Louis Vuitton’s Art of Travel (and Spirit of Travel) campaigns explore the brand’s 1854 heritage, combining artisanal craftsmanship with global landscapes and poetic narratives. The landmark pop-up in Hong Kong, Louis Vuitton’s Central Station, is a huge, immersive architectural takeover. This remarkable installation functions as creative construction hoarding while the building undergoes a major renovation, paying homage to the Maison’s signature art and travel legacy and celebrating the 130th anniversary of the iconic Monogram.

In October 2026, Louis Vuitton unveils a spectacular façade hoarding in Hong Kong. Conceived as a tribute to Louis Vuitton’s enduring fascination with exploration and discovery, the installation also draws inspiration from Hong Kong’s rich and multifaceted transportation history. By bringing together heritage, imagination and architectural grandeur, the façade creates a compelling dialogue between the Maison’s storied past and the dynamic energy of the city.

Reflecting Louis Vuitton’s commitment to more sustainable creation, the materials used in the construction of the façade will also be recycled following the installation’s lifespan, ensuring that creativity and environmental responsibility go hand in hand. More than a temporary architectural intervention, the landmark installation celebrates the timeless allure of travel and the spirit of discovery that continues to define Louis Vuitton. Designed to captivate the imagination and reflect the city’s vibrant pulse, the façade promises to become a striking new urban landmark.

With four decades in fashion, OJ Hofer has built a practice rooted in craftsmanship, contemplation, and a distinct understanding of beauty. From establishing Chiaroscuro in Cebu to mentoring the next generation of designers, his journey has evolved beyond clothing into an exploration of aesthetics, identity, and culture. Here, Hofer reflects on the lessons that have shaped his career and the wisdom of seeing beauty beyond convention.

When did you start in the business? How did you begin your career in the industry?

I graduated with a Bachelor of Fine Arts degree, majoring in Visual Communications, from the University of the Philippines Diliman in 1987. My original aspiration was to pursue a career as a visual artist. Shortly after graduation, however, I relocated to Cebu when my cousin, Ann Hofer, now Governor of Zamboanga Sibugay Province, invited me to establish a bespoke fashion house.

Together, we founded Chiaroscuro, which debuted through a by-invitation fashion presentation attended by Cebu’s cultural and social leaders, alongside established figures in Philippine fashion. We also flew in Manila-based models, including Tweetie de Leon, who had recently been named the first Ford Supermodel of the Philippines.

As I continued participating in fashion presentations in both Cebu and Manila, my clientele gradually expanded. Recognition as a finalist in the inaugural Mega Magazine Young Designers’ Competition, together with participation in other international design competitions, further broadened my professional horizons. Although Cebu has remained my creative home, my work has taken me throughout the Philippines and abroad. Over the years, I have had the privilege of designing for individuals from diverse walks of life, including members of high society, artists, public figures, and political leaders, among them former President Gloria Macapagal Arroyo.

Looking back, I realize that my journey was never simply about building a fashion label. It was an ongoing inquiry into beauty, identity, and the expressive potential of clothing as a form of visual language.

2008 — Velvet Dress with Sandal-Strap Peep-Hole Back A study in sculptural restraint: black velvet shaped into a dramatic open back, framed by slender sandal-like straps and falling into a fluid, elongated train.

What was the most challenging part of building your career?

The greatest challenge was not mastering technique but cultivating trust.

Creative practice requires entering into a relationship of confidence with another person. A garment begins as an idea that exists only in the imagination, and asking someone to believe in that unseen possibility demands both integrity and patience. Technical skill may attract attention, but it is consistency, empathy, and respect that sustain enduring relationships.

Over time, I came to understand that design is less about imposing one’s artistic vision than about listening deeply. Trust transforms the creative process into a genuine collaboration, allowing both designer and client to participate in shaping something meaningful.

2018 — Stretch Ultrasuede Suit with Silk Brocade Fold-Back Sleeves | A study in disciplined tailoring: stretch ultrasuede shaped into a sleek, architectural suit, finished with silk brocade fold-back sleeves that introduce a measured note of opulence. Sculptural, tactile, and distinctly modern.

Where are you now in your career? What are you currently doing?

My practice has become increasingly intentional. Rather than pursuing growth in scale, I have chosen to devote my work to a smaller circle of clients whose commissions allow for greater depth of exploration and craftsmanship.

Teaching and mentoring have likewise become an integral part of my journey. I have lectured in fashion design and textile research at the University of the Philippines Cebu, while also mentoring many young Cebuano designers who have since become mentors themselves. Witnessing this progression reminds me of a teaching often attributed to Lao Tzu: “When the student is ready, the teacher appears. When the student is truly ready, the teacher disappears.” Whether or not the saying can be historically attributed to him, its wisdom resonates deeply with my own experience. The highest purpose of teaching is not to cultivate dependence, but to empower others until the teacher or mentor is no longer needed.

Beyond fashion, I have served as a fashion editor for a Cebu-based lifestyle magazine and continue to write on fashion, aesthetics, and culture. My ongoing practice of Taiji, Japanese kanji calligraphy, and Zen ink painting