Francisco Cancino has entered a bold new phase. With La Última Ciudad—the final chapter in his tetralogy dedicated to Mexico City—the Chiapas-born designer demonstrated just how far he’s come, and how attuned he is to the sociocultural forces shaping both his work and his country.
Set against the historical weight of Tlatelolco, one of CDMX’s most politically charged and architecturally distinct zones, Cancino paid tribute not just to place but to resistance. “It was the last city to fall during the colonial era,” the designer said backstage. That spirit of endurance informed every thread of the collection.
For a designer known for refined volumes and artisanal finishes, this was an unexpected—and welcome—departure. Cancino injected his lineup with streetwear codes, fluid tailoring, and a surprising amount of denim. Structured separates mingled with roomy silhouettes, graphic prints, and gauzy layers, creating a new tension between softness and edge. The overall effect was more minimalist, yet the craftsmanship remained meticulous.
The styling did a lot of the work. Every look was paired with sneakers—a stark pivot from previous seasons. In the streets of Mexico City, Cancino’s romantic dresses are often spotted combined with basics. Here, he leaned into that authenticity, giving the collection a casual, youthful energy that made it feel immediate.
Cancino also pushed the label’s artistic language forward. Inspired by designers like Thom Browne, he embroidered some of the garments with references to Tlatelolco—symbols and fragments tied to the site’s complex history. He executed many of the embroideries himself, adding an intimate, almost archival touch to the work. Interestingly, this more conceptual approach yielded one of his most commercially appealing collections to date, a sign of his growing confidence and clarity.
The finale played to Molotov’s “Gimme Tha Power,” the subversive Mexican rock anthem, closing with the explosive chant: “¡Viva México, cabrones!” It wasn’t just theatrics. It was the punctuation mark on a collection rooted in place, protest, and power—and one that marked Cancino’s most compelling evolution yet.
