This season, Willy Chavarria eschewed a traditional catwalk show in favour of a blockbuster live musical extravaganza. Described as a “cinematic blend of music, theatre, and film,” the presentation unfolded in three acts, staging what felt like a cross between West Side Story and a Pedro Almodóvar film.

The set was marked out only by lines on the floor. A woman with incredible Catherine Deneuve hair and a fur coat entered the space, switched on a lamp, and began crooning. Elsewhere, in another location, a man lifted weights. As they crossed the street, their gazes met. He began to sing, and so it went.

Then came the clothes. Models emerged solo or in groups, all with a slick swagger. Suiting was a central focus of this early portion of the collection, rendered in slouchy, boxy 1980s silhouettes. This gave way to a new strand of workwear, which makes up a new line within the world of Willy Chavarria, titled Big Willy. Sharp and utilitarian, it featured jumpsuits, bomber jackets, and plenty of tailored denim.

A collaboration with Adidas followed, worn by members of the boy band Santos Bravos. The mood shifted to baggy track pants, rugby shirts, and football boot–inspired footwear. Key references came from iconic Mexican football uniforms of the past, all officially licensed by the Mexican Football Federation.

The show entered its final act with eveningwear. Dresses bore rose motifs, oversized silk blazers nodded to Chavarria’s enduring love of the zoot suit, and a series of sumptuous gowns marked his most high-fashion work to date. In total, more than one hundred looks were shown. Every season, one show has to bring everything to a halt. This season, it was undeniably the Willy show.