Category Archives: San Miguel de Allende

San Miguel de Allende

The San Miguel Writers’ Conference and Literary Festival 2026

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By Pat Steele—

The San Miguel Writers’ Conference and Literary Festival began in 2006 as an event attended by just 26 people. But what a difference two decades makes. Celebrating its twenty-first anniversary next year, it now brings 1,500 visitors to the mountain town in the heart of Mexico that Travel + Leisure magazine readers have repeatedly voted the “number one city in the world.”

“Our goal is to bring together the literary traditions of the US, Canada, and Mexico,” said the organization’s executive director, Jodi Pincus. “But as we continue to grow, we also have an increasingly global outlook. We strongly believe in the power of literature to build bridges by telling people’s stories. And there’s never been a greater need for that.”

The charm, culture and people of San Miguel de Allende are all parts of the reason why world-famous authors make the trip here each year. Keynoting the 2026 conference, which will be held February 11—15 at the Hotel Real de Minas, are global superstar writers Abraham Verghese (Cutting for Stone; The Covenant of Water), Chimamanda Ngozi Adichie (Half of a Yellow Sun; Americanah; Purple Hibiscus), Rebecca “R.F.” Kuang (The Poppy War trilogy; Babel; Yellowface), Emily St. John Mandel (Station Eleven; The Glass Hotel; Sea of Tranquility), Andrés Neuman (Bariloche; Traveler of the Century; Fracture; Until It Begins To Shine) Yásnaya Elena Aguilar Gil (Ää: Manifiestos por la diversidad lingüística), Maira Kalman (The Principles of Uncertainty), and the winner of Canada’s prestigious Giller Prize for fiction (to be announced.)

Sandra Cisneros (The House on Mango Street, Woman Hollering Creek and Other Stories) and Eduardo Antonio Parra (Nostalgia de la sombra, El rostro de piedra) are two famous names among the dozens of conference faculty who will be offering lectures, advice, and hands-on courses. Attendees will be able to take workshops in everything from plotting telenovelas to writing their memoir. Other faculty members of note include Jean Kwok, Jennifer Clement, Ann Hood, Hope Edelman, Christopher Bollen, and Sara Weinman.

The conference is also a great place for would-be authors to get practical advice from experts on the business and publishing side of literature. Prominent literary agents such as Michael Carr, Anna Knutson Geller, Rita Rozenkranz, Veronica Flores, Sam Hiyate and Susan Golomb will offer one-on-one pitch sessions. Other top publishing insiders offering individual consultations include Harper Influence publisher, Lisa Sharkey. There are also parties galore, faculty readings, open mic sessions, guided local excursions, discussion groups, wellness offerings, and more.

The conference is almost fully bilingual, and many of the Spanish-langue events are free to Mexican nationals. The general director of the Spanish program is Armida Zepeda, who has been instrumental in bringing many famous writers from Mexico and Latin America to San Miguel. “As a culture promoter, I know the literary scene in Mexico, which allows me to interact with literary professionals whom I am thrilled to invite to the festival,” she said.

Prominent Mexican and Spanish-language teaching faculty next year will include Amaranta Caballero, Ana Luisa Isla, Araceli Ardón, Bernardo Govea, Marcela R. Loreto, Mónica Hoth, Rodrigo Díaz Guerrero, Josemaria Moreno, Antolina Ortiz Moore, Matthew Sanabria Stenger, and Magali T. Ortega.

Many credit the event’s president and co-founder, Susan Page, as being among the secrets to its success. “I organized my Brownie troop in the third grade and have been starting organizations ever since,” she jokes. “The Writers’ Conference has put San Miguel on the literary map of the world and brings over three million US dollars into the local economy every year. Plus, I love the experience itself: high-level thrills combined with intimate connections. It’s an enchanting week.”

Her considerable charm and commitment to literature have brought a who’s-who of famous writers to the conference over the last 20 years. Just a small selection of those names include John Irving, Margaret Atwood, Barbara Kingsolver, Cristina Rivera Garza, Silvia Moreno Garcia, Gloria Steinem, Judy Collins, Alice Walker, Scott Turow, Joyce Carol Oates, Calvin Trillin, Yuri Herrera, Rosa Beltrán, Margo Glantz, Pedro Ángel Palou, Brenda Lozano, Guillermo Arriaga, Adam Gopnik, Elena Poniatowska, Laura Esquivel, Mary Karr, Juan Villoro, Jorge Volpi, Tommy Orange, Paul Theroux, and Delia Owens. (You might also recognize Page’s name as the author of the international bestseller “If I’m So Wonderful, Why Am I Still Single?”—first published in 1988, and still going strong.)

