janeiro, on Sept. 2, 2026. (AP Photo/Silvia Izquierdo)
A tourist wearing a jersey in Brazilian colors poses for photos on a terrace at the Rocinha favela in Rio de Janeiro, on Sept. 2, 2026. (AP Photo/Silvia Izquierdo)

Brazil is having a moment. Celebrities and record numbers of tourists donning green, yellow and blue are flooding into the country. Brazilian culture — from its Oscar-nominated films to funk music — is taking the world by storm. Global fashion brands and influencers are leaning into the hype.

For decades, Brazilians have lamented that the country and its cultural makeup and output have long gone under-appreciated in what has become known as the “mongrel complex”, The Associated Press said.

But as attention from abroad pours in and consolidates itself in 2026, some say a shift may be underway with the rise of “caramelo pride” — a ubiquitous celebration by Brazilians of caramel-colored street mutts that have come to represent the country.

Here’s a look at the phenomenon.

Brazilcore kicks off the trend

Brazil has captured the world’s attention and admiration before, and Brazilians cyclically observe that “Brasil está na moda,” or Brazil is in fashion.

Many trace the current popularity of the phase to 2023, when Brazilcore, a fashion trend featuring the colors of the Brazilian flag and inspired by Brazilian culture, gained widespread global traction. Celebrities including Bad Bunny, Emily Ratajkowski, Hailey Bieber, Tina Kunakey, Sabrina Carpenter, Alex Consani and Addison Rae have all participated in the trend.

Fashion was “very rigid, with many uniformized clothes. Suddenly came this wave from Brazil showing more skin, using more color,” said Néli Pereira, a PhD candidate at the University of Sao Paulo in cultural studies who specializes in Brazil. The spontaneity and vivid color palettes resonated amid a craving for more light-heartedness.

Recently, the popularity of Brazilcore has morphed into a massive, multi-faceted global phenomenon that celebrates “brasilidade,” or Brazilianness, moving beyond fashion to include music, dance, cinema and sport.

Trend seen in fashion, increased tourism and star power

Brazilcore can be spotted on high streets around the world and takes the forms of bikinis, micro-shorts, crochet pieces, soccer shirts and accessories. Brands including fast fashion giants, such as Zara and H&M, have put out tops in green and yellow or emblazoned with Rio de Janeiro, while Chanel, Jil Sander and Schiaparelli have all made references to Brazil’s national colors.

The hype around Brazil has also translated into record numbers of tourists visiting the country. More than 9 million tourists came to Brazil last year, a 37% increase compared with 2024. Jokes on the internet abound about the CPF — an individual’s fiscal identity in Brazil — being the new sought-after green card.

In Rio, visitors head to Rocinha favela, kitted out in Brazilcore, and pay for footage of themselves striding out onto a terrace, plonking themselves down as a drone captures the scene before panning out to capture Rio’s stunning urban landscape. These videos have gone viral in recent months.

“If you don’t do the video with the drone, it’s as if you didn’t come to the favela,” said Eduardo Maristany, a 30-year-old tourist from Barcelona, who recently partook in a tour of Rocinha. Like many others, he chose the country as a destination after seeing an influx of videos on social media about Brazil’s famed favelas, beaches and parties.

It’s not just tourists who are engaging with Brazil. Madonna, Lady Gaga and Shakira performed free shows on Copacabana Beach in 2024, 2025 and 2026 respectively, drawing at least a million concert-goers each time, according to Rio City Hall numbers.

And in 2024, Bruno Mars posted a video of himself dancing to funk music, seemingly getting a Christ the Redeemer tattoo on his chest and posing with a caramelo dog. With more than 13 million likes on Instagram, the video ends with the words: “I love you Brazil.” Rosalia and Dua Lipa have also professed their love for Brazil online.

Meanwhile, Brazilian culture — from Anitta’s funk music to Academy Award-nominated films such as ‘I’m Still Here’ and ‘The Secret Agent’ — is being celebrated on the world’s biggest stages and across the internet, turbocharging Brazil’s soft power.

Brazil is renowned for its complexity and online presence It's frequently said about the country that “Brazil is not for amateurs.” The oft-repeated phrase taps into the complexity of the continental-sized country, where exuberant celebrations of life – epitomized by Carnival — coexist alongside violence, poverty and political scandals reminiscent of telenovelas.

Brazil’s ambiguities “make sense in a world filled with conflicts, inequalities and scarcity,” said Bruno Pompeu, a professor at the University of Sao Paulo’s school of communications and arts.

The country’s formidable presence online is also contributing to the current wave of interest in Brazil. Brazil — with a population of over 200 million — is one of the most connected countries in the world and social media users are showcasing the country’s seemingly infinitely multilayered culture.

