It isn’t rare for designers to question and wonder about beauty; where it comes from, how we perceive it, how it affects us, indeed, I think we can agree that it isn’t merely what fuels their imagination, it is what they make their vocation. What is unique, however, is when a designer determines to explore what the majority finds unsightly, unseemly, and maybe even a touch ghastly and frightening, and places that directly beside something beautiful.

That is precisely what Jerome Salaya Ang has been doing for the past…well, actually, that is just what he does. But he doesn’t stop there, for the point is not to shock or upset, but to have a dialogue, a conversation between the acceptable mode of what is lovely or appealing, and that which we find disturbing, or in a word, ugly.

“I like finding the order in chaos” he tells us, “or playing around with chaos to find something beautiful that might not make sense right away. That’s usually my philosophy.”

Indeed, most women don’t necessarily find insects beautiful, in fact they usually squeal and get themselves far away from the “creepy” things, but insect anatomy was the inspiration for one of his gowns in 2008, and we don’t think there’s a woman alive who would run away from it.

His Holiday 2010 collection touched on the subject of the supernatural, how we seem to be fascinated with the relationship between those who seem to “conquer” death, (zombies, vampires) and societies’ obsession with them. How does that inform what we find divine or attractive?

In Holiday 2011, his collection got the catch phrase “Jerome’s Ugly Ducklings” which he didn’t mind at all.

“I want even the plainest woman to put on my clothes and feel she is changed, that she can wear it confidently and be beautiful,” he says.

In this collection, he saw his clothes as catalysts, transforming his “ducklings” into swans. A bold statement, but one I’m sure few designers would refute it’s how they want their women to feel. Not everyone is a supermodel, and Ang would say that is a good thing; they don’t own the monopoly on beauty.

In his most recent collection, this past Holiday 2012, he revisited the idea of death and our tender relationship with its mystery, its strange allure, and how to face it with both grace and courage.

Inspired by the passing away of his father, this collection was both a tribute to his father, and a conversation with the process of leaving this life behind. However, he delved not only into the topic of life and death, but how one lives, touching on the idea of the ‘seven deadly sins’ and naming his collection “Skin, Sin and Bones.” (Read our review of the show here)

We are beautiful, but we have death inside us, we want to grow up, but we want to always look young, we can have everything and we think we need more; we are a mass of contradictions.

“I’m constantly asking ‘what is beauty’ since no one is ever contented with how they look,” Ang says.” It seems we all want the opposite of what we have.”

So he explores, experiments, and forces the interaction between two (seemingly) opposing sides. Blur the lines, and then sew them together. Philosophy hasn’t looked this comely and exquisite in a long while.

And for his next story, his next collection?

Well, he told us, but we promised not to reveal too much. Let’s just say he’s going back to the garden, or, his heroine is trying to, and we cannot wait to take that journey with her.

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There’s no easy way to write about Jerome Salaya Ang’s exquisite finale without sounding like an adjective thesaurus. It’s got everything you look for in a fashion show: great show, lighting and musical direction, models committed to the roles they are playing, and gorgeous clothes – oh the clothes. Well-crafted, poignant and meaningful, it lingers in you for days on end.

The show started with with a motion editorial by videographer (and designer himself) Fold Canela of the art collective The Thursday Room. Salaya Ang’s video can go head to head with Emmy-nominated title sequences like Design Kitchen’s creation for True Blood, with its bone-tingling macabre imagery. Three sisters doing their makeup, photographs being taken in slow motion, glamor and postmortem shots appearing between the camera’s flashes. It was dark, haunting, but mysteriously entrancing.

And then beams of light cut through the dark stage. Almost like a rune or sigil lacquered on the floor, the runway was an X-shaped path, with platforms protruding on its sides and at its end. The models walked with slow and steady strides, stepping onto the elevations on the runway, posing like finely-garbed dolls or mannequins in distress. It felt as if the room was suspended in a slow hyper-reality, everyone watching with bated breath as the models glided onto the runway, deathly gait contrasted by the live vocalizations of opera singer Ana Feleo.

The staging and presentation was grand, yes – but it did not take away from Salaya Ang’s masterful creations, and in fact accentuated his pieces. And what a collection of pieces it was.