Tom Robbins, the late counterculture icon whose novels include Even Cowgirls Get the Blues, was an early supporter, keynoting the conference in 2008. Before going home he left a testimonial for the fledgling event, which was then still only catering to a few dozen people: “If Dante had had the San Miguel experience, he would have written more about heaven and less about hell.”

For tickets and more information about the program, please visit the ‘ San Miguel Writers Conference and Literary Festival website: http://www.sanmiguelwritersconference.org

 

Huatulco, San Miguel de Allende

How America’s Closets (And Sometimes Runways) End Up in Mexico’s Markets

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By Kary Vannice—

Whenever I travel to a new town in Mexico, the very first thing I look for is the local tianguis market. Some people go straight to the beach or the zócalo, but I make a beeline to the used clothing stalls. There is something irresistible about those long rows of tarps and huge piles of clothing, each one holding the possibility of an unexpected treasure.

Over the years, I have found everything from soft cashmere sweaters for eighty pesos to high-end dresses like Prada and Kate Spade with the original tags still attached for under ten dollars. And every time it happens, I feel the same spark of excitement and disbelief. How did this piece, so clearly meant for a very different kind of clientele, end up here amongst the street tacos, veggies, and chingaderas?

To me, it feels like fashion magic. But what feels like magic is actually part of a far bigger story, one that starts far from Mexico’s markets and reveals a great deal about the way clothing moves around the globe.

Most people in the United States believe that when they donate clothing, it ends up hanging neatly in a thrift store, ready for a new owner. The truth is very different. Only a tiny fraction is ever resold in the U.S. More than half is bundled, compressed and shipped out of the country. Mexico happens to be one of the main destinations.

Every year, the United States exports millions of tons of used clothing. Much of it from discount retailers, thrift stores or big box stores. But you can also find unsold inventory from more upscale stores, last season’s corporate clear outs and even brand samples that never make it onto the market. A well-used T-shirt from Walmart and a designer sale sample can all end up in the same enormous stream of “fashion waste”.

Arriving in Mexico as tightly wrapped bundles known as “pacas” and sold as “Ropa Americana”, they look a lot like plastic hay bales stuffed to bursting with mostly used (but sometimes new) clothing. Vendors buy them unopened, relying on codes stamped on the plastic to guess what might be inside. A paca can hold anything from children’s sweatshirts to high quality outdoor jackets to a dress from a designer brand that never made it past the showroom. And for many families, these bales are not just bundles of clothing. They are income, opportunity and a monthly gamble they hope will pay off.

Once something enters this bulk resale circuit, it follows its own path. A single sample blouse worn once for a catalog shoot can travel thousands of kilometers and eventually land in a street market in Oaxaca, Queretaro, or Mexico City.

The Mexican tianguis shopping experience reveals something important about fashion and culture. And that is, this humble community marketplace treats all clothing the same. In the United States fashion is organized by price, privilege, and status. Here, everything becomes just another piece of clothing again. A four-thousand-dollar designer suit jacket can be found under a faded tank top from Target. Here, the fashion hierarchy completely breaks down and a shirt is simply a shirt.

This unseen migration of clothing from the US to Mexico also reflects a bigger picture. Clothing doesn’t just disappear when one person is done wearing it. It continues its journey. It moves between countries, homes, economies, and cultures. What one society considers used or outdated becomes valuable in another context and community.

In our world, discarded clothing operates as a global supply chain of waste, resale, redistribution, and revaluation. It serves as a reminder that, in fashion, value is fluid, movement is constant, and our world is far more interconnected than it appears. Here in Mexico, the tianguis culture gives us a front-row seat to something most people never see, how global waste becomes local value, and how communities creatively reshape what the world throws away into income, opportunity, and economy.

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

San Miguel de Allende

The History of Fabrica La Aurora

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Rebecca Desiree C. —

Before becoming the center for creativity and culture known locally as La Aurora Centro de Arte y Diseño, La Aurora was once just a simple textile factory. Originally launched in 1902, Fabrica La Aurora operated as a major producer of fine cotton textiles in San Miguel de Allende.

For about nine decades, the factory would go on to provide a source of livelihood to hundreds of locals, but it would later shut down in 1991 due to declining demands for local fabrics and rising production costs.

For more than a decade following its shutdown, the factory lay abandoned until the descendants of its founders chose to put the property up for sale in the early years of the 21st century. This article will share a bit of the history of Fabrica Aurora and its transformation into one of San Miguel de Allende’s most celebrated centers for art, culture, and creative expression.
A Brief History of Old Fabrica La Aurora
Fabrica La Aurora was one of the largest and most important textile factories in central Mexico. According to local accounts, at its height, the factory employed more than 300 people and was a major player in the thread and textile market in Mexico.

