Willy Chavarria’s América
A Chicano's perspective on a hot-button American issue
Willy Chavarria has been receiving due recognition for his spring 2025 collection unveiled during New York Fashion Week. “As a designer, he is trying to reframe the look of the country,” Vanessa Friedman writes in The New York Times, essentially calling him an auteur.
Most of the reviews are rightfully positive, but I was missing a deeper cultural analysis that takes the history of Mexican fashion subcultures into account. I also noticed that many outlets failed to mention Chavarria’s zoot suit reference, which gave the collection another political dimension. So I reached out to a few fashion journalists—three of whom are Mexican—for their perspectives.
The editor-in-chief of Vogue Mexico and Latin America Karla Martínez de Salas gave me a quote about the current state of Mexican fashion; fashion editors Amy Bialek and Talía Cu described the key moments of the collection, and fashion illustrator Julius touched on the historical significance of the zoot suit.
Although I believe the content is worth paying for, I’ve made this post free for everyone. If you value this sort of fashion writing, please consider upgrading to a paid subscription.
Chavarria titled the collection América (in reference to the word’s common pronunciation among U.S. immigrants), paying homage to the working class fashion habitually ignores even as it unscrupulously borrows from its visual culture. These are the blue-collar workers who “labor in the fields, bringing food to our tables, building our cities, making our music, and weaving stories into the fabric of this land,” Chavarria told Elle.
The designer raised items typically considered “low culture” into an art form, outfitting his cast of Black and Brown models in head-to-toe utilitarian denim; oversized khakis belted under structured button-downs and wide-shoulder blazers or spherical bomber jackets; long coats thrown over hoodies and shorts in shades of white and mustard-brown; and sports jerseys among others.
Accessories included high socks pulled to the knee; neckties accentuating preppy shirts; bandanas tucked under trucker hats; key chains hanging off waistbands, and large bags hastily thrown over the shoulder. “My first impression was the ubiquitous influence of the Chicano movement throughout the collection,” Mexican fashion editor Amy Bialek shared via email. “As a Mexican-American myself, I resonated with this deeply as the familiarities of my culture were depicted under a light that showcases solidarity and empowerment .”
Staying true to his Chicano heritage, Chavarria conveyed his influences with sincerity and technical sophistication; the model’s uniforms reference the cholo tribe (members of a Mexican American urban subculture associated with street gangs). The designer meticulously crafted an environment (inviting Mexican band Yahritza y Su Esencia to sing “Querida” by Juan Gabriel) where cholos and cholas are treated with dignity, their perfectly tailored clothes the subject of genuine admiration rather than ignorant disdain.
On Vogue Runway, the models posed in irreverent pride—some clenching their fists or giving the side-eye; others with hands on the hips or staring forcefully—as if to tackle negative assumptions about Mexicans head-on. “Given the current political climate in the U.S., where immigration is a central issue in the elections, this collection marks a moment for Latin culture to be acknowledged and heard,” Mexican fashion journalist Talía Cu said via email.
Since launching his namesake label in 2015, Chavarria has successfully expanded the narrow scope of high fashion with his unique preppy-meets-streetwear take on menswear and intentional storytelling. “I’m glorifying my own people,” he told Latin media brand Remezcla in 2018. “Showing us in a light that is intelligent, sophisticated, and thoughtful. It’s not just clothes.”
In an industry governed by the Eurocentric gaze, Chavarria has leaned into his “otherness” to reclaim history, constructing powerful narratives (and exciting sartorial ideas) that rarely unfold during fashion month. Along the way, his designs have made other marginalized communities feel seen, too.
A key component of the collection that flew under the radar is Chavarria’s zoot suit (as seen in looks 26 and 27). The revolutionary baggy high-waisted, wide-legged men’s suit was first popularized by African-American jazz artists and later adopted by the pachucos (a style tribe in Mexico).
As merchandising professor Lorynn Divita writes in the book Trend Forecasting (5th Edition):
The pachucos were made up of young Mexican American adolescent gang members in Los Angeles between 1930-50 who were easily recognizable because of their distinctive zoot suits.
The three-piece ensemble’s liberal use of fabric turned into a source of conflict during World War II as, in the face of fabric restrictions, the act of wearing a zoot suit became seen as unpatriotic. This led to the Zoot Suit Riots, a series of violent attacks beginning on June 3, 1943, in Los Angeles, during which white American servicemen beat and stripped pachucos children, teens and youths of their zoot suits. A local newspaper published an article with instructions on how to “de-zoot,” believing that the zoot suits should be burned.
In including the zoot suit, Chavarria pulled back the curtain on the real America—América as he sees it, revealing history few may know about. “It is part of America’s more troubling past,” fashion illustrator Julius (whose friend worked on the show’s music) told me in person. “The riots, imprisonment, murders by the police over something so small.”
Chavarria wove all these narratives together to remind us to quite literally see the supporting characters, to remember their humanity, and the ways they’ve turned the América we all love into a melting pot of disparate cultures, sounds, and dress styles.