Everything was textured, intricate and meticulously done, but not overwhelmingly heavy. Dare we say, his collection even had a lightness to it – delicate floral cutouts sewn onto dresses; tall, cascading ruffles and layers; Baroque avian prints, masquerade masks and various flourishes.

These were, however, countered with gauze head wraps, as well as masterful binding and lacing on the fronts, backs and sides – corseted details lending a sense of bound-ness, if you will, to Salaya Ang’s seemingly ethereal pieces.

And it’s that interplay of opposing forces that made his collection gripping. Inspired by life and death – actually a tribute to his beloved father who passed away recently – Salaya Ang’s haunting collection was a reminder of that inescapable cycle. At the risk of reading much into things, even the colors he used were reminiscent of that: pale, sullen, and muted tones; textured whites, a few stark pieces in blood red and clotted purple, and shadowy blacks.

These colors ebbed and flowed onto the stage in alternating cycles, like one’s fading breath giving way to the skin’s final pallor; life proverbially flashing before one’s eyes.

Salaya Ang’s finale was a quiet end to his entrancing show. The radiant Lucy Torres-Gomez, garbed in a black serpentine dress accompanied by two gentlemen in matching black togas. No theatrics, no drama, just a tranquil and shy smile that said we have reached the end.

Few dare venture into the realm of death and macabre, and it is a wise move: It’s easy to make it look morbid, overwhelming or even too dramatic. However, Salaya Ang succeeded in transcending these, with a finessed collection that was brimming with honesty and detailed craftsmanship, and a quiet appreciation of this fleeting, beautiful life.

To view Jerome Salaya Ang’s complete collection, as well as all the other collections from Philippine Fashion Week Holiday 2012, click here.

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Emi Alexander Englis: Comfort Can be Sexy

If there was any collection that split us right down the middle, giving us mixed ideas of how and where to wear it, it was Emi Alexander Englis’ Holiday 2012, but probably not in the way you think.

The layered, slouchy shirts, collared maxi dresses, and forgiving silhouettes made us first want to warm up with a good book, and glass of wine on the couch. After a couple chapters and a good stretch, the high heels come on and we’re ready for a night out.

The piece that really made us smile was the sheer-in-front-looks-like-a-trench-coat-but-isn’t maxi dress that served as the closing piece. Classic and agreeable brown, grey, white and black, this was accessible and confident RTW, placing sexy and subtle right next to each other.

Harley Ruedas: Now this is Fun and Original RTW

For some reason, we felt that when Harley Ruedas came out to take a bow following his Holiday 2012 collection, Baz Luhrmann would be either trailing behind or floating above the designer’s head, giving us all a wink. Indeed, with the mix and match of floral print, a little shimmer and shine, brass button details and classical tapestry-looking print, all upon humble denim, put us in mind of a modern translation of a classical, tried–and-true story, but with Elton John singing in the background.

This collection was just really fun; quirky, tailored, figure-conscious, sparkly Holiday fun, and it truly stood out from the other collections. There were trendy notes hit such as fabric blocking, asymmetrically tailored blazers, denim and printed mullet skirts, but no one else did mullet pants (yes you read that correctly) and we can’t help but admire that.

This collection might strike you as more of a RTW? (question mark) than a RTW. (statement) but we rather like the challenge, and applaud Ruedas for proving that a RTW collection certainly doesn’t have to mean safe or predictable.

Mike Lavarez: Lightness of Being

His first time to do menswear, designer Mike Lavarez took to his instincts and crafted a 10-piece collection of exciting separates for men and women, layering pieces to create a set that is distinct but very wearable.

Playing with a charcoal black and graphite grey palette, with some pieces in desaturated red for contrast (as well as gold and brazen detailing), Lavarez stayed true to his brand with light fabric – sheer skirts and vests with elongated trains, large scarves with embellished hems, as well as lightweight shirts in varying sleeve lengths. However, his use of leather was the delight of the night: men’s shorts with a curving split ala sportswear, leather cuffs on a cleanly-tailored suit, and paneled vest for the ladies. Subtly sexy, just the way we like it.

Nixon Marquez: Such a Sport

Not overtly but understated and smart, Nixon Marquez gives a nod to athletic wear with his Holiday RTW collection. With a dark and neutral palette and some abstract, graphic prints, Marquez delivers a very high street take on activewear.

