Category Archives: Huatulco

Huatulco

Festival of the Holy Cross of Huatulco

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By José Palacios y Román—

festival gastronomica huatulco

Religious syncretism in Mexico is present in the most important festival of the Bahias de Huatulco, which is celebrated every May 3rd in front of the pier in Santa Cruz.

The tradition dates back to pre-Hispanic times, when the goddess of rain and fertility was venerated, making it a place of pilgrimage connected to the sea and nature. To this day, certain indigenous communities perform ancient rituals, purifying themselves with seawater. With the Spanish invasion and conquest, Christianity was introduced and adapted from the legend of a tall, bearded old man, similar to Quetzalcoatl, who buried a cross in the sand as a symbol of protection and blessing.

The religious part of the Catholic festival begins with a procession, carrying the image of the Holy Cross from the Cruz del Monte to the Chapel of the Holy Cross, located next to the pier where cruise ships dock.

A solemn mass is celebrated to bless the cross and ask for protection. After mass, food is shared – free of charge – with all attendees at a communal meal featuring typical dishes. The colorful and moving celebration continues with traditional dances and music, such as the dance of the devils, deeply rooted on the Oaxacan coast. The blessing of the fishermen, their families, and boats is part of the rituals. The secular aspect of the celebration is also grand. Enormous stages are set up for popular musical groups to perform during the evening dance. A spectacular fireworks display, a true work of art, will light up the sky at midnight. Carnival rides, target shooting, entertainment, and vendors of all kinds of products make this a true fiesta.

This year, 2026, we are adding a major event: the Huatulco Natural Gastronomic Festival, to be held on May 2nd and 3rd in the central park of Santa Cruz Huatulco. It will feature a cultural catwalk, a gastronomic area, beverages, and a show called Ronqueo de Marlin, an experience of cutting the fish in the traditional way.

All participating chefs will prepare cold dishes. This great addition to the festival is organized by the Huatulco Hotel Association.

The Copalli Art Gallery has been invited to present local artists within the framework of the festival, extending exhibition spaces across Huatulco. In this way, the destination transforms into a point of convergence—where sea, nature, culture, and art meet. Several of Huatulco’s hotels will open their doors to host works in painting, sculpture, textiles, and installation, creating a dialogue between place and expression. Through this collaboration, the experience of Huatulco expands beyond landscape into something more immersive and cultural.

Huatulco

Editor’s Letter

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By Jane Bauer—

In the woods, we return to reason and faith. There I feel that nothing can befall me in life—no disgrace, no calamity, (leaving me my eyes,) which nature cannot repair. Standing on the bare ground—my head bathed in the blithe air, and uplifted into infinite space—all mean egotism vanishes. I become a transparent eye-ball; I am nothing. I see all. The currents of the Universal Being circulate through me; I am part or particle of God.
Ralph Waldo Emerson, Nature 1836

The month of May for me is always a time when I am changing gears. From October to April I work long hours, juggle many tasks and all the while try to move through the world with a smile.

As the busy season winds down in April and the temperature on the coast rises, my heartbeat softens, my muscles relax, and I come back into myself. I remember that there is no reason to rush. But who am I when I am not producing, organizing and planning? There is a meditation I like to do where I sit and close my eyes, I allow my mind to focus on my breath and then I imagine myself at younger stages of life. I sit like I did when I was 4 or 8 or 16. What is the essence of me? What is the essence of each of us when we strip away our tasks and obligations?

In May I get to enjoy leisurely mornings, long swims in the ocean or walks by the river with my dogs. With this slowing down I get to sit and contemplate my life’s purpose. Everything in nature exists in a symbiotic relationship with everything else: tree roots intertwine with fungi in the soil, nourishing flowers that feed bees, which pollinate fruit that sustains animals—and so the cycle continues. I recently read that nut producing trees don’t produce each year. In the years when there is an overpopulation of creatures that live on nuts, nuts will not produce and the population will be culled. How do the trees know? As a species do we trust in those cycles or are we pushing against them?

