Fashion

Bee Urgello’s Closet is as Glamorous as We Thought

Bags, shoes and couture gowns make the closet of this Cebuana Queen Bee a glamorous sight.

The crown is the first thing that caught our eye once we entered Bee Urgello’s all-white closet. Sitting on a pillow in one of the most visible spots in the space, it’s the diadem that’s usually awarded to the lady who wins Queen Philippines, the pageant for alternatives. It’s surprising that it’s here then, considering Bee had won the title back in 2011. “Mommy Cary,” she says, referring to revered designer and Queen organizer Cary Santiago, “told me that I can keep it here, because I’m the Queen that’s most active in events.”

Bee’s all-white closet allows her pieces (and herself) to truly stand out. Her beloved collection of Chanel bags are a focal point, though.

Of course, it’s not like Bee needs a crown to stand out. Whenever she makes an appearance, she does so in carefully thought-out ensembles that make the most of her enviable height and svelte figure—and the various Best Dressed awards certainly reinforce her sense of style.

“Dressing up makes me happy, and it completes me,” Bee shares as she shows us the different outfits she had planned out for the shoot—namely a body-conscious red dress, and a black and white combination that she felt played up her proportions. As we go through the rest of the clothes, she told us to concentrate on the racks that stood by the closet door. “Those are the ones that I haven’t worn yet,” she explains.

“Its just my favorites,” Bee answers with a laugh when we ask her why some shoes get displayed outside her cabinets. For easier reference, she devotes each shelf to a certain brand–this one features her Yves Saint Laurent pairs.

The items that fell under that category actually took up two racks, filled from end to end with pieces from brands like H&M and Zara, as well as creations from local designers. “I always say that shopping is better than sex. A dress or shoes will never hurt or leave you like a man does,” she says with a laugh.

The collection shows off different sides to Bee’s style—from the trendy see-through sheaths with floral embroidery, to the more classic looks of jersey jumpsuits and black dresses. Then there’s her collection of evening gowns, with figure-hugging silhouettes and intricate detailing, that she wears for her official appearances. A yellow dress with cut-out details from Cary Santiago and a blue one with a bejeweled neckline from Harvey Cenit hang at the end of one rack. “Those are really new. The one from Harvey Cenit I’d just picked up,” Bee explains. “I can’t wait to wear them!”

Of course, its not just all about Chanel–Bee’s other designer bags het their own space inside one of the wardrobes, and are arranged neatly for when she’s in the mood to switch it up.

But it’s not just about clothes—with its white walls and cabinetry, Bee’s closet has various areas to display the other part of her collection: her shoes and bags. “They’re my babies,” Bee jokes as she shows us her Chanel bags, which occupy their own shelf on one end of the room. Next to it, a wooden shelf houses her designer shoes, organized by brand for easier dressing.

Drawers on one side are filled with various accessories, and Bee laughs as we move to open another cabinet. “Don’t! Those are my pang-balay,” she exclaims. “Not stylish at all.”

Fashion

Ramon Valera; Manila Society’s Fashion Darling

by Jing Ramos

Ramon Valera’s fashion sketches were drawn on paper as they flashed in his mind.

“Without Ramon Valera, there would have been no high society in the Philippines, but it may be right to say that without high society, there would be no Ramon Valera.” –Abe Florendo

Ramon Valera, the first National Artist for Fashion Design, was born in Sta. Cruz, Manila. He came from a wealthy family. His parents, Melencio Valera and Maria del Pilar Oswald, moved in prominent business circles in postwar Manila. He had the privilege of studying at La Salle College and later pursued a course in Commerce at Far Eastern University. It wasn’t long before his artistic inclinations prevailed, leading him to quit school and establish a fashion atelier. This marked the beginning of Ramon Valera’s profession as a fashion designer.

Previously, Valera had apprenticed under Mina Roa, who made ternos for the elite and was known to be a dominant figure in the fashion industry. Mina Roa taught Valera the rudiments of the classic European techniques of construction and draping.