Sweaters with diagonal zippers on the collar, wide necklines on monogrammed sweatshirts and beaded varsity jackets with striped ribbing were definite standouts, as were his very buckled jeans (so sexy!). His final two pieces featured patent leather jackets (one long-sleeved, the other, sleeveless), finishing off his collection with the kind of cool even big-time jocks dream of.

To view all the Ready to Wear Holiday 2012 collections, click here.

Oz Go – Jewels in the Sun

Working with a palette of stark hues: sleek black and white, sapphire blue and amber orange, ruby red and amethyst violet, Oz Go’s whimsical collection was a sight to behold. With geometric shapes in various hombre shading that accentuate his clean tailoring, Go’s collection was both playful and well thought-out.

Paired with sleek, linear blazers and button-downs, Go’s pieces were embellished with bookfold apppliques that moved in waves as the models walked. He was playful with his silhouettes as well, working with both sleek lines, as well as voluminous shapes (one piece was admittedly felt too chunky, but still fit the whole whimsical feel of his collection). Above everything else, though, it’s his hombre dyeing that was the highlight; the rich, gradient colors were powerful – and looked like light cast through precious gems in the sun.

Happy Andrada – A Close Apparition

“The death of a beautiful woman is, unquestionably, the most poetical topic in the world.”
-Edgar Allan Poe

We would venture to say that Happy Andrada would not only stand by this quote, but that her Holiday 2012 collection was most likely influenced by it. Entitled “Apparition,” we see the wandering and haunting Annabel Lee, the eager ghost-child rapping at Heathcliff’s window, or the Grecian nymph, Echo. But before we get too classical on you, let us assure you that this collection does indeed belong to this century; these dresses would be more appropriate on The Lady of The Lake’s edgy daughter, than on the Lady herself.

With mostly bright white pieces and a few select dip-dyed black ones, the collection did maintain a contemporary edge with delicately tailored exposed backs and modern (albeit modified) silhouettes.  (Check out her take on a flapper girl wedding dress)

There was undoubtedly a touch of otherworldliness with her mixture of floating tulle, interlaced cotton and organza, and sheer lace, yet all of this was not quite out of “wearable” reach for those of us not in the position to haunt our ex-lovers.

These are visions we certainly wouldn’t mind being haunted by, or going out in.

To view Oz Go and Happy Andrada’s collection, as well as the other collections from the Visions and Trends Show, click here.

To boldly go where pleather hasn’t gone before; Sassa Jimenez suits us up for the future

It takes specific kind of person to leave one successful, realized idea and venture on to another with the same excitement and inspiration. That is difficult enough to find in a person, but even harder to find in a designer. Once something (a drape, cut, color, trend) works, most keep re-hashing that success until it fades and then seek out new inspiration.

Not so for designer Sassa Jimenez whose Holiday 2012 collection took us on a very different journey than her Spring/Summer 2012, revealing a courage and sass we are quite taken with.

Her collection consisted of browns, greys and blacks; silver and primary colors. Her flight suits and slouchy jumpsuits were anything but unflattering, as her models rocked the look with such swagger and confidence, and in metallic and leather flats, not heels. That is saying something. Her jackets were slouchy and asymmetrical, pairing well with her figure-forgiving silhouettes, and we felt Jimenez was winking at us as her gold blazer with elongated lapels made its way down the runway.

With soft hints of bondage, zipper detailing, fitted pleather, metallic sheen and sheer pieces, all in all a definite futuristic theme, we have to say, the future is looking pretty good from here.

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And then there’s Yvonne Quisumbing, who took the bull by the horns in her Holiday 2012 collection.

Part mythological cowboys (with metallic, embellished chaps), part study in deconstruction, Yvonne Quisumbing’s collection left you with a feeling of both eeriness and sensuality. Playing around with mostly matte and metallic neutrals (with sudden hints of red), Quisumbing delivered a collection that is light and airy, revealing skin with a teasing sort of class.

Single-legged pants and sheer dresses lent an ethereal air to the collection, with layered and draped asymmetrical hems giving it a deconstructed edge. Metallic pants and sheer fabric gave it a glint of shimmer (making it very on-trend), while the styling – red, black and white bull horns adorned with sprigs of wheat and blades of grass, a collaboration with artist Nikki Luna – gave the entire collection a mythical feel. We were left entranced.