“Brazil pulsates creativity and has this very particular characteristic of interacting on the internet in a collective manner. It’s common for content to be quickly transformed into memes and cultural references,” said Eduardo Lorenzi, general director of operations for Latin America at TikTok.

Brazilians are known for their high engagement, a much-sought-after characteristic in the attention economy.

Courtney Henning Novak, a Californian and prolific reader and writer, developed an online community composed mostly of Brazilian followers after her rave review of a 1881 book by Brazilian author Joaquim Maria Machado de Assis went viral.

“Brazilians love to comment. I get more messages than I can keep up with, and there’s a lot of positive energy,” she said.

For the global entertainment industry, brands, event organizers, businesses and influencers, Brazil represents a key market and an exceptionally valuable fan base.

Vitor Oliveira, a 36-year-old tour guide from Rocinha, credits social networks for the explosion of tourism in his neighborhood. “Influencers coming here were a game changer and primordial to the increase of tourism in Rio and especially in Rocinha,” he said.

Beyond digital engagement, Brazil’s current moment in the spotlight is the result of a confluence of factors involving politics, diplomacy, culture and economics, said Pereira, pointing to policies that support the showcasing of Brazilian culture and a huge effort to attract tourists by Embratur, Brazil’s government tourism agency.

Brazil's popularity might begin to fade

Like all trends, this one is likely to fade, experts say, predicting that the upcoming election and the return of political polarization may diminish the association of yellow and green with joy.

French comedian Paul Cabannes, who is based in Sao Paulo and has millions of followers across different platforms, posts humorous content about Brazil and has watched as the number of foreigners producing content almost exclusively about Brazil soared.

“It’s a formula that’s getting a bit tired. I think it’s harder to succeed doing this than before,” he said.

In an increasingly multipolar world, many Brazilians believe that the country’s soft power is here to stay. But Pereira predicts that Brazil’s “mongrel complex” will resurface if the current attention from abroad fades. “Once people stop giving us those little pats on the head, it’ll all come back," she said.



Pakistan's Last Antique Restorers Give Old Treasures New Life

Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP
Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP
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Pakistan's Last Antique Restorers Give Old Treasures New Life

Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP
Restorer Shakeel Ahmed works on an antique at his workshop in Rawalpindi. Farooq NAEEM / AFP

Sitting outside his small shop in a warren of alleyways in the ancient Pakistani city of Rawalpindi, Ahsan Shakeel buffed an antique brass pot to a high shine, pressing it against a mechanized wheel.

"We've removed all the dents, but it still needs polishing," the 72-year-old restorer, among the last still practising his craft, told AFP as the spinning buffer sent fine metal dust into the air.

Quitting a job as a hotel cook, Shakeel followed in his father's footsteps to become an antiques restorer, opening his workshop in the Bhabra Bazaar market in densely populated Rawalpindi in 1980.

Today, he is one of the last master restorers preserving antique metalware in Pakistan.

Rawalpindi's roots stretch back to prehistoric human settlements and over centuries the garrison city evolved into a major commercial hub where metalcraft from the Mughal and British colonial periods converged.

Moving inside his shop, Shakeel navigated wall-to-wall shelves stacked with centuries-old ewer jugs, samovars for boiling, dishes, jars and teapots, most of which were made of copper or brass.

He took down various items and enthusiastically explained to AFP their materials and origins.

The vintage items are now increasingly rare in the modern era in which they have been replaced by stainless steel and plastic kitchenware.

"I used to travel everywhere, Lahore, Gujranwala, Karachi, back and forth (to purchase antiques)," he said.

- 'Life back into the dead' -

Shakeel procures the items he restores mostly from scrap yards, ports, or household clearances.

"Often, the condition of the items is so bad that no one would buy them," he said.

The shop owner and his colleague Shakeel Ahmed restore the battered items by hammering out dents, re-tinning the interiors over coal fires, and polishing the metal. A badly damaged item could take a few days to fix.

After restoration, a piece can sell between $100 and $1,000. Shakeel's customers are mostly collectors or antique enthusiasts, including foreigners.

Today, he mostly relies on online platforms and messaging applications to buy and sell antiques.

"I don't have the same health anymore, so I travel less," he said.

Prices for antiques are on the increase but the number of customers has fallen over time, Shakeel said.

"The money doesn't turn over quickly in this business. It's a very slow trade," he said.

"Customers who still exist, they are not many. They collect these things because they understand these items. Those who don't understand them would think it's all useless," Shakeel added.

Ahmed said he enjoyed restoring worn and damaged objects because they carry stories within them from different communities in the past or historical periods.

"This is a very old thing," the 56-year-old man said at his own dimly lit workshop, as he gently used a small hammer to smooth out little dents on a large brass hookah pipe for smoking tobacco.