It is a cop-out to think our life’s purpose is amassing more stuff; homes, cars, financial security. While those things bring comfort do they really represent our purpose? I look at the tree outside my window; a large guanacaste. The sunlight flickers through its branches, a squirrel runs along a branch, a chachalaca hoots good morning, a magpie jay and a grackle screech at each other.

For me immersion in nature is as close as I feel to my life’s purpose. To just be and feel my soul as a part of something larger. Humans do not have dominion over nature, it has dominion over us and the sooner we accept that, we can stop struggling, let go, and enjoy it’s beauty.

Happy Summer,

Jane

 

Huatulco

Mexican Photographer Citlali Fabián Wins Sony World Photography Awards’ Top Honor

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Mexican photographer Citlali Fabián has been named Photographer of the Year at the prestigious Sony World Photography Awards, one of the most important global platforms celebrating contemporary photography.

Originally from Oaxaca, Fabián’s work is deeply rooted in identity, memory, and representation. Her winning series centers on Indigenous women and communities, offering an intimate and carefully constructed perspective that challenges conventional narratives. Through a blend of portraiture and conceptual storytelling, she highlights both personal and collective histories, bringing visibility to voices that are often overlooked.

The Sony World Photography Awards, organized annually by the World Photography Organisation, attracts thousands of submissions from photographers across the globe. Being named Photographer of the Year places Fabián among an elite group of image-makers shaping the direction of contemporary photography today.

Fabián’s recognition marks a significant moment not only for her career but also for Mexican photography on the international stage. Her work continues to bridge tradition and modernity, drawing from her Oaxacan roots while engaging in a global artistic dialogue. The award includes international exhibition opportunities and further cements Fabián’s place as a leading voice in visual storytelling.

http://www.citlalifabian.com

Huatulco

From Baguettes to Bolillos: A Story of Cultural Exchange & Evolution

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By Kary Vannice—

Walk into almost any panadería in Mexico and you’ll notice it right away. The glass cases are full to bursting with colorful rows of conchas, cuernos, orejas, and empanadas. Trays are constantly being swapped out. It smells like sugar, yeast, and warm bread, and it feels very Mexican. And it is. But there is also something else going on that most people don’t think about.

Bread in Mexico did not always look like this. Before wheat became common, food was centered around corn. Wheat came later during the colonial period, and baking slowly developed from there. But a bigger shift happened in the nineteenth century, around the time of the French intervention in Mexico.

What changed was not so much the ingredients. These largely stayed the same. What changed was how things were made.
French baking brought a different level of precision to the process. Dough was handled differently, fermentation was more controlled, and techniques like layering and shaping became more intentional. These influences were adopted into the Mexican kitchen and affected the texture, consistency, and final result.

This French influence didn’t replace what already existed. It changed the way things were done.

A simple example of this is the bolillo. At first glance, it looks like a basic roll, but if you pay attention to the crust, the inside texture, and even the way it is scored, you can see the connection to the French baguette. Over time, it became a part of everyday life in Mexico. Today, it’s used for tortas, served at meals, and found just about everywhere. Most people wouldn’t think of it as French, but the influence is still there.

What happened next is what makes this interesting.
Mexican bakers didn’t try to copy French pastries exactly. Instead, they used those techniques as a starting point and built something new. This is how pan dulce really started taking shape. The variety that exists today didn’t come from just one tradition. It came from a system that allowed for experimentation.

Different regions created their own versions and varieties. Shapes, toppings, and recipes evolved over time. And this created the modern-day Mexican bakery culture that is both consistent and highly varied at the same time.

