As the sun dipped below the horizon yesterday, we made our way to the Museo Anahuacalli, nestled in the heart of Mexico City's Coyoacán district, for the unveiling of Carolina Herrera’s Resort 2025 collection. This museum and cultural hub, established by the renowned Mexican artist Diego Rivera in 1964, is home to his treasured assortment of pre-Hispanic and pre-Columbian artifacts. The event marked the brand's sophomore showcase beyond its home turf, with the previous being in the vibrant city of Rio de Janeiro. The stage was set amidst the museum's courtyard, a vast expanse framed by volcanic rock, with the backdrop of a structure reminiscent of a Mesoamerican temple. The runway, a square swathe of pink, was adorned with approximately 19 tons of pink-hued stones, creating a surreal atmosphere. The bespoke seating, crafted for the 500 attendees—including actress Meghann Fahy and model-entrepreneur Karlie Kloss—mirrored the runway's color scheme. The museum's facade was softly illuminated, and as the sky transitioned from a soft blue to a warm sepia, the show commenced with impeccable timing.

The inaugural ensemble of the collection

The air was filled with the rhythmic beats of Oscar Carrillo’s “Tlachinoli” as the first model graced the runway in a strapless silk faille ball gown, a tapestry of marigold and fuchsia hues, complemented by corresponding beaded tassel earrings. The design exuded the timeless elegance of the house's founder, Mrs. Herrera, fused with the spirited grace of its creative director, Wes Gordon. Since his appointment in 2018, Gordon has masterfully wielded his alluring design language to great acclaim.

As Gordon shared the day prior to the event, the collection was designed as an ode to Mexico City. “My first visit here was years ago, and I was captivated by its essence, which aligns perfectly with what we cherish at Herrera,” he remarked. “The vibrancy, the vitality, the zest for life—it's all encapsulated by this city, and there's an undeniable energy that you can sense.”

Color took center stage, as is customary with Gordon, but this time, the palette was inspired directly by the city's resplendent surroundings, particularly its sunsets: marigold, kelly green, cerulean, fuchsia, and that iconic pink, reminiscent of the legendary Mexican architect, Luis Barragán.

An embroidered ensemble

The subsequent looks were a testament to unadulterated, sumptuous glamour, grounded in rich, gem-like tones. A standout was a tailored, embroidered rose-hued cropped jacket and miniskirt, as well as a similar set featuring a balloon-sleeved jacket worn open. These pieces were part of a collaboration between Gordon and four Mexican female artisans who contributed intricate details to skirt sets, couture gowns, and a stunning sapphire-blue double-breasted jacket adorned with ceramic tile buttons and matching wide-leg trousers. The buttons and some jewelry pieces were crafted by artisan Jacqueline España from Tlaxcala, while the embroideries were the work of María de los Ángeles Licona from Hidalgo and Virginia Verónica Arce, also from Tlaxcala, whose artistry was showcased on three exquisite lace dresses. Araceli Nibra Matadamas, based in Oaxaca, collaborated with her team to create hand-painted jewelry inspired by jícaras, traditional bowls crafted from dried gourd shells.

Gordon's collaboration with Mexican artisans on buttons and jewelry

The collection was a labor of love, paying homage to the local culture with genuine and organic respect, avoiding the forced or inauthentic feel that can plague fashion when overshadowed by marketing. A significant portion of the models—seventy percent—were Mexican, as were the entire hair and makeup teams. This collection also marked the brand's inaugural see-now-buy-now initiative and featured a new collaboration with Frame. The red high-waisted skinny jeans, skirts, and jean jackets in rich hues were standouts of the evening. As the finale unfolded, the audience was swept up in the music, cheering and dancing. The atmosphere was one of pure joy, echoing the electrifying energy found while meandering through Mexico City's enchanting neighborhoods, exploring contemporary art galleries, losing oneself in bustling markets, or gazing at the pink walls designed by Barragán, marveling at the harmonious blend of structure and sky.

A closer look at the jewelry

Post-show, I found myself reflecting on my conversation with Gordon from the morning before. We delved into the significance of beauty, which is abundant in Mexico yet often overlooked or undervalued in a world—especially in America—where optimism is a rare commodity. As a designer, Gordon adopts an optimistic approach that is lively and far from naive. His design process is anchored in the quest for beauty, providing his customers with a sense of uninhibited luxury that is both wearable and eye-catching. For many, dressing is a mundane task or, at best, a necessary evil, but it has the potential to be a source of profound joy. This was evident not only in the collection but also among the Herrera enthusiasts in the audience, from influencers to the ladies who lunch.

Gordon's belief in “the promise of a pretty dress”

“It’s not a shameful thing to put on a dress and feel beautiful,” Gordon stated. “That’s what we represent as a house, is the promise of a pretty dress.” Gordon’s magic is in crafting fantastical, transformative garments that lead with glamour while also understanding and empowering artisan craftsmanship. It’s crucial to recognize that these two elements can coexist, sparking delight. “I think joyfulness and beauty can be contagious,” Gordon added. “I think you can have an impact by creating beauty. Beauty is not frivolous. I think it’s needed and necessary and an antidote to darkness more often than not.”

By the time we departed the museum, night had fallen, and a full moon cast its glow overhead. Revelers danced into the night at the afterparty, held in the garden area adjacent to the main building. They savored palomas and margaritas and indulged in bites from the city’s acclaimed restaurant Contramar. Joy was omnipresent. Even as the sun set and the sky turned black, the impact and power of Gordon’s creations were still palpable. The only regret was not experiencing the museum in daylight, but it provided all of us with another incentive to return to Mexico City, to continue exploring and seeking out that beautiful, soul-nourishing light. Brooke Bobb is the fashion news director at Harper’s Bazaar, working across print and digital platforms. Previously, she was a senior content editor at Amazon Fashion and worked at Vogue Runway as a senior fashion news writer.