The factory remained in business for most of the 20th century, dominating the textile market in central Mexico, spreading its products to the rest of the country. From the end of the 1970s, however, the factory began to face challenges that eventually lead to its gradual decline and closure. Some of these challenges included increased global textile competition, outdated machinery that struggled to keep up with modern production standards, and the economic instability that struck Mexico during the 1980s. The factory would continue to struggle for one more decade before finally closing down in 1991. While definitive archival records are scarce, local histories attribute the closure in 1991 to rising global competition, out-dated machinery and broader economic pressures in Mexico’s textile sector.

Upon the factory’s closure, most of its infrastructure was left in place, the entire facility abandoned. Things would stay this way until, over a decade later, the decision was made to sell the property. This single decision would go on to set the stage for one of the most creative and inspiring transformations in Mexico’s history.

From Abandoned Textile Factory to Hub of Creativity
In many ways, La Aurora’s transformation into one of the biggest cultural centers in San Miguel came as the result of a shared vision and a willingness to do what it takes to make said vision a reality.

The property was put up for sale in the early 2000s. Having been abandoned for over a decade, its machines corroded and its infrastructure in a clear state of disrepair, the sale was not a highly competitive one. However, this would end up working in favour of a small group of artists, designers, and investors, who shared a similar vision for the site’s revival.

For this group, the goal wasn’t to revive the factory to its glory days or even restore its facilities and infrastructure; it was to inspire. By turning this abandoned, local landmark into a cultural center, the group hoped not just to preserve a piece of San Miguel’s history but also to prove that even broken things can be transformed into something new and beautiful.

In 2004, the factory officially reopened, now under new management. Gone were the days of Fabrica La Aurora, the textile factory. In its place stood La Aurora Centro de Arte y Diseño, a haven dedicated to art, culture, and creativity.

La Aurora’s transformation from an abandoned 20th-century textile factory to the 21st-century creative and cultural powerhouse it is today didn’t happen by chance; it was the result of shared vision, determination, and unwavering belief that art could breathe new life into history.

Behind La Aurora’s transformation stand the bold artists and designers who chose to reimagine what was once a relic of industry into a living canvas of creativity. Notable names here include Christopher Fallon, Mary Rapp, Merry Calderoni, and DeWayne Youts, amongst others. Where most people saw heavily deteriorated infrastructure and machinery that had accumulated over a decade’s worth of rust and decay, these men and women saw the chance to build something extraordinary from the remnants of the past.

La Aurora Today — More Than Just a Renovated Factory
Today, the transformation of La Aurora is an inspiring example of cultural regeneration. In just two decades, the formerly abandoned factory had transformed into a creative sanctuary for artists and designers that houses a collection of art and design studios, galleries, and workshops.

Since its reopening the property has gone through a few renovations to fit its new purpose. Halls and corridors that used to house rows of looms and spinning machines now proudly display galleries and studios showcasing paintings, sculptures, furniture, and handcrafted designs from various artists and designers.

In just two decades, La Aurora had successfully reinvented itself. A quick look at the Cultural Center of Art and Design, La Aurora, today, and you’d be hard-pressed to see that century-old factory that was left unattended for over a decade. Instead, what you’d see is a thriving cultural landscape rich with art, design, and imagination; proof that even once-abandoned things can be given new life and made relevant again.

La Aurora Centro de Arte y Diseño is located just north of San Miguel’s historic center and is open to the public year-round, with regular art walks, exhibitions, and cafés within the old factory walls.

San Miguel de Allende

A Culinary Journey Through San Miguel: Discovering Hidden Gems

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By Michael Solof —

For over five years, through my group SMA Adventure Hound, I have been introducing newcomers, tourists, and locals, twice a week, to a large variety of brunch and dinner spots around town. That’s more than 300 different restaurants, including local food trucks, vineyards, and fine dining adventures.

When The Eye magazine asked me to write an article on my favorite eating places around town, it felt like a daunting task. I asked them if I could just focus on my favorite secret places. These are spots that are sometimes hidden away, off the beaten track or sometimes they’re hiding behind an unmarked door on one of the busy main streets. My challenge was to pick a breakfast, lunch, and dinner place that maybe isn’t the first thing that pops into people’s mind… but should be.

BREAKFAST
Aldama 9 (also goes by Posada Corazón)
San Miguel is gorgeous in the mornings. It’s cool and crisp before the sun works its way up into the sky, making it the perfect time to head out to a spot where you can enjoy a cup of coffee and a wonderful meal to start your day. My favorite secret spot for breakfast hides itself better than Waldo in a building-sized mural! Aldama 9 is concealed behind a small door with nothing more than a small plaque with the address: #9. That’s it. No signs, no greeters, nothing indicating that behind this door is one of the most beautiful breakfast spots in all of SMA. Next to the door is a small speaker with a button. Push the button, and they will ring you in.