At a time of increasing polarization, physical spaces may be the last avenue left for critical mind expansion. We need to heed Chavarria’s message now more than ever.
Below, a highlight of my conversations with Karla, Amy, Talía and Julius.
Karla Martínez de Salas, Editor-in-Chief of Vogue Mexico and Latin America
What is the state of fashion production in Mexico? And what are the challenges still facing Mexican brands in becoming more globally known?
I think fashion in Mexico is much stronger than it was 10 years ago but in terms of production there is a long way to go. We have big companies producing in large scale but that isn’t supporting the young talents. The young talents often face production challenges because they aren’t producing massive quantities. I think a lot of people have this idea that Mexican designers are doing more evening and less ready-to-wear, that has changed.
There’s a struggle to bring buyers in and become a real market place, so they [designers] often have to go out and do market separately. I would also add that fluctuations in currency and political stability are always challenging for fabric, production then shipping.
Amy Bialek, fashion writer
What was your first impression of Willy Chavarria’s collection?
My first impression was there is a ubiquitous influence of the Chicano movement throughout the collection. As a Mexican-American myself, I resonated with this deeply as the familiarities of my culture were depicted under a light that showcases solidarity and empowerment (I have learned a lot through my mother and her stories working in the farms and being part of the United Farm Workers organization with Cesar Chavez). The looks in themselves were representative of the Chicano identity as high waisted trousers, [oversized] button down flannels, exposed socks peeking under baggy shorts, and a United Farm Workers jumper styled over a plaid shirt and classic Willy trouser were all showcased in pride.
Why is this collection important now?
This collection is important now because there is a lack of Mexican-American representation in the fashion industry. It's also an important time to showcase how different cultures create an enriching society especially during these sensitive times. To me, I believe it doesn't matter the representation as long as voices are heard and there is space for everyone. This is important now and for our future designers (and artists) who can proudly share their stories through the work they create.
What does it say about our current world?
Willy Chavarria's Spring 2025 collection encompasses an identity that is still embraced today and reminds us it's a beautiful time to fully accept all aspects of ourselves in our current world. I believe his collection derives from the struggles, political movement and freedom from a culture group that has stood strong and is still marching to the beat of their own drum. This says a lot about our current world and how we need to embrace where we come from.
Talía Cu, founder of Latin Zine on Substack
What are the main themes you took away from the collection or from the runway show itself?
The collection conveyed strong political themes, particularly highlighting the vital role that immigrants have played in the U.S. The experience of Mexicans growing up in the U.S. is different from that of those raised in Mexico, and even within Mexico, it varies by region. However, the narrative of how Mexican immigrants have contributed significantly to building the U.S. workforce was easy to identify—a crucial reality that remains especially relevant today.
You wrote that you were quite surprised to read a review mentioning some European aesthetic references on Chavarria’s runway. Can you elaborate on that?
I don’t mean to criticize another writer’s work. I’m sure the author of that review had good intentions, and it probably reminded them of European references. However, this is what I often point out as the difference between being a fashion journalist in Europe or the U.S. versus in Latin America. There are many layers and complexities within our social culture that overlap with fashion, and each country has its own nuances. We are of course more familiar with European designers who frequently reference their own fashion history.
Since fashion education has traditionally been Western-dominated, our minds tend to immediately go to those places.That’s why we can’t analyze designers like Willy Chavarria in the same way or from the same perspective.
Why is this collection important now? What does it say about our current world?
The Latin community holds significant power in the U.S. and globally. Given the current political climate in the U.S., where immigration is a central issue in the elections, this collection marks a moment for Latin culture to be acknowledged and heard—now through fashion. It's our time.
Julius, illustrator in in Brooklyn
How did you discover Willy Chavarria’s work?
My homie did the music for Willy and I wasn’t familiar with him until the music came out, and I saw the show and the styles. I was like, “This is me,” a mixture of corporate and urban that I can vibe with. The incorporation of the zoot suit as a Chicano culture icon in Willy’s clothes is historic.
Why do you think the majority of people focused on the immediate theme of labor, and glossed over this (The Zoot Suit Riots) important moment in history?
There’s a whole culture around work and utilitarian wear, which is very accessible to a lot of people.There are a lot of strikes going on right now too (if you look at what’s happening in the UK with the big labor uprising.) That said, you have someone like Willy incorporating the zoot suit, which is something that is part of America’s more troubling past (the riots, imprisonment, murders by the police over a lack of fabric).
I think if people actually care about fashion and the history of fashion—like we know so much about Ralph Lauren—they’d care more about Willy’s clothes and what they mean for the larger Chicano culture. I think the dude [Willy] is killing it and I can’t wait to buy my piece.
Read & Watch:
Willy Chavarria’s Fashion Is Political, Unconventional and Places POC at the Forefront
Zoot suit: How the bold look made history and continues to influence fashion
The Surreal Fashion of Mexico City's Urban Tribes | States of Undress
Until next time,
Shelcy
What a wonderful review! Thank you so much for making me part of it.
This was brilliant