"What we do is like putting life back into the dead," Ahmed said.


Qassim Artisans Repurpose Date Pits into Value-Added Prayer Beads

Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)
Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)
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Qassim Artisans Repurpose Date Pits into Value-Added Prayer Beads

Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)
Qassim Region are converting discarded date pits into handcrafted prayer beads (subha)

In a creative convergence of traditional heritage, sustainable manufacturing, and resource efficiency, artisans in Qassim Region are converting discarded date pits into handcrafted prayer beads (subha), transforming an agricultural by-product into a high-value consumer item, the Saudi Press Agency reported.

The production journey involves a multi-stage process encompassing sorting, cleaning, drying, precise drilling, sanding, polishing, stringing, and final packaging. The resulting product retains the natural texture, color variations, and contours of the palm seed, reflecting the Kingdom's broader drive to foster innovative secondary industries across the date value chain.

The production journey involves a multi-stage process encompassing sorting, cleaning, drying, precise drilling, sanding, polishing, stringing, and final packaging.

Speaking to the Saudi Press Agency, artisan Noura Al-Harbi explained that the craft requires meticulous manual skill. She stated that after selecting pits of comparable size, artisans drill them for threading, buff rough contours, and polish the surfaces to showcase their organic aesthetic before assembling them with regional decorative motifs. Because no two date pits are identical, each finished rosary possesses a distinct texture and individuality.

Al-Harbi emphasized that the market value of date-pit rosaries is elevated by their symbolic connection to the date palm, a central fixture of Saudi agricultural and cultural identity. This narrative creates strong commercial potential within cultural tourism, corporate gifts, and keepsake sectors, allowing visitors to acquire a product directly tied to local heritage.

The enterprise embodies principles of the circular economy by repurposing agricultural waste from farms and processing plants into marketable craft products. Al-Harbi noted that integrating semi-automated tools for drilling and cutting with manual finishing could scale production volumes while maintaining artisanal quality.

Bridging agriculture, creative entrepreneurship, and tourism, the craft highlights how supporting local artisans and modernizing packaging can expand the economic footprint of the Kingdom's date sector beyond food consumption, creating new avenues for sustainable cottage industries.


Riyadh Art Brings Monumental Works by Saudi Artist Mohammed Al Saleem to its Permanent Collection of Public Art

Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA
Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA
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Riyadh Art Brings Monumental Works by Saudi Artist Mohammed Al Saleem to its Permanent Collection of Public Art

Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA
Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances - SPA

Riyadh Art announced the addition of seven monumental sculptures by pioneering Saudi artist Mohammed Al Saleem to the Riyadh Art permanent collection. Six works have been installed at Western Metro Station on Line 3 (Orange Line) in Riyadh, with the seventh scheduled for installation at a later date.

The sculptures bring an important part of Al Saleem's artistic practice into the city for which they were originally conceived.

Created in 1985 for a Riyadh Municipality public art competition but never installed, the seven works remained in Al Saleem's workshop for decades. In 2022, the Royal Commission for Riyadh City acquired the sculptures and undertook their restoration and conservation, supervised by his daughter, Najla Mohammed Al Saleem, and Al Saleem's foundation, Dar Al-Funoon Al-Sa'udiyyah, to preserve the artist's original vision, SPA reported.

The seven works are Al Showkah Al Khumasiyah (The Pentagon Thorn), Shurfa (Parapet Merlon), Al Kurah (The Ball), Al Mouthalathat (The Triangles), Bur'aum Al Zahrah (The Flower Bud), and Al Ahilla (The Crescents), all installed this August, with Al Nafourah Al Halazouniyah (The Spiral Fountain) due to be installed at a later date. Drawing on desert landscapes, Najdi architecture, geometric forms, and celestial references, the sculptures reflect Al Saleem's distinctive approach to abstraction and the influence of Riyadh and Najd on his practice.

Created by Saudi-based architecture and engineering consultancy Omrania, the Western Metro Station reinterprets desert sand dunes through earth-colored forms that define entrances, allow natural light, and provide shade for pedestrians. Located within Western Station's outdoor plaza, the works bring these references into a contemporary public setting shaped by movement and connection.

"Mohammed Al Saleem holds an important place in the history of modern Saudi art, and his work is deeply connected to Riyadh and the landscape and architecture of Najd," said Senior Director of Riyadh Art Bader AlShenaifi. "Bringing these works into the Riyadh Art permanent collection preserves an important part of Saudi Arabia's artistic heritage while giving Al Saleem's work a lasting presence in the public life of the city that inspired so much of his practice."

The works join the Riyadh Art permanent collection, a citywide collection of public artworks installed across neighborhoods, public spaces, and major transport corridors throughout the capital. The Riyadh Art permanent collection now comprises 82 artworks across the capital.