Another change that came with French technique is the focus on texture. Texture was always important in Mexican food, but these new methods expanded what was possible. After the incorporation of these techniques, softer interiors, crispy outer layers, and pastries that pull apart in layers became more common. These details may seem small, but they change how the food is experienced.
Today, the panadería is its own kind of space. It is not a French bakery, but it is not completely separate from that influence either. It runs on a structure that came from French technique, but everything about how it looks and feels is Mexican. There is more volume, more movement, and it is part of daily life, not something reserved exclusively for special occasions.

And this system is still changing. New techniques are introduced, ingredients shift, and bakeries and recipes adapt and evolve over time. At the same time, certain staples like the concha remain consistent, which keeps a sense of continuity and groundedness in the uniquely Mexican bread culture.

When people talk about this connection, they often call it influence. But that makes it sound like one culture affected another and that was the end of it. In truth, that’s not what really happened.
Instead, French baking provided a new framework. Mexican bakers used it, changed it, and expanded on it, and eventually made it their own. What exists now is something different. We tend to think of influence as something that moves in one direction. One culture gives, the other receives. But that’s not what happened here.
What started as a set of techniques became something entirely different once it moved through Mexican culture. It wasn’t just adopted; it was reworked into something that now feels completely original.

Most people won’t think about any of this when they walk into a bakery. They’ll just pick what looks good and move on with their day. But what looks simple on the surface is actually the result of a much bigger story that’s still unfolding in everyday life.

Perhaps after reading this, you’ll see more than just bread on your next trip to the bakery. You’ll see history, collaboration, and evolution in that bolillo or concha in your hand.

Bon appétit & buen provecho!

Kary Vannice is a writer and energetic healer who explores the intersections of culture, consciousness, and daily life in Mexico.

Huatulco

Entre Mar y Vida (Between Sea and Life)

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By José Palacios y Román—

In Bahías de Huatulco—where the changing light, the sea, and the surrounding mountains shape daily life—art often grows from the landscape itself. A group of local women artists has come together to explore that connection through color, memory, and shared experience.

On April 2, 2026, Copalli Art Gallery will present the exhibition Entre Mar y Vida (Between Sea and Life) by the Huatulco women’s collective La Magia del Color (The Magic of Color), a group of creators who live and work in this region of Oaxaca.

The mission of Copalli Art Gallery is to promote visual art and to open its doors to emerging local artists, making it a natural home for this exhibition.

La Magia del Color was formed out of a desire to create spaces for local art and artistic collaboration. This group exhibition seeks to strengthen the presence of women in the local artistic landscape while creating opportunities for connection between artists and the community. The collective is composed of: Ale Salazar, Alma Drew, Aranza León, Diana Laura Vargas Chávez, Grisel Hernández, Janette Santiago, Judith Martínez Caballero, Maru Ibarra, Aline Sofía Zúñiga Cárdenas, Marilú Gómez Bernal, Mariela Esmenjaud, and Mirna Liliana Muñiz Campos.

Each artist brings sensitivity, talent, and new perspectives to the cultural life of Huatulco. They offer a unique perspective: some were born in Huatulco, while others arrived drawn by the beauty and energy of the region. All share a deep bond with the natural and cultural surroundings that shape their lives.

The works of these artists explore a variety of techniques and visual languages, from painting and mixed media to contemporary works inspired by the sea, tropical vegetation, Mexican traditions, and the daily life of the region. This diversity reflects the spirit of the group’s name, La Magia del Color—a celebration of artistic freedom and the expressive power of color.

Guided by the belief that art connects people, stories, and emotions, this exhibition invites an encounter between artists and the community. Its goal is to build new audiences and contribute to the cultural life of the region.

In a place where the sea and land constantly shape the rhythms of life, Entre Mar y Vida captures that relationship. Through color, texture, and personal perspective, these artists invite viewers to see Huatulco—and the creative energy of its community—through their eyes.

Event Details
Opening: Thursday, April 2, 2026 – 6:00 PM
Copalli Art Gallery
On view through: April 30, 2026
Hours: Open daily from 10:00 AM to 5:00 PM
Admission: Free and open to the public. All are welcome.

