Category Archives: San Miguel de Allende

San Miguel de Allende

The Rise of Perrhijos and Fashion for Pets

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By Ximena Collado—

Over the past few years, something interesting has happened in the world of pets. Dogs and cats have become a huge part of our families — and for many young adults, they’re basically our perrhijos. Because of this, the way we care for them has changed, and so has the way we express our love for them. Pet fashion has grown a lot, becoming a fun and personal way to show who we are through the pets we love.

Today, things like bandanas, leashes, and collars aren’t just simple accessories. They add personality, color, and identity to a dog’s everyday life. More and more people want meaningful pieces that feel special: well-made items, sustainable materials, and products created with intention. Pet fashion has become an extension of our lifestyle. A small accessory can say a lot about the bond we have with our pets and how important they are to us.

But while pet fashion keeps getting more popular, there’s another reality in Mexico that can’t be ignored. Millions of dogs live on the streets without food, protection, or medical care. Mexico has one of the largest stray dog populations in the world, and most of these dogs will never find a home. Rescue groups work incredibly hard, but adoption alone is not enough. Animal welfare experts agree that the only true long-term solution is mass sterilization. Sterilizing dogs is the most humane and effective way to reduce suffering and prevent new litters that continue the cycle.

For one of Amikoo’s founders, this issue became personal the day he and his girlfriend went to a local shelter to adopt a dog. When they arrived, they were shocked to find more than 100 dogs waiting for a home. The staff explained that most of those dogs would never be adopted. Among the hardest to place were big, black, male dogs — often overlooked because of their size, appearance, and stereotypes. Despite this, the couple chose exactly that: a large, black, male dog who immediately won their hearts. That experience stayed with them. It opened their eyes to the magnitude of the problem and planted the seed for what would later become Amikoo.

In the middle of this mix of love, concern, culture, and creativity, Amikoo was born — a brand that blends pet fashion with real purpose. Their products are beautiful, but what makes them special is the story behind them. Amikoo works closely with artisan women from Chiapas who create the textiles for their dog bandanas using telar de pedal, an ancestral weaving technique passed down for generations. This traditional process takes hours of careful work, resulting in unique pieces full of cultural meaning. By using telar de pedal, Amikoo helps preserve a technique that has been part of Mexico’s identity for centuries.

But Amikoo’s support doesn’t stop at paying fair wages. They also run health campaigns so the artisans can access medical checkups and basic care — something that is often difficult to get in their communities. This shows how committed the brand is to taking care of the people behind every product.

Amikoo also designs dog collars made with cactus-based vegan leather, an eco-friendly material created from the nopal cactus. It’s durable, soft, sustainable, and proudly Mexican. This material reflects Amikoo’s mission: to care for animals, support communities, and protect the environment.

Most importantly, Amikoo uses part of its funds to run sterilization campaigns for stray dogs, directly contributing to the only long-term solution experts believe can reduce the suffering of millions of animals on the streets. This gives every purchase real purpose and real impact.

Amikoo started with a simple but powerful goal: to help dogs and help people at the same time. Their work supports artisan families, protects cultural traditions, and funds sterilization efforts across Mexico. Every product supports these efforts and makes a real difference.

If you want to be part of their mission and bring a touch of color and meaning to your dog’s style, you can find Amikoo’s products on Amazon. Every purchase helps the artisans, the dogs, and the communities involved.
Shop Amikoo on Amazon: Click Here

 

San Miguel de Allende

The Story of San Miguel Shoes

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By Ximena Collado—

Walking through the cobbled streets of San Miguel de Allende, it’s easy to believe that memory has a sound—the soft percussion of footsteps on stone, the hum of voices carried by warm air, the slow rhythm of a town that still takes its time. Somewhere in that rhythm lives the story of Don Santiago and Martha, two dreamers whose love gave life to San Miguel Shoes. For them, every pair was more than footwear—it was affection made tangible, a way of stitching home and heart into something you could carry wherever you went.

More than twenty years ago, Don Santiago arrived from León, a shoemaker in search of a new beginning. He found it in San Miguel de Allende, its light, its color, and the woman who would become his lifelong companion, Martha. Together, they imagined shoes that would accompany people through their days – comfortable, enduring, and made with care. The first sandal he crafted for her wasn’t just built to withstand the uneven stones of the city; it became a symbol of their life together – steady, resilient, and full of quiet devotion. Their dream soon grew into a small workshop where every design was shaped with patience and purpose. Each pair was meant to last—to travel through years and stories, just as Santiago and Martha did, side by side.

That same spirit still guides San Miguel Shoes today. Now led by their children, the brand has evolved without losing its soul. The workshop hums with the rhythm of more than fifty artisans, most of them women, whose skill and dedication have turned comfort into an art. From the start, sustainability wasn’t a slogan—it was instinct. Every process is designed to minimize waste, every material chosen for comfort, flexibility, and responsibility.

These shoes aren’t made of leather but of soft, adaptive fabrics that move naturally with the foot. Their light yet durable structure provides a sense of ease and stability, offering the kind of comfort that makes each step confident—even across the cobblestones of San Miguel. Women who wear them often describe the same feeling: a secure, effortless stride that carries them through long days without strain or hesitation. The shoes are made not for fleeting trends but for real lives—workdays, travels, and moments in motion.

Created for women of all ages, San Miguel Shoes blend versatility with timeless style. These are shoes made for real life, practical yet elegant, refined yet easy to wear. Every design reflects the brand’s belief that true luxury lies in quality, comfort, and longevity.

Color, too, plays its part, not as fashion, but as expression. Each year, San Miguel Shoes introduces a new palette inspired by the town itself: the soft blush of morning walls, the golden tones of afternoon light, the earthy reds of sunset. For 2026, the collection turns toward teal, blues, and green tones that capture the freshness of water and the calm of shade on a bright day.

Beyond their beauty, San Miguel Shoes sustains a community. The brand provides dignified work, preserves ancestral techniques, and empowers women who have become masters of their craft. Each pair is unique, an imprint of many hands, shaped by patience and pride. And at the heart of it all remains the story of Don Santiago and Martha. Both passed away during the pandemic, only a month apart. Those who knew them say their love was simply too strong to be separated. Their spirit walks on in every shoe, in every step taken by those who wear them.

Today, anyone can take a piece of that story on their own journey. Each pair is a promise, made to last a lifetime, just like the love of Don Santiago and Martha.
http://www.sanmiguelshoes.com.mx

San Miguel de Allende

“As Long as You’re Buying…”: Mexico and the Endless Fast Fashion Loop

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By Estefanía Camacho

The other day I read someone saying that their excess clothes and plastic didn’t really count as fast fashion if they didn’t throw them away. In a way, they had a point — but it also completely ignores how we got here in the first place. This year I wrote a feature piece about what fast fashion is, where and how it started, and what we can actually do about it. That helped me understand the whole know-how behind it.

Buying clothes and simply not throwing them out is not really the answer. Even Marcelo Claure, the global vice president of the Chinese ultra fast-fashion company, told El Universal that they manufacture only 100 to 200 units of each product and then increase production depending on sales. Claure also confirmed that Mexico and Brazil are among its top five global markets, after the United States.

If you’re unsure what fast fashion means to this day, it’s basically when companies copy high-fashion designs and reproduce them on a massive scale, at low cost, using mainly outsourced labor — all within 15 days or even less.

The impact of imports on Mexico’s textile industry
This is true in the United Kingdom and in Mexico. Everything depends on how each country regulates the entry — and the disposal — of imported goods, especially in industries it could produce itself. So with lax rules for textile imports, it’s not surprising that the national industry has declined, just as it has in countries in the Global South like Chile, Ghana, or Kenya.

Mexico’s INEGI (National Institute of Statistics and Geography) documented this in May 2024: between 1995 and 2000, the textile and clothing industry’s GDP grew an average of 6.5% per year, boosted by NAFTA. But in 2001 — the year China joined the World Trade Organization — that momentum dropped sharply and stayed low for the next decade.

Recently, while researching autonomous vehicle manufacturing, I realized something funny: the cars aren’t even on the roads yet, and developers are already planning how they’ll be disposed of at least a century from now. Meanwhile, the textile industry — especially fast fashion — never thought this way about clothes. Even the cement industry has disposal solutions.

Measures against fast fashion: tariffs and environmental proposals
In Mexico, digital access is still uneven, but you’ll still find second-hand shops almost anywhere with a sign that says, “We take Shein orders here.”

At the end of 2024, President Claudia Sheinbaum announced a temporary 35% tariff on textile imports from countries without free trade agreements. On the surface, it looks like part of a larger tariff war with China, but internally it also affects how Shein orders arrive in Mexico.

This basically ends the tax loophole that allowed imports under $50 USD to skip duties.
Rafael Zaga, president of the National Chamber of the Textile Industry, told Forbes that the Mexican textile sector loses $3.2 billion per year due to imports from online platforms like Shein. China is the main origin of Mexico’s textile imports (35.4%), followed by the United States (24.6%).

Mexico City: new practices for collecting textile waste
Denmark, for example, collects clothing directly from people’s homes and sends it to companies that sort what can be reused or recycled — but only after an awareness campaign that teaches households how to prepare the textiles. It’s still a very new system: it only began in July 2023.

Mexico City recently joined other regions working to properly collect textile waste. In September 2025, Mexico City’s Congress approved changes to the Solid Waste Law to officially recognize textile waste. It also authorized the Ministry of the Environment to create agreements with the industry to promote collection, treatment, recycling, reuse, and finally the disposal of textile waste. And, just like Denmark, it plans to promote collection programs through awareness campaigns on proper sorting.

In Europe, a person bought an average of 6 kilos of new clothes per year in 2020. And in Mexico City alone, 3.7 billion tons of textile waste are discarded each year, including bedding and curtains.

But these proposals will also need to consider the problems that other Global North countries have already faced with parts of this process. For example, the sorting phase requires workers who specialize in this job, and these tasks are usually done by nonprofits or private companies with their own interests because it’s minimized.

Europe sends much of its textile waste to sorting centers located in countries with lower labor costs, mainly in Eastern Europe or the Middle East. And that matters because the better this sorting process is, the more opportunities there are for reuse, resale, and recycling, but if this specialized work depends on underpaid workers, it might not be as useful or advantageous as we urgently need it to be.

Fast fashion, fast rewind
The term fast fashion is basically the same age as Taylor Swift — it was coined by a journalist in New York in 1989, when Zara opened its first store in that city and outside Spain for the first time. So, if you think about it that way, reversing this practice is not impossible; it’s not like we’ve been overconsuming for centuries.

The woman online who said she wasn’t contributing to pollution as long as she didn’t throw clothes away wasn’t totally wrong: wearing an item as many times as possible is the first solution given when trying to tackle this situation. The problem is that fast-fashion materials are lower quality so the cycle continues, lasts less, and even pollutes when washed.

But that doesn’t mean the garment can’t get a second life. You can repurpose it, mend it, redesign it, or give it another cycle. And if you’re part of the group that uses their clothes 37% less before discarding them, consider selling them on digital platforms or donating them if they’re still in good condition.

And if you finally decide the item is trash — even after waiting for it to cross the ocean, accumulate CO₂ emissions by air, sea, and land — then, before tossing it with everything else, check for local textile recycling centers or ask your waste collector if you can separate it.
Meanwhile, we’re also waiting for governments to adopt stronger measures, like the ones proposed in France, which would require fast-fashion companies to display environmental disclaimers on their websites or set a limit on how many new items they can upload per day, as well as their marketing.

In Mexico –where we don’t need a lot of justifications to keep on partying– we know this famous phrase first told by rancheras singer Vicente Fernández: “Mientras sigan aplaudiendo, yo sigo cantando” which means “as long as you keep clapping, I’ll keep singing”. It reminds me of the fast fashion cycle and how it sometimes feels like companies think exactly like Chente: “as long as you keep buying, I’ll keep producing.”

Estefanía Camacho is a freelance Mexican journalist working across media and digital magazines. She is a specialist in gender, SMEs, economics, and business.

Huatulco, San Miguel de Allende

Turning the Pages of 2025: The Novels That Moved Us

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By Carole Reedy—

“By writing a novel one performs a revolutionary act. A novel is an act of hope. It allows us to imagine that things may be other than they are.”

Those are the words of Hilary Mantel, who more than accomplished the above in her many books over the years. Mantel’s brilliant mind discerned more than what could be readily seen.

From the dozens of novels I read this year, several revealed a new perspective or a deeper emotion. The feelings evoked by these books spontaneously pop into my mind at various times, offering perspective and contemplation.

My Friends by Frederick Backman

I always considered Backman to be a writer of “easy reads,” an author who enchanted his readers with compelling characters and entertaining plots. My Friends, however, breaks this mold to awaken in the reader a deeper sense of the meaning and significance of friendship and beauty, the twin pillars that make life worth living.

A painting, a lifetime of friendship, and a series of problem years filled with conflicting emotions drive the plot and shape the structure of the novel. Backman is a master storyteller and character developer.

The Washington Post said it well: “Backman captures the messy essence of being human.”

What We Can Know by Ian McEwan

This is renowned writer Ian McEwan’s 18th novel. The New York Times called the book “the best thing McEwan has written in ages” and “entertainment of a high order.” I agree wholeheartedly.

The setting is 100 years from now, with continuing and not necessarily favorable references to the times in which we are living. McEwan refers to his book as “science fiction without the science.”

The storyline is compelling and entertaining despite McEwan’s discomfiting view of our future. Tucked between descriptions of the devastation of 100 years of climate change, wars, and general chaos and disruption of the planet is a delightful narrative of a young literary type who in 2119 is pursuing the location of a poem that was deliberately hidden more than 100 years previously.

The poem was written by a fictional esteemed literary figure of our current era. In addition, McEwan offers keen insights into this poet, his wife, their friends, and their lifestyles.

A formidable plot, complex characters, and sense of place drive the action. This novel has all the essentials required in a narrative about the future to create a novel I read almost nonstop!

You may also want to read these other gems by McEwan: Atonement, Saturday, Nutshell, and On Chesil Beach. All will satisfy your craving for fine writing and precision craftsmanship.

The True True Story of Raja the Gullible (and His Mother) by Rabin Alameddine

Each page of this simultaneously comic and tragic novel flows like ice beneath a skater’s blade. This despite the fact that Lebanon, where the action takes place, usually would not be described this way.

These characters experience rough times in Lebanon, a country that has undergone many tragic phases. But Alameddine entertains us as the main characters take us through the dark side of the country’s history as well as through his and his mother’s personal struggles, met with determination and even a dash of joy.

This book offers so much easy enjoyment, much like his novel An Unnecessary Woman.

The House on Via Gemita by Domenico Starnone

Do you recognize this Italian author’s name as someone who was thought to be the ghost writer of the successful Elena Ferrante novels, specifically the Neapolitan series? Starnone has denied it, being an illustrious author in his own rite. His equally famous wife, Anita Raja, a translator and library director, has also been “accused” of the deception.

In the end, Ferrante has been accepted as a pseudonym for another Italian author who believes that books, “once they are written, have no need of their author.”

Many avid readers have enjoyed Starnone’s witty novels, Ties and Trick. The House on Via Gemita presents a new, darker side of Starnone. Not light and humorous as Ties and Trick, this novel places a cantankerous artist front and center.

1960s Naples, Italy, is the place where a frustrated railway worker is convinced he is a great artist, his family suffering the consequences of the obsession. The trials of the family are detailed and vivid, Starnone’s best talent clearly at work. The novel deservedly was long-listed for the International Booker prize.

Many avid readers have enjoyed Starnone’s witty novels, Ties and Trick. The House on Via Gemita presents a new, darker side of Starnone. Not light and humorous as Ties and Trick, this novel places a cantankerous artist front and center.

The Uncommon Reader by Alan Bennett

Alan Bennett is, simply put, a gem. I am listing his short novel as a favorite because it truly illuminates the joy of reading.

British-born, raised and educated at Oxford, Bennet is exceedingly accomplished, with a rich stock of stories, plays, and films in his repertoire. When I want to feel good and laugh, I pick up one of his works.

The Uncommon Reader is a novel for the book-addicted. The uncommon reader of the title is the Queen of England, and Bennet takes us merrily through her introductory, and eventually continuing, passion for the written word.

Novelist/writer Jennifer Kloester’s review calls it “brilliant on many levels, but also a delicious, edible morsel of a novel. And wait until you read the ending.”