It was during the 1950s and 1960s that Ramon Valera’s career flourished, coinciding with the golden era of a new and modern Philippine society fueled by progressive postwar entrepreneurship and the undeniable presence of old-money families. The designer was celebrated for his craftsmanship and originality, but his most important contribution was revolutionizing the national costume.

Ramon Valera is credited with revitalizing the traje de mestiza, otherwise known as the Maria Clara, traditionally a four-piece garment comprising a blouse, skirt, overskirt, and scarf. The terno was soon transformed into a one-piece ensemble and, instead of being fastened with hooks, was secured with a zipper. The butterfly sleeves were emboldened in volume, which remains a staple among contemporary designers. Valera also discarded the pañuelo, exposing the woman’s décolletage, which was considered very risqué at the time. A few of his clients dared to wear them, including Mrs. Claro M. Recto and Mrs. Primitivo Lovina, who were broad-minded enough to ignore public scrutiny. He brazenly transformed the Maria Clara into a wedding gown and successfully established it as an icon. It soon appeared in countless society weddings because Manila brides could not get enough of Valera’s originality and flawless execution.

Ramon Valera was known among his peers as the consummate snob. His random impromptu remarks often left people in stitches. When he saw his niece, Peching Zulueta Gomez, dressed in a combination of red, white, and blue, he commented, “Now you can sing the national anthem.” On another occasion, when asked why he had turned down a very important potential client, he replied, “She doesn’t have a torso.”

He had the luxury of choosing whom he wanted to dress, focusing mostly on formal gowns and bridal trousseau for a highly select clientele. He attended to his clients personally, tape measure in hand, and it was not so much “by appointment” as “by invitation only.” His demeanor was dignified, and he was a man of painstaking habits and judgment.

Ramon Valera’s famed dinner parties were planned meticulously, and his distinctive style left its imprint on everything—from the dinner menu to the floral arrangements, down to the silver and fine bone china used for the occasion. Everything was executed with impeccable taste.

A stellar list of Manila socialites wore his creations. Susan Magalona, when she married Carlos Ledesma, appeared in an extravagant lace-and-tulle terno. Pacita de los Reyes wore a groundbreaking terno without a pañuelo. Chito Madrigal donned a terno with a futuristic bubble skirt made from sixty-five yards of silk, hand-painted with flowers traced in beads. Pressy Lopez wore a white evening gown ruched throughout, complemented by a capelet of the same motif. Elvira Manahan dazzled in a leopard-print beaded evening dress paired with an opera coat in blue silk.

The list is seemingly endless, serving as a reminder of Ramon Valera’s influence on Philippine society and politics. In spite of all the accolades attributed to this brilliant innovator, and long before he was lionized as the Philippines’ National Artist for Fashion Design posthumously in 2006, the Valera brand had already been firmly established. Retrospective exhibitions were mounted in museums, countless articles were written about his contributions to the fashion industry, and his impact on Manila society was already secure.

Today, that legacy lives on, honoring the master who lived by his motto: “Cada traje es una obra maestra”—every dress is a masterpiece.

Margarita Romualdez

Fe Dolor Serrano

Rosemary Arenas

Leonila Dimataga Garcia

Imelda Romualdez Marcos

Lisa Tinio Bayot

Elvira Ledesma Manahan

Fashion

Cloud Dancer: The Resonant Reset of 2026

by OJ HOFER

Pantone’s Color of the Year for 2026, Cloud Dancer, signals a deliberate shift toward clarity and restraint. This off-white hue—balanced, soft, and lightly luminous—emerges in response to visual saturation and constant acceleration. Rather than competing for attention, Cloud Dancer provides a neutral foundation, allowing design and intention to take precedence over excess.

Its relevance is underscored by the Year of the Fire Horse, which officially begins on February 17. Traditionally associated with momentum, decisiveness, and forward motion, the Fire Horse introduces an energetic rhythm that benefits from focus. Cloud Dancer offers that counterbalance. It tempers intensity without diminishing drive, creating space for action guided by intention. In this context, color operates not as decoration, but as a framework for decision-making.