Huatulco

Bonjour, Baja! French Grapes Thrive in Valle de Guadalupe

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By Melissa Lyon—

If you have yet to visit Mexico’s Valle de Guadalupe, imagine a sun-washed valley framed by rounded granite hills, dotted with olive trees, vineyards, and the occasional architectural winery that looks like it belongs in a design magazine. Located about 20 kilometers northeast of Ensenada in Baja California, the valley enjoys a Mediterranean-style climate: warm sunny days, cool nights, and refreshing Pacific air drifting inland from the coast. These conditions are ideal for wine grapes, which thrive on sunshine but depend on cool evenings to maintain balance and acidity. Winemaking here dates back centuries to Spanish missionaries who planted vines for sacramental wine. Today the valley produces the majority of Mexico’s wine and has become one of the most exciting wine regions in North America; part agricultural valley, part culinary playground, and part weekend escape for thirsty oenophiles.

In the past twenty years, the valley has transformed from a quiet farming area into a thriving wine destination. More than a hundred wineries now adorn the hills, ranging from rustic family vineyards to sleek architectural showpieces with Michelin-worthy restaurants attached. The growth is not only in numbers but also in reputation. Mexican wines from Baja California now appear on restaurant lists around the world and frequently win international awards. Pioneering producers such as Monte Xanic helped launch this quality revolution in the late 1980s, demonstrating that Baja California could produce wines capable of holding their own on the international stage. As Monte Xanic founder Hans Backhoff would explain, the mission was simple: create the best wine possible in Mexico. Judging by the packed tasting rooms and enthusiastic wine tourists who now flock to the valley each year, that mission is well underway.

Any discussion of Guadalupe Valley wine inevitably leads to the grapes themselves, and here the French connection becomes clear. Many of the region’s most successful grape varieties originate in France. Cabernet Sauvignon, Merlot, Cabernet Franc, Chardonnay, Chenin Blanc, and Sauvignon Blanc have all found a comfortable home in Baja’s sun-drenched vineyards. These grapes thrive in the valley’s dry climate and mineral-rich soils, producing wines that combine bold fruit flavors with refreshing acidity. Several notable wineries craft blends inspired directly by famous French regions. At Bodegas Magoni, for example, the lineup includes both Bordeaux-inspired and Burgundy-inspired wines.

During a recent conversation with The Eye Magazine, Mónica Magoni, daughter of veteran winemaker Camillo Magoni, reflected on the valley’s deep relationship with French grapes. “We have all those French varieties,” she explained. “We produce a Bordeaux blend and a Burgundy blend as well. We have Chardonnay. The French varieties have adapted greatly in our region.” According to Magoni, the valley’s climate, quite different from French wine regions, plays a major role in that success. “It’s very Mediterranean-like,” she noted, adding that the grapes have gradually developed their own local personality. “The French varieties have adapted greatly to the Valley and have developed their own characteristics.” In other words, the vines may have come from France, but after a few decades under the Baja sun, they’ve become naturalized residents.

French influence in the valley extends beyond the grapes themselves. Many winemakers here have studied in Europe or adopted classic French cellar techniques. Careful fermentation, precise blending, and patient aging are common practices. One of the most recognizable French touches appears in the cellar: oak barrels. Wines aged in French oak gain subtle aromas of vanilla, toast, and spice, while the wood gently softens the wine’s tannins. The result is a style often described as structured and balanced, closer to the elegance of European wines than the bold, fruit-forward style often associated with California. As Camillo Magoni has noted, Baja producers keep an eye on what’s happening in traditional wine regions such as France and Italy while still striving to express the distinctive character of their own terroir. The result is a wine culture that borrows freely from European traditions while embracing Baja’s rugged landscape and sunshine.