To time travel to Sassa Jimenez’ entire collection, or to wander off into Yvonne Quisumbing’s other dimension, click here.

Each season, Philippine Fashion Week presents the grandest in glamorous eveningwear with the Grand Allure show. This year, there was no lack in creativity and sophistication as 10 designers showcased their extravagant vision of beauty and fashion.

Edgar San Diego: Oriental Flare

Though it was clear Edgar San Diego’s Holiday 2012 collection was inspired by the traditional Japanese Obi, his execution was clean, modern and quite befitting the Grand Allure show this Philippine Fashion Week. We saw rich holiday colors in jewel- tone red and green, greys and gold, but with tasteful restraint, not wishing to overwhelm the bold shoulders and full silhouettes. Artistic and well-tailored, these are pieces we would definitely wear come the holidays.

June Pugat: Fertile Soil

June Pugat brought us back down to the earth with a collection that is inspired by none other than the abundant, fertile soil that nourishes us. With fanciful, voluminous draping, as well as minimalist columnar dresses, Pugat gave us a vision of earth goddesses descending from the mountains. However, it’s the shadow dyed, crumpled fabrication and fine oriental illlustration that lends itself a transcendental feel to his dresses, giving a richer dimension to his finely-crafted collection.

Fanny Serrano: Spectacular Spectres

Skin pale and silhouette voluminous and exaggerated, Fanny Serrano’s collection is nothing short of ethereal. Wide sleeves, emphasized silhouettes and whimsical hats made Serrano’s 10-piece collection definitely a memorable one. However, it is his forward-thinking creativity that wins us over – a closer look at his clearly European-inspired aesthetic reveals a surprising twist: indigenous pineapple fiber. The typically Filipino fabric was given a different edge in Serrano’s most bold statement of fusion and beauty, and we are all possessed by his inspiring vision.

To view the rest of the Grand Allure collection, click here.

 

With lots of soft sheer fabric and dainty lace; velvety textures and beadwork detailing, Philipp Tampus’ Holiday 2012 was a refreshing showcase of some 30 excellent pieces of craftsmanship and creative fabrication.

Working with a palette of both nude and orchid colors, Tampus opened his show with some very feminine short sheer dresses, pleated to create waves and depth across the fabric, and accented by a patch of colorful beading. His classic menswear button-downs, on the other hand, were embellished with golden beading on shoulders and chest, matching his gold-dusted leather shoes.

Following a silvery suit over an all-black ensemble, Tampus shifted from pleated sheer to long, flowy lace – a soft but sexy series of floor-length pieces that celebrated the female form in its draping and cutouts. The men, on the other hand, donned sheer turtleneck shirts (some with gold victorian-esque prints) under velvety suits, accentuated by patterns of golden studs and appliques.

Tampus closed his show with a series of exquisite sheer-and-lace dresses, soft and subtle but made intricate with meticulous symmetrical gold beading. Lace panels crafted in radial and geometric patterns gave the surprising illusion of indigenous tattoos, giving his collection an interesting contrast. His final piece: a grand, sheer black dress; gold damask prints cascading down from bold shoulders to long train.

To view Philipp Tampus’ complete collection, click here for the Philippine Fashion Week Live website.

So, a male model walks on stage wearing nothing but silver studded leather boy shorts, and a denim bag replete with zippers. Model walks to middle of catwalk and stands there. And stands there. Granted he has the body of a Grecian deity, but those of us who came to see clothes are wondering what is going on. Correction, those of us who haven’t seen a Chris Jasler collection are wondering; those of us who have know that something strange and surprising is about to happen.

The drop of the bass hits and said model unzips denim bag that turns into a pair of zipper detailed, stud arrested jeans (that fit very well, it must be said).

That, ladies and gentlemen, is how to start a show.

This designer kept the momentum going from there, and though we know he is no stranger to detailing and some shine, his Holiday 2012 will have you listening to some Skinny Puppy or Bauhaus alongside Nat King Cole’s Christmas carols.