As you enter there is a beautiful walkway leading past a huge old tree stretching up to the sky. If you follow that walkway down and to the left, you’ll see a building that could easily have been designed by my favorite architect, Frank Lloyd Wright.

Across from an open kitchen are two huge window doors that rotate from the center like revolving doors, leading to the outdoor balcony where they serve breakfast every morning from 8 AM to 12 noon. But first, go into the main library full of books lining the walls, a fireplace, and lots of comfy chairs. I can’t think of a more magnificent room to relax in.

Seating is available inside or out on the balcony overlooking chickens, roosters, and their private garden, where the owners grow veggies and offer organic menu options based on what’s available in the garden that day. On Sundays, they also have a buffet and usually have a harpist playing quietly in the background. It’s quite lovely. Brunch runs about 200 pesos (250 on Sunday) and is worth every exquisite bite. The service is always excellent, and the huge variety of food is just plain delicious. Please make sure you pet the many friendly cats and dogs who you’ll often see lounging around the place. So cute.

LUNCH
El Encanto – Relox No. 41 (just across the street from the side entrance of the Biblioteca on Relox)

If you like Mexican charm, look no further than El Encanto. It is located a five-minute walk from the center of town. Covered from floor to ceiling in vibrant Mexican murals and filled with decorations, this is the place I take visitors to feel that old-world Mexican spirit.

Although they have a breakfast menu from 9 AM to 1 PM, the lunch and dinner menu is where it’s at! It features over 10 pages of items, all inexpensively priced, stunningly plated, and huge portions to boot. I usually have enough to take some home for dinner! The lasagnas, salads, and pastas are phenomenal and freshly prepared to order. Though the wait can be a little longer, the generous portion sizes and beautifully presented dishes make it well worth it. I have been taking people here for years, and the place never ceases to astound my guests!

Meals run around 250-300 pesos. Closed on Mondays.

After your meal, make sure to check out the Biblioteca (Library) across the street. It contains the largest collection of English-language books in all of Mexico! To top it off, the bookstore is a fabulous place to get gifts, see a show in their tiny theater, or grab a snack in their café.

DINNER
Mestiza – Hermanos Aldama No. 43 (located on the back terrace through all the stores)

Mestiza nudges past the competition as my favorite dinner spot. The restaurant is run by two incredibly nice guys, George and Javier. Located about a ten-minute stroll from the Jardin, this gem is situated in a stunning secret garden that captures the essence of Mexico with its aromas, warmth, and rich traditions.

Mestiza specializes in celebrating ancestral recipes passed down through generations, showcasing dishes such as enmoladas, sopecitos mestizos, and gorditas de cochinita pibil. Each dish is a testament to the culinary heritage of Mexico, and every visit yields rave reviews from my guests. The restaurant is also whimsical and kid-friendly, with tiny gnomes hidden throughout.

Mestiza specializes in Mexican food with a European twist and has won many awards for its delectable dishes. It has been voted as my group’s favorite restaurant for both years. There is one more key reason to go to Mestiza. I collect voluntary donations for the local pet rescues in town at all my events and last year, we collected over 60,000 pesos. I have two rescues myself, so it’s a cause near and dear to my heart. Of the almost 300 spots we’ve gone to in five years, Mestiza is the only one to give back a significant portion of their proceeds as a donation for the pets. The owners have several rescued animals too.

Whether you’re a long-time resident or a first-time visitor, San Miguel de Allende offers a rich culinary landscape. From the quiet mornings at Aldama 9 to the charming lunches at El Encanto and the delicious dinners at Mestiza, these spots provide not just meals, but experiences that capture the heart and soul of this beautiful town.

So, venture beyond the well-trodden paths and indulge in culinary delights that promise to make your time in San Miguel unforgettable.

Michael Solof leads SMA Adventure Hound, a group which takes locals and newcomers to brunches and dinners at different restaurants every week and he also offers classes in the art of smartphone photography. You can contact him at WhatsApp +1-443-310-9214 for more info and to reserve.

San Miguel de Allende

Letter from SMA

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By Ximena Collado —

Welcome to the first edition of The Eye San Miguel de Allende. I have always connected to San Miguel and so, it felt natural, when my friend Jane, who I met at a two-week creative residency in Valle de Bravo told me she was looking to expand the magazine she had created more than 15 years ago in Huatulco to another city.