Naturally, the best way to appreciate all this Old-World inspiration and Baja creativity is to open a bottle. A great starting point is Bodegas Magoni itself. Among their standout wines is the Sauvignon Blanc “Clone 22” from the Magoni Reserva line. A bright, refreshing white with citrus aromas and crisp acidity, Mónica Magoni describes it as one of her personal favorites. Another recommendation from Magoni is “Manaz,” an intriguing white blend made from 80% Viognier and 20% Fiano. She particularly enjoys it chilled on a hot afternoon, when its floral aromas and soft stone-fruit flavors feel wonderfully refreshing. Both wines typically retail in the range of $400–$550 MXN, depending on the vintage and where you purchase them.

Red wine lovers might explore bottles from Monte Xanic, whose Cabernet Sauvignon delivers notes of blackcurrant, cocoa, and toasted oak. Bottles generally sell for about $750–$850 MXN, while their flagship Gran Ricardo blend, created in 1994, can exceed $2,000 MXN. Meanwhile, historic producer Bodegas Domecq offers the Reserva Magna red blend, built on Cabernet Sauvignon and Merlot, for roughly $750–$850 MXN.

What makes the Guadalupe Valley so fascinating is the way it bridges continents. French grapes, European techniques, and Mexican creativity come together in a landscape that feels both ancient and brand new. And really, that’s the joy of wine. It travels across oceans, crosses cultures, and evolves with every generation of winemakers.

So the next time you’re selecting a bottle for dinner, consider looking north to the Guadalupe Valley, where the French influence isn’t imitation, it’s inspiration. And the wines are distinctly, delightfully Mexican.

Huatulco, San Miguel de Allende

Imported Empires: Stories of the French Intervention in Mexico

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By Carole Reedy—

Everyone loves a story, and a novel set in a historical period can be a compelling way to learn about an era. While some nonfiction history books can seem dry and tedious, a well-researched and well-written novel can satisfy our desire for historical facts and figures.

This month I’ve chosen both fiction and nonfiction books that tell stories about the time when the European monarchs Maximilian and Carlota ruled Mexico. It is my hope that these books will deepen your understanding of their short reign (1864-1867).

North of the Mexican border, the American Civil War was raging while Mexican conservative exiles and clergy convinced Napoleon III (Louis Napoleon), after considerable political infighting, to place Maximilian of Austria on the throne of Mexico. Along with his wife, Carlota of Belgium, he would become emperor of a politically unstable nation already struggling with internal conflict. It was not the career path either Maximilian or Carlota anticipated.

While much of their story seems improbable, it truly makes for a tantalizing tale.

Looking back, it is easy to think, “How naïve.” Yet history reminds us that political power plays often lead to poor decisions. This is a story of ambition, political intrigue, and, ultimately, tragedy.

How did all this come about? Simply put: “The intervention was triggered by President Benito Juárez’s suspension of foreign debt payments, leading to a tripartite agreement between France, Spain, and Britain in 1861, though France ultimately pursued the deeper, imperialistic intervention.”

The Mexican Empire, as well as the reign of Maximilian and Carlota, came to an end with the execution of Maximilian by firing squad in 1867. He was only 35. Carlota had been suffering from depression to the point of “going mad,” but she lived to the ripe old age of 86, dying of pneumonia caused by a bout of influenza.

Maximilian’s last words are said to be, “I forgive everyone and ask everyone to forgive me. May my blood which is about to be shed, be for the good of the country. Viva Mexico! Viva la Independencia!”

The Last Prince of the Mexican Empire by C.M. Mayo

Author C. M. Mayo is an important voice in contemporary historical fiction. She has translated some of the finest Spanish-speaking writers of our time. In addition to Last Prince, she has written From Mexico to Miramar or Across the Lake of Oblivion: A Nonfiction Novela about a Fairytale: A Visit to the Emperor of Mexico’s Italian Castle. The intriguing title is enough to justify a reading.

Avid readers as well as visitors to this magic land will surely enjoy Mayo’s Mexico: A Traveler’s Literary Companion, which highlights the best of Mexico’s creative contributors who write about various aspects of Mexican life.