His one-sleeved jackets, bejeweled skulls, buckled vests, sheer, exposed- back tops with leather straps, were enough to excite even the most conservative and demure minimalist among us. There were fitted blazers for men and women with pronounced shoulders and ribbed detailing along the sides, bold hardware accessories that walked the line between dark glam and couture edge. The men were men who didn’t give a —–, and the women were strong yet maintained a definite air of femininity about them. That is what makes Jasler so good at what he does: he doesn’t follow stereotypes or allow his looks to be strictly categorized by anyone. To say the men were glammed up and the women were sexy and tough is too simple; he allows for masculinity and femininity to shine and intermingle without losing themselves, and that, dear, is high-fashion at its electrifying best.

There wasn’t one piece a confident man or woman couldn’t wear. Deconstruct the look and the jeans, though unabashedly detailed, would pair well with a t-shirt! One cannot say that very often. We understand if it takes a little more courage to try the heel-less shoes he put both men and women in (but man it looked good). That may take more time to warm up to, but everything else, in our eyes, is up for grabs.

This is industrial couture at its best, and we daresay even the faint at heart might gather up some grit to rock a pair.

To view his entire collection, click here.

The word “Luxe” is a mid 16^th century French word, but stems from the Latin luxus meaning “abundance.” Now, being open to modern interpretation, we are going to interpret it to mean an abundance of creativity, original perspective, and masterful execution.

Anthony Ramirez: The Sensual Samurai

The first designer to show us all three was Anthony Ramirez with his sheer Japanese Samurai print placed over, beside, and underneath (revealed by diagonal slits) gold and beige silken fabric. Some of his pieces were trimmed with shocks of bright scarlet, and his blazers revealed expert tailoring of asymmetrical lapels and backs with zipper detailing. A brilliantly executed cardinal-red gown served as his finale and received well-deserved applause. This collection satisfied both the Asian art collector and couture craving in us, and it is rare that a collection can fuse both aspects without looking forced or far to costume-y. Brava!

Roel Rosal: Hide and Seek

Mixing unexpected patterns and fabrics was not only the theme of the night, but we are finding it one of the trends of the season. It is not always done well, mind you, but Roel Rosal is another designer who pulled it off brilliantly. With a surprising and pleasant juxtaposition of sheer lace and heavy wool, Rosal placed sexy and serious, formal and flirtatious, right next to each other, on the same dress, playing a rather daring game of “peek-a-boo.” These pieces are for a woman who is taken seriously, but is unafraid of revealing a sultry, dare we say almost teasing, side. And we haven’t seen a halter dress quite like the one he presented, held together with a single, large, wool button. We almost want to say cute, but we wouldn’t offend this woman if our life depended on it.  Unless she was trying for cute, you know, on the weekend, and then we’d say she hit the right kind of cute, the kind that never tries too hard.

Julius Tarog: Off To The Races

While we’re on the subject of redefinition, let’s talk about Julius Tarog. We’ve all seen the biker look, and many a times it has been reworked, used and abused (much to the dismay of some actual bikers). Tarog, however, took the biker look and fused it with some god-awesome tailoring, masterful fabrication and a smart play of color. Fabric blocking leather with some heavy brown tartan and a sharp cobalt blue, Tarog’s collection was able to present his biker inspiration with utmost class and understated chic. With motocross-racer ribbed panels, contrasting zippers and finger gloves, as well as emphasized lapels and wide plexi glass masks, Julius Tarog’s collection was a smart and structured take on the biker chic, ultimately sexy in its presentation of a bold and modern woman.

Vania Romoff: The Right Kind of Sweet

Finally, Vania Romoff closes the show – and what a closer it was. With her Parisian, minimalist aesthetic and understated color palette, Romoff’s collection was an inspiring series of clean lines and refreshing elegance. From her first piece, a delightful column dress in wide black and white stripes, Romoff presented a variety of classic looks in delectably subdued old rose hues, black flower silhouette prints on white and soft, flowy blacks. We loved her voluminous A-line skirts (very Audrey Hepburn) and white soft-pleated peplum, instant classics that every woman should have in their closet. And like the cherry on top of an absolutely satisfying French desert, Romoff sent out a sweet floor-length dress (interestingly, with invisible side pockets). We want more.

To see the complete collections of these four designers, as well as the other Luxe Wear collections from Aztec Barba, Dax Bayani, Joyce Pilarsky, Lyle Ibañez, Mark Tamayo, Melvin Lachica, Nolie designers Viñeza, Pablo Cabahug, Popoy Barba, Richard Papa, and Tina Daniac visit the Philippine Fashion Week Live website by clicking here.

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