When I saw the advertising for this creative residency something told me I had to be there. I followed my intuition and promised myself I would come out of there with a project or idea I could execute. I knew this was the project I was looking for as soon as Jane and I started talking about it.

San Miguel is a city I hold close to my heart. When I was little, I came camping with my family and stayed at a trailer park close to the train rails. These trips to San Miguel were our beloved family vacations and they were the perfect combination of nature and town. My dad would give my siblings and I a 5- or 10-pesos coin, we would put it on the rails and wait for the train to pass. Our coins would become flat. We did that every time we came here on vacation.

Unfortunately, this trailer park doesn’t exist anymore. The land was sold, and I am told there are big houses built on that field now. I am trying to embrace change but the nostalgia hits me when I think of my childhood and the simple life. If anyone knows of a nice, simple place to go camping in San Miguel, please let me know.

We would always eat breakfast at Café La Parroquia where the lovely owner would greet us in what I thought was a fascinating accent. I think that’s where my curiosity for foreign languages and cultures started. She became the first “San Miguel local” I ever met. She was there every single morning. And she was so nice to us.

We hope this magazine can help many small businesses reach new clients as well as educate and inform you, our readers, about this beautiful country and city you are visiting or have decided to live in, and I’m so excited to immerse myself in this amazing town.

See you next month!
Ximena Collado

Huatulco, San Miguel de Allende

Four Fashionable Mexican Heads of State

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By Marcia Chaiken and Jan Chaiken —

Fashion statements have been made for millennia by the Heads of State in Mexico. Whether in pre- or post-Columbian eras, the most important political Mexican figures have always signaled their relationship with the common people (and sometimes with their gods) with their attire. Here are the fashion statements made by four of the most known.

King Pakal the Great, (aka K’inich Janaab Pakal), who ruled over Palenque from age 12 for 68 years until his death in 683, may be best known for interpretations of engravings on his sarcophagus that led him to be called the Mayan astronaut or time traveler. The engravings show him sporting paraphernalia that looks like space flight equipment. But whether he was human or extraterrestrial, his funeral dress clearly indicates that he was considered more than a mere mortal. Adorned with a king’s ransom of jade, from his death mask to the multiple ear pieces, necklaces, bracelets, and rings, even in death he was an impressive sight. The jade mask is most startling because of the inlay of obsidian “eyes”.

Many engravings of Mayan rulers show them wearing elaborate headdresses. But anthropologist Alyce de Carteret described the primary fashion piece of Mayan rulers: “A bark-paper headband adorned with a diadem of jade or shell was bound to the heads of rulers the day they acceded to the throne.” However, existing clay figures of Pakal show him wearing a bird mask, a headdress of quetzal feathers and a long elaborate gown decorated with necklaces of jade. We can surmise that the gown was made from finely woven cotton, since only the wealthiest Mayans could afford that material.

Montezuma (aka Moctezuma II) was the 9th ruler of the Aztec Empire and was the head of state for eighteen years until his death in 1520. Unlike Pakal whose living attire requires some conjecture, Montezuma was well known to the conquistador Cortez, who arrested him.

He was an impressive fashion figure on first formal meeting. His headdress alone was spectacular and described as including “the green upper tail coverts of the quetzal bird, the turquoise feathers of the cotinga, brown feathers from the squirrel cuckoo, pink feathers from the roseate spoonbill, and small ornaments of gold.” His mantle or cape was completely embroidered in primary colors, and the designs depended on the day, the audience and the ceremony he was attending. He rarely wore the same outfit twice, keeping a small army of embroiderers constantly busy. His outfit was completed with a loincloth and sandals – some of jaguar skin, most with jewels.

For the most solemn occasions, much of the finery was omitted, and Montezuma wore a simple loincloth and a dark cape decorated with skulls. After his arrest, Montezuma was not required to wear today’s orange jump suit but rather continued as a figurehead under Spanish rule and wore his diminishing costumes until he died of his wounds after an uprising of his former subjects.

Empress Carlota (née Princess Charlotte of Belgium) was the one and only empress of Mexico for a very short reign from 1864 to 1867. She and her husband Maximillian were placed on the throne by Napoleon III. Given their very progressive ideas about educating and raising up the Mexican populace, they were quickly deposed and Maximillian was shot.

Although the royal couple’s ideas about ruling Mexico were violently rejected, Carlota’s fashion sense was much more captivating. Given her wish to become the benefactor of “her people,” she began to combine European fashion with the costume of the hoi polloi of Mexico. Although the wide skirts and rich materials were retained, the bodice of her dresses and overskirt resembled the china poblana traditional dresses worn by Mexican women – especially on occasions celebrating Mexican identity. She also adopted the bright primary colors of Mexican dress.