In addition to being a novelist, editor, and translator, Mayo is a poet, educated at the University of Chicago. Library Journal named Last Prince of the Mexican Empire one of the best books of 2009, just one of the many accolades the novel received.

The language of The Last Prince of the Mexican Empire is lyrical, highlighted by the shifting points of view of the cast of characters from an overworked kitchen maid to the Austrian archduke.

Blending the cultural and political aspects of the Empire combine here to make a compelling story. The added element of a young boy who childless Maximilian and Carlota want to adopt adds a human element. You’ll be introduced to many historical figures woven into this compelling narrative.

Maximilian in Mexico: A Woman’s Reminiscences of the French Intervention 1862-1867 by Sarah Yorke Stevenson

Sarah Yorke Stevenson (1847-1921) was an archeologist, Egyptologist, and suffragette who helped found the Penn Museum. In this meticulously researched book, she gives us one of the few published first-hand accounts of the time.

In her own words she says of her book, “By offering these pages to the public, my aim is not to write a historical sketch of the reign of Maximilian of Austria, nor is it to give a description of the political crisis that Mexico went through during that period. My only desire is to provide the reader with a point of view whose value lies in the fact that it is that of an eyewitness who was more than an ordinary spectator of a series of events that became one of the most dramatic episodes of modern times.”

What a find! I came across this while researching. Appears to be a gem that may give us a different interpretation of the era, motives, and personalities of the players.

With Maximilian in Mexico. From the Note-book of a Mexican Officer by Maximilian baron von Alvensleben

This reprint of an 1867 account offers a rare perspective from the viewpoint of a Mexican soldier who witnessed the collapse of the empire. Though less known than other works, it provides an intriguing firsthand glimpse into the turbulent final days of Maximilian’s rule.

This is available for just 150 pesos on Kindle, considerably more in hard cover or paperback editions.

The Crown of Mexico: Maximilian and his Empress Carlota by Joan Haslip

This highly acclaimed novel is rich in detail about the politics of both Europe and Mexico in the 1800s. It also takes us back to Maximilian’s upbringing and is sympathetic in tone to Carlota.

Each novel or history we read provides us with new facts and insightful perspectives into the personalities of Maximilian and Carlota. This is what many of us love about novels. They take us closer to the motives of the people involved. There are psychological and sociological factors that straight history often doesn’t—or can’t–reveal.

Maximilian was naïve and easily spurred on by his ambitious wife. He stayed on to the detriment of them both.

Phantom Crown by Bertita Harding

Yet another highly regarded novel that was written in 1934 and subtitled The Story of Maximilian and Carlota of Mexico. It is exactly that, a tragic and pathetic tale of this historic epoch. Carlota and Maximilian are surrounded by a populace that detested them at worst and pitied them at best. The country is torn apart, with liberal leader Benito Juárez in the north. (Benito Juárez was the constitutional president of Mexico. After the suspension of payments on the foreign debt in 1861 and subsequent French invasion, his government became a “roaming republic,” resisting from the north of the country). Napoleon’s ambition is unbridled. There was not much going in their favor.

One reader summed up succinctly all that we look for in a novel. “Wonderful history lesson, very informative, paints a wonderful picture of the times. It is a great read.”

So many issues, so many countries, personalities, conflicts, and ambitions. ‘Tis the way of the world. Next month we will highlight notable novels published this year. You will most likely find your favorite authors among them.

 

 

 

Huatulco

Gustave Eiffel and the French Influence on Mexican Engineering and Architecture

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By Julie Etra

The French engineer Alexandre Gustave Eiffel’s work is often associated with several structures in Mexico. Although his family was of German ancestry, he was born in Dijon, France, in 1832. He lived a long, productive, and creative life (he died in December 1923).

