Image. Fashion. Networks.

The dresses are as far removed from basic patterns as you can get, as is the makeup, the pose and, therefore, the image.

The images are created by constructing avatars in real-life, through representation, and digitally.

The makeup and appearance exist only in the fallacy of a screen.

The thing that once characterized photography—its veracity—is, in fact, always artificial when it comes to fashion photography.

The model poses with minimal props at the moment that the photo is taken.

Digital technology turns the image into something that has never been seen before.

The final image stems from the photographer’s imagination, not the restrictive reality of the shot.

People say that Mexicans are a mixed race.

There is still a way to go before diversity stops feeling like an alien concept to us.

We do not know if we are a melting pot: if we can accept the plurality of a thousand aesthetics.

But it is the image of a generation that, empowered by the Internet, has discovered that its voice is louder when amplified through networks.

The resources actually required for the image may be minimal, but the result is powerful.

This is the exhibition’s flagship image.

A face reminiscent of the performer Leigh Bowery, who poured colorful, molten candle wax over his bald head.

This exhibition does not define a territory, but presents fashion photography in Mexico today.

Conscious of what is happening outside, stemming from the hackneyed world of overly conservative fashion editorials.

A sexy photo that hints at other kinds of beauty and plays a little with gender and identity, while retaining the significance of the here and now.

Issa Lish is the most important international model to have come out of Mexico, and she has shone on the global catwalks of designers such as Westwood and Kawakubo. An international beauty, she is Japanese by race but was born in Mexico.

Some of these artists are spearheading creativity from Mexico all across the world.

Photography is always the means by which we are made aware of dresses and brands.

Our fashion—Mexican fashion—is constantly evolving.

These photographs enhance the promise of a three-pronged approach (fashion-editorial-image) that is yet to be consolidated.

They breathe fresh life into photography by offering another point of view

and only those photographers who break away from the soft images of conventional media

will be able to stand the test of time and become legendary names.

They will be part of a greater worldview in which, as always, the photo and the dress go hand in hand, inspiring dreams and aspirations in the viewer’s imagination.

As the spectrum of beauty is widened and gender diluted, there is no such thing as black or white; male or female.

This disruptive generation of fashion photography in Mexico has a visual grounding that allows it to create global images.

Closely linked to young fashion trends in Europe.

Breaking the traditional boundaries that characterize typical Mexican fashion.

Any identity is the identity of the Internet.

That construct is one of the characteristics that defines these artists.

Today’s photos show framed legs and untraditional poses that are relaxed and inviting—millennial apathy.

And those bodies in space are no longer just bodies centered in front of a cyclorama.

International models who redefine beauty in a world where uniformity is no longer the norm.

The essence of fashion: affectation that becomes imagination.

A new concept of beauty shatters the mold to reveal something “strange.”

Projects such as the one devised by CROM magazine are daring and tenacious enough to appeal to international models.

This CROM attitude opens the doors to variety and disparity.

It is not a magazine; it is a social network.

What can be seen can be shared.

Its roses are not only offered to the Tepeyac shrine, but to the world.