Her rule was short-lived but her incorporation of Mexico’s traditional styles into high fashion has lived on. Many of the high-fashion designers of Mexico today merge traditional embroidery or decorations into ultra-modern designs. Just walk down Avenida Presidente Masaryk in CDMX today, and fashions based on Carlota’s innovations come alive.

Presidente Claudia Sheinbaum The first woman president in Mexico, who took office almost two years ago, is scrutinized for fashion as no president ever before. She uses this attention to benefit women all over Mexico. For ceremonial occasions, in addition to her presidential sash, she often wears replicas of dresses from different regions of the country including the huipil, the china poblana, the Tehuana (from Oaxaca) and the Chiapaneca. The many artisans who create and decorate her dresses are publicly noted and often find themselves swamped with orders from ordinary citizens and beyond.

Of course, given her intense meeting and travel schedule, she also slips into comfortable pants and blouses. But the styles are business-appropriate. And unlike the wives of many heads of state, she avoids expensive designer clothes and instead wears fashions that are affordable for the majority of working Mexicans.

From Pakal to Sheinbaum, the Mexican heads of state have had distinctive styles worn as political statements. Some such as Carlota and Montezuma have had ruinous careers. Some such as Pakal and hopefully Sheinbaum have made positive contributions to lives of their people. All will likely be remembered for what they wore.

Drs. Marcia and Jan Chaiken have been married for 62 years and have published many justice system research reports together.

 

 

Huatulco, San Miguel de Allende

Street Names in CDMX

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By Jan Chaiken and Marcia Chaiken—

Everywhere in Mexico you will find lengthy street names commemorating historical figures or events, and this is particularly true in Mexico City. Although the persons or occasions commemorated by the names of streets in the nation’s capitol are known to most Mexicanos, those of us who did not attend school here as children are generally clueless. Here we hope to help you get in the know about the background of street names so when sitting in gridlocked traffic you feel as if you are surrounded by history rather than just by hundreds of cars belching noxious fumes.

Nearly every tourist who has been in Mexico City is familiar with the Paseo de la Reforma, the grand wide avenue that transverses the city diagonally and looks as if part of the Champs-Élysées had been lifted up from Paris and transported here. Reforma was originally conceived by the Emperor Maximilian, an Austrian installed as the ruler of Mexico during the French intervention (1862-67); he intended to name it Paseo de la Emperatriz in honor of his wife Carlota, but it was given the name Reforma after Maximilian – who badly miscalculated Mexican sentiment towards him – was executed and Benito Juárez became President of Mexico. The name refers to La Reforma, a series of federal legislative enactments that brought about the separation of church and state in Mexico.

As you walk or drive down Paseo de la Reforma, you inevitably encounter the magnificent memorial The Angel of Independence (commonly called El Ángel) at the intersection of Reforma and Avenida Independencia. These names commemorate the 1821 victory of Mexico over Spain in its War of Independence. The Angel was dedicated by the dictator Porfirio Díaz in 1910, on the centennial of the date that independence was declared.

Another street most visitors to Mexico City encounter is Avenida de Los Insurgentes (aka Insurgentes), the longest street in the city. The 28.8-kilometer (17.9-mile) avenue runs from the southwest Mexico-Cuernavaca Highway to the northeast Mexico-Pachuca highway, connecting numerous neighborhoods, including the famous Roma area. Along this route, there are many restaurants, hotels, museums, monuments and entertainment centers. First known as Avenida Santa Cruz, the current name memorializes the people in the insurgent army that fought in the war of independence from Spain.

If you have traveled into or out of Mexico City’s Benito Juárez International Airport, you may have encountered a much less distinguished nearby street: Calzada Ignacio Zaragoza. Its namesake Zaragoza was actually born in the United States in 1829. His family moved to Mexico, where he attended the National Military College.

He served in the Mexican-American War and later was appointed commander of the Mexican Army in Puebla. In 1862 his army was victorious against the French at the battle of Puebla, an event commemorated as Cinco de Mayo, which in recent years has been celebrated, at least enthusiastically in the United States as in Mexico.

Calle 5 de Mayo (pronounced “Cinco de Mayo”) is a major thoroughfare in the historic center of Mexico City; it begins at the Palacio de Bellas Artes and ends at the Metropolitan Cathedral of Mexico City. Calle 5 de Mayo is only one of Mexico City’s many calles de calendario (streets named for dates on the calendar). Avenida Independencia changes its name to 16 de Septiembre as it approaches the historic center of Mexico City to commemorate the date of Mexican Independence. 16 de Septiembre is one block south of Calle 5 de Mayo and runs from the Eje Central, or Avenida Lázaro Cárdenas, to the Zócalo. (Cárdenas was a Mexican army officer and politician who served as president of Mexico from 1934 to 1940; the zócalo is Mexico City’s central square, formally named Plaza de la Constitución). Residents of Mexico would be familiar with the significance of 16 de Septiembre street from their schooling and their experience that the date is a national holiday, with schools, banks and many businesses closed.