His work in Mexico corresponded with the Porfiriato (1876–1911), the 35-year period in Mexican history when Porfirio Díaz dominated Mexican political life and, in the later years, refused to relinquish power, leading to the Mexican Revolution. On the positive side, Díaz was known for his efforts to modernize Mexico through infrastructure projects, particularly the railroad system, and for encouraging foreign investment and European influence in architecture and engineering.

Eiffel’s Skills
Although Eiffel never set foot in Mexico, several structures in the country have been attributed to his designs or influence during the late nineteenth century. These include a church, a kiosk, and a bridge.

(For reference, the iconic Eiffel Tower was completed in 1889, and the Statue of Liberty, to whose structural design he contributed, was disassembled in France before being shipped to the United States. The statue was completed and dedicated on October 28, 1886.)

Eiffel specialized in iron construction that could be manufactured in France, disassembled, shipped, and easily reassembled on site, a technique he exported to several countries in addition to Mexico. As an engineer who understood wind loads, he was selected to design numerous projects where this was an issue.

The Church of Santa Bárbara
Santa Rosalía, Baja California Sur, on the Sea of Cortez. The town was founded by the French mining company Compagnie du Boleo after copper deposits were discovered in the region in the nineteenth century. In the 1880s, the government of Porfirio Díaz granted the company permission to develop the mine, and the town grew around the mining operation.

The church was designed by Eiffel in 1884 and built in 1887. It was later exhibited at the 1889 Exposition Universelle in Paris. The prefabricated metal structure was later acquired by the Boleo Mining Company. The company determined that a church was essential for the new town.

Disassembled, it was shipped by sea to Baja California Sur and assembled in Santa Rosalía in the 1890s. The galvanized iron church was designed to withstand severe weather and extreme climates. It was built entirely of stamped metal sheets mounted on a steel frame and has a simple, practical architectural design.

It was later modified, and several of its original stained-glass windows were removed. Today it retains much of the original design.

Edificio Municipal Santa Rosalía
(Municipal Building of Santa Rosalía)
Some sources incorrectly attribute the design to Eiffel. This building is a wooden structure influenced by French architectural styles from the late nineteenth century and features two stories with a sheet-metal roof.

El Palacio de Hierro de Orizaba, Veracruz
(Iron Palace, Orizaba, State of Veracruz)
This iron palace served as the seat of the government for the Municipality of Orizaba, a city in the western part of Veracruz and an important cultural center during the Porfiriato.

The building is often attributed to Gustave Eiffel, although some sources suggest it may have been designed by the Belgian engineer Joseph Danly. It was designed in 1891, disassembled, and the 600-ton building kit, along with the pieces and instructions for its assembly, was shipped across the Atlantic to the port of Veracruz. The kit was then transported by rail to Orizaba.

The engineering considered the climate of the region and incorporated drainage system details, including downpipes essential for the rainy season that also function as structural support columns. The site work, including the excavation for the building, was completed prior to its arrival.

Like the church, the design consisted of metal sheets, in this case two sheet plates with space in between to help dissipate heat. Today the building houses several museums, including the brewery museum; the brewery was established in the late 1890s when the railroad delivered the essential ingredients.
It took two years to assemble, from 1892 to 1894.

Cuernavaca Kiosko (Kiosk)
This kiosk is located in the Plaza de Armas, the central square of Cuernavaca. It was brought from Europe, possibly from Glasgow, Scotland, by order of the then-governor Jesús H. Preciado in 1888.

Once the structure arrived in Mexico from Europe, it was transported to Cuernavaca on mule trains. Some references indicate that the kiosk was brought from the city of Glasgow, Scotland, at the time one of the most renowned foundry centers for the manufacture of ships, engines, and trains.

Although definitely of European origin, its designer has been the subject of debate, and it is unlikely that it was designed by Eiffel. The architectural style is Indo-Saracenic (also known as Indo-Gothic, Mughal-Gothic, or Neo-Mughal), a style mostly used by British architects in India in the late nineteenth century. The decorative details on the building reflect this style.