RESTORATIVE SPACE. Natural tones set the calm, while subtle touches of black, deep brown, navy, or olive add quiet contrast—bringing depth and character to Wabi-Sabi spaces without disturbing their sense of balance.

In interiors, Cloud Dancer supports environments shaped by longevity and ease. Applied to walls, ceilings, and architectural surfaces, it reflects light with subtlety, enhancing spatial clarity without austerity. The hue pairs naturally with wood, stone, linen, and ceramic, reinforcing a preference for tactile materials and functional design. Homes become spaces for restoration and daily living, rather than display.

EFFORTLESS POISE. Louise Trotter’s Spring 2026 ready-to-wear for Bottega Veneta pairs a billowing jupe-culotte cotton trouser, anchored low on the hip, with an ultra-stretch silk tank for quiet, modern ease.

Fashion adopts Cloud Dancer as a study in form and construction. The color allows silhouette, proportion, and movement to take the lead. Tailored separates, fluid dresses, and layered essentials in this off-white tone read as considered and adaptable. It aligns with a continued shift toward wardrobe longevity and thoughtful repetition, where garments are designed to endure.

MODERN EASE. The white Chanel 19 brings relaxed refinement to your wardrobe with its soft, slouchy shape, oversized quilting, and mixed-metal chain hardware for a quietly chic finish.

CELESTIAL RADIANCE.White jade and selenite glow in warm, milky restraint, punctuated by a sculptural gold lotus and a serene Buddha face—an intimate expression of harmony, quietly attuned to the wearer’s birth rhythm. Available by appointment: 0910 418 2028

Accessories extend the narrative. Bags, footwear, and eyewear in Cloud Dancer offer continuity across seasons, while jewelry in pearl, brushed gold, and muted silver finds balance against the softness of the hue. The effect is understated, with design serving function rather than statement.

TIMELESS STRIDE. First unveiled in 2013, the Y-3 Qasa endures as a cult icon—its avant-garde silhouette carrying a vintage pedigree while remaining rooted in present-day wearability and select global availability.

Beyond aesthetics, Cloud Dancer reflects a broader lifestyle orientation toward simplicity and clarity. Its application across tableware, stationery, wellness spaces, and personal objects encourages mindful selection over accumulation. As 2026 unfolds, Cloud Dancer frames the year as one of refinement—supporting forward momentum with focus and restraint. Cloud Dancer is the resonant reset for 2026.

Fashion

To See and Be Seen: Philippine Terno Gala, A Celebration of Heritage and Couture

by Kingsley Medalla | photography Emmanuele Sawit

The Philippine Terno Gala 2025, curated by Cary Santiago, has evolved into a key feature in the Filipino fashion agenda, highlighting the iconic Terno—a traditional Filipiniana garment that represents a significant part of our cultural legacy. The prestigious fashion event was supported by the Cebu City Government, the Cultural Center of the Philippines, and the Cebu Tourism Commission.

Now on its third edition, the gala fashion show was marked by the creative forces of six highly acclaimed designers: Jun Escario, Edwin Ao, Protacio Empacis, Cary Santiago, Jojie Lloren, and Joey Samson. Their body of work produced a collection that showcased intricate craftsmanship and delicate hand embroidery, enhancing traditional aesthetics.

Maybelle Padillo

Bernie Aboitiz, Jaja Chiongbian-Rama, Pacita Agoncillo Sode, Oj Hofer, and Rose Cayetano-Henessy

Michael Waechter, Katrina Ponce Enrile, Simon Piggot, Margie Moran-Floirendo, and Cary Santiago

Javi Martinez and Daryl Chang

The evening was complemented by a live orchestra, creating an ambiance to match the designers’ reimagining of the Terno. The experience offered sensory stimulation that reflected the harmony between fashion and live music, punctuated by the presence of prominent personalities in the fashion and social circles.

No other fashion garment embodies the richness of Filipino heritage and culture quite like the Terno. The Philippine Terno Gala serves as both a celebration and a tribute to the Filipino identity, reinforcing the importance of cultural heritage in a contemporary context.