One block further south is Calle Articulo 123. This is named after Article 123 of the Mexican Constitution, which is the labor law of Mexico – it guarantees workers the right to fair wages, safe working conditions, and social security benefits. It also ends at Eje Central/Avenida Lázaro Cárdenas. Calle 20 de Noviembre runs south from the Zócalo, perpendicular to the streets already mentioned. November 20th is a national holiday in Mexico that celebrates the beginning of the Mexican Revolution, which ran from 1910 to 1920 and overthrew Porfirio Díaz after he had been president for 35 years.

The 12th of December provides an interesting example of how separation of church and state operates in Mexico. December 12 is the Feast of Guadalupe, a popular national holiday in Mexico; religious processions are held throughout country, including in the Huatulco area, on that date. In Mexico City a very popular tourist attraction is the Basilica of our Lady of Guadalupe. But there is no calle calendario for December 12 near the Basilica of our Lady of Guadalupe. Instead, Avenida de Guadalupe is the name of the street that ends at the Basilica. Our Lady of Guadalupe is the patron saint of Mexico, and her image is one of the best known religious symbols in the world, but secular authorities who designate street names in Mexico City do not commemorate the date December 12.

If the average visitor begins to feel overwhelmed by the details of street names rooted in Mexico’s rich history, we suggest a drive through or stroll around the Polanco neighborhood where the streets are named after luminaries enshrined in history studied in most North and South American and European schools. Beginning with ancient Greece and Rome, Homer, Horace, Aristotle and Archimedes lend their names to streets, and there are streets named after 20th-century notables such as Mahatma Gandhi. Block after block of the small Juárez neighborhood remind us that Mexico City is a major urban center of Western civilization, with streets recognizing London, Liverpool, Amsterdam, Genoa, Tokyo, Oslo, Copenhagen, Rome. And overall, Reforma, Insurgentes, and calendar streets remind us of the struggle to achieve this status.

Huatulco, San Miguel de Allende

Mexico’s French Century: A Whirlwind History of the French in Mexico

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By Deborah Van Hoewyk—

Very, very early on the morning of September 16, 1810, Miguel Hidalgo y Costilla, the well-read priest of Dolores, Guanajuato, stood on a balcony in the dark and delivered his impassioned El grito de Dolores (the Cry of Dolores) for independence from the gachupines (Spanish-born oppressors). Hidalgo’s declaration of independence was steeped in the thinking of the French political philosophers Jean Jacques Rousseau (1712-78) and Voltaire (nom de plume of François-Marie Arouet, 1694-1778).

While the American Revolution (1775-83) was philosophically based on Enlightenment ideas, they were largely expressed in English terms; it was the cries of “liberty, equality, fraternity” in the French Revolution (1789-99) that gave life to the Mexican War of Independence (1810-21). Remember that Napoleon had invaded Spain in 1808 and occupied it until 1813, so, courtesy of the French, 1810 looked like a good time to confront Spain. Fighting dragged on for over a decade, but when it was all over, Mexico was an independent constitutional monarchy with Agustín de Iturbide serving as “emperor”; since that was not the outcome most people had been working for, de Iturbide was overthrown a year or so later by Antonio López de Santa Anna, who set up the Republic of Mexico.

The French aura surrounding the War of Independence led to some serious immigration from France (before that, Spanish rulers had prohibited immigration from countries other than Spain). In the 1830s, France tried to set up a couple of colonies in Veracruz; they weren’t all that successful, but a good number of French people settled permanently in Mexico. By 1849, the French were the second-largest immigrant group, after the Spanish themselves.

French entrepreneurship in Mexico brought on the First Franco-Mexican War—also known as “The Pastry War” (Guerre de Pâtisseries). In 1838-39, King Louis-Phillipe sent some ships to blockade the port of Veracruz, cutting off all Mexican trade with Europe. The goal was to impress on Mexico the idea that they needed to cut down on post-war unrest (there were 20 different presidents in the first 20 years of the Republic). All that chaos had led to the looting of a Mexico City pastry shop (an interesting story in itself), and Louis-Phillipe decided it was time France collected for all losses suffered by all French businesses in Mexico, along with some war debts stemming from French aid during wars in what is now Texas. Basically, Mexico lost, Britain negotiated a treaty, and Mexico paid France.