El Puente de Fierro
This is a steel bridge located in the municipality of San Cristóbal Ecatepec, in the Mexico City metropolitan area. It is sometimes attributed to Gustave Eiffel, although the exact origins of the structure remain uncertain.

The impressive iron structure reaches a height of about 15 meters and weighs approximately 90 tons. Originally associated with a railway line between Mexico City and Veracruz, the bridge later fell into disuse as this section of rail was abandoned with the expanding urban center.

The structure was later restored and is now known as the Bridge of Art, functioning as a cultural center and community arts space that hosts workshops, courses, and artistic performances.

 

Huatulco, San Miguel de Allende

A Little Bit of France in Mexico

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By Alicia Flores—

Being Mexican is not just one thing. Mexican culture has been shaped by several influences, and one of the most fascinating is France. During the late nineteenth and early twentieth centuries, especially under Porfirio Díaz, French culture became associated with elegance, progress, and modernity. That influence can still be seen today in architecture, in food, and entire communities.

And if you know where to look, you can experience a little piece of France without ever leaving Mexico.

One of the most refined examples is Quinta Gameros in the northern state of Chuihuahua. This mansion was commissioned in 1907 by Manuel Gameros, a wealthy mining engineer who wanted a residence that reflected status and European sophistication. Designed by Colombian architect Julio Corredor Latorre, the house is one of the best examples of Art Nouveau architecture in Mexico. Its carved wood interiors, stained glass, and ornamental ironwork reflect the influence of French decorative arts that were fashionable at the time.

Construction began during the height of the Porfiriato, but history intervened. The Mexican Revolution forced Gameros to leave the country before he could truly enjoy the home. Over the years, the building has served multiple purposes, including as a federal building and later as part of the University of Chihuahua. Today, it houses a museum, where visitors can admire not only the architecture but also period furniture that helps recreate the atmosphere of early twentieth-century elite life in Mexico.

With the Torre Eiffel de Gómez Palacio, located in Durango, the French connection takes on a more symbolic form. This replica of the Eiffel Tower was installed in the early 2000s as part of a broader effort by local authorities to revitalize the city’s public spaces and create a recognizable landmark. Gómez Palacio has long been an industrial and railway hub, and the decision to build the tower reflects both civic pride and a desire to connect with a global icon of engineering and modernity.

Although it is not connected to Gustave Eiffel himself, the structure captures something powerful: the way the Eiffel Tower has become a universal symbol of innovation, romance, and aspiration. For residents, it represents more than a replica—it is a point of gathering, a visual landmark, and a reminder that global culture can be reinterpreted in local ways.

For a deeper and more immersive experience, the town of San Rafael , along with nearby Jicaltepec, offers a living legacy of French immigration in the state of Veracruz. Jicaltepec was established in 1833 as an agricultural colony by French settlers, who were drawn to the fertile lands nourished by the Nautla River. Many of these immigrants came from regions such as the Alps and eastern France, bringing with them farming techniques, baking traditions, and a strong connection to the land. They established agricultural communities, cultivating crops such as vanilla, citrus, and bananas.

Over time, the settlements of Jicaltepec and San Rafael grew into a unique cultural enclave where French and Mexican traditions blended. Even today, this heritage is visible in the local food. The region is known for its bakeries, as well as artisanal cheeses and dairy products influenced by French techniques, adapted to the tropical climate and local ingredients. Walking through the area, you can feel a quieter, more rural rhythm shaped by agriculture, tradition, and a history that connects Veracruz to Europe in a very tangible way.

These places remind us that Mexico’s identity is multi-faceted. French influence arrived during a time of ambition and transformation, leaving behind not only buildings but also traditions, flavors, and ideas that continue to evolve.

To travel through Mexico with this perspective is to see beyond expectations. It is to notice the details, the curve of an iron railing, the elegance of a façade, the taste of freshly baked bread—and to recognize that even here, far from France, its presence still lingers in quiet and surprising ways.