Category Archives: San Miguel de Allende

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

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.