With some detours through a dictatorial presidency by Santa Anna and territory-grabbing by the U.S., Mexico ended up in debt to France again, which, who knows why they would, had once again come to Mexico’s assistance. However, then-president Benito Juárez declared a moratorium on paying foreign debts; France, Spain, and Britain invaded; Spain and Britain dropped out when they learned France was hell-bent to take over the whole country, which they did in 1862. Before they did, though, they suffered a defeat—en route from Veracruz to Mexico City, they were met with resistance. Led by Ignacio Zaragoza, Mexican forces occupied fortifications in Puebla. The French were unsuccessful in their attack, and were routed into complete retreat on May 5 by a young cavalry officer named José de la Cruz Porfirio Díaz Mori. Although the battle provided only a temporary halt to France’s victory over Mexico, it became known as “Cinco de Mayo,” and like the battle itself, isn’t a very big deal in Mexico. Porfirio Díaz, however, was a big deal, and more about him later.

By 1864, the French had installed Ferdinand Maximilian Joseph, an Austrian archduke from the Habsburg monarchy, as Emperor Maximilian I of the Second Mexican Empire (Iturbide’s brief rule was the First Mexican Empire). Some stories have it that his wife, the Belgian princess Charlotte/Carlota, pressured him to take the job, which he didn’t want. If so, Maximilian’s instincts were right; in 1867, he was executed by a Mexican firing squad as Benito Juárez led the uprising that liberated Mexico from foreign rule.

Juárez remained as president, defeating Porfirio Díaz in the 1871 election, until he dropped dead at his desk in 1872. Díaz began making moves to return to power. In 1876, he succeeded, and embarked on what was effectively a dictatorship (the “Porfiriato”) until 1911, with a little break from 1880-84 to give the semblance of presidential elections. He managed to maintain office by catering to the conservative wealthy and, not incidentally, the French tastes they developed courtesy of Maximilian. When he was finally overthrown in the Mexican Revolution, Díaz fled to Paris; he died in 1915, and is buried in Montparnasse Cemetery.

Despite their ignominious ends, Maximilian, Carlota, and Porfirio Díaz are responsible for lasting French influences in Mexico.

French Architecture

Maximilian brought 19th-century French urban design to Mexico City. Paseo de la Reforma connects the National Palace with Chapultepec Park, and could have been designed by Baron Haussmann, who laid out the Avenue des Champs Élysées in Paris. Remember the neoclassical Beaux Arts movement? That would be the Palacio de Bellas Artes. In Mérida, the Palacio Cantón was built during the Porfiriato and now houses the Regional Museum of Anthropology and History. In Orizaba, none other than Gustav Eiffel designed the Palacio de Hierro, a Neoclassical/Art Nouveau ironwork structure that was to serve as the municipal palace (today it houses offices and a series of small museums—soccer, beer, flags, ex-presidents, the “Roots of Orizaba,” the geography of Orizaba, and a planetarium). Eiffel also made it over to Baja California Sur to the small city of Santa Rosalia, to design the cast-iron Iglesia de Santa Bárbara, mostly notable for its interior barrel-vault ceiling.

Throughout Mexico, you can also see stunning examples of Art Nouveau architecture, courtesy of France, and the immediately succeeding Art Deco, courtesy of any number of countries, including the U.S.

French cuisine

Mexico’s first classic cookbook, El Cocinero Mexicano, was published in 1831 and is planted firmly in the tradition of classic French cuisine—despite its claims to serving up the best of Mexican food. (No one was going to publish a cookbook for indigenous food—that was for the lower classes and cookbooks were hardly necessary.) The continuous state dinners prepared for Maximilian, Carlota, and guests, would have been indistinguishable from over-indulgent 19th-century French banquets. Today, huitlacoche crepes, various mousses, cream soups (carrot with cilantro, perhaps mushroom with epazote, anyone?), and of course, those pastries and some desserts remind us of the French presence in Mexico.

French Fashion

Even before the arrival of Maximilian and Carlota, French fashion made inroads on Mexican taste. Starting as Las Fábricas de Francia in the 1850s (not the same as the current Fábricas de Francia, which is part of Liverpool), Frenchman Victor Gassier began building the fashion emporium that finally opened as El Palacio de Hierro in 1891. Although that building was destroyed by fire, and the store had problems during the Revolution, it reopened as the Palacio de Hierro in 1920 in a new Art Nouveau building (French architect, of course) in Polanco, complete with two stained-glass ceilings done to match ones in Nancy, France (a center of Art Nouveau architecture).   That building reopened in 2016, boasting a $300 million (USD) renovation and another 594,000 square feet of floor space. As you could during the Porfiriato, you can spend big bucks on the latest fashion from France: Chanel, Hermés, Louis Vuitton.