My Final Read of the Year: The Volcano Lover by Susan Sontag

At year’s end, I find myself thoroughly engaged in Susan Sontag’s radical novel of ideas, The Volcano Lover (1992), set largely in Naples Italy in the late 18th century. The gentle pace of her style in this unconventional historical narrative perfectly complements my year-end reflections. I will read it slowly through December in order to savor her luscious writing style.

Here’s to many provocative reading experiences in 2026!

San Miguel de Allende

Threads Through Time: Tracing the Tapestry of Naturally Derived Textiles in Mexico

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By Kary Vannice—

Mexico’s rich textile heritage is a colorful historical narrative interwoven with indigenous traditions and the imprints of European influence. From the earliest known fibers (1400 BCE) to the contemporary fusion of craftsmanship and innovation, textile weavers and designers have left their mark on the Mexican culture.

Mexican Textiles – Indigenous and Colonial Roots

The genesis of Mexican textiles can be traced to 1800 BCE, when fibers of the chichicaste plant (much like stinging nettle) were skillfully woven into fabric fragments. The pre-Hispanic era brought about the artful integration of native fibers like yucca, palm, willow and maguey. Cotton, which is not native to Mexico, made its first appearance much earlier, around 3000 BCE. Obtained through conquest and trade among ancient societies, cotton assumed a revered status and its use was restricted to the elite.

In pre-Spanish culture, textile making was not merely a technique, but a sacred gift bestowed upon women by the gods. The backstrap loom, a lightweight, mobile loom made of wood and a strap that is wrapped around the back, was exclusively operated by women, and played a central role in weaving fabrics. In those times, the intricate process of weaving, spinning, and embroidering held more than cultural significance – some fabrics were also used as currency.

The Spanish conquest ushered in a transformative era for Mexican textiles. New fibers arriving from Europe, like silk and wool, reshaped the industry. The imported foot treadle loom, often seen in Mexico today, mechanized weaving and lead to an explosion of production and a pivotal shift in the textile trade.

Mexican Textiles Travel the World

Wool and silk imports, coupled with the introduction of sheep and silkworms, catapulted Mexico into the global textile scene by the late 1500s. This period marked a significant exchange of textile knowledge and resources between Europe and the Americas.

Over time, European textile techniques became assimilated into the rich tapestry of Mexican craftsmanship. This influx of new materials spurred innovation among native weavers and resulted in a fusion of styles and patterns. Mexican textiles became sought-after commodities and unique fashion statements throughout Europe. Native weavers began exporting their diverse range of handcrafted garments and homemade items to international markets.

Their designs showcased the distinctive aesthetic of Mexican culture, characterized by vibrant colors, intricate patterns, and the use of naturally dyed fibers.

During the 19th century, the introduction of steam-powered machines opened new horizons for the textile industry in Mexico. By the late 19th century, textile production and distribution emerged as a dominant force in the country’s manufacturing sector and Mexico’s textiles became known the world over.

When industrial sewing machines became available in the early 20th century it brought about another chapter in textile production and catalyzed a new phase in the industry – the production of finished clothing.

Despite the transition to modern textile production, the influence of ancient techniques endures. Weaving has become a cultural narrative and the artisans committed to preserving traditional methods not only sustain the authenticity of Mexican textiles but also foster a sense of continuity between generations.

Mexican textiles have emerged as international representatives of cultural craftsmanship. Their global recognition reflects the adaptability of Mexico’s textile industry, which today honors its heritage while at the same time embracing contemporary trends.

Sustainable Tradition, Environmentally Ethical

Mexico’s long-standing traditional approach to textile production, rooted in sustainable and ethical practices, aligns with the growing global emphasis on environmentally conscious fashion. Mexican designers and industry leaders continue to push the boundaries of sustainable textile innovation. In 2019, the Mexico-based company Adriano di Marti, went to the Milan (Italy) Leather Fair and presented a vegan leather made from nopal cactus called Desserto. The company has developed a version of the leather called Desertex for use in automobiles; they are now working on using agave fiber, a waste byproduct of the tequila-making process, to produce a third vegan leather, Desserto Agave, for use in the fashion industry. Adriana di Marti also produces cactus yarns for woven fabrics.

The enduring history of naturally derived textiles in Mexico is a testament to the cultural richness that transcends time. Mexican textiles narrate a saga of centuries, embodying a cultural legacy that continues to flourish in the tapestry of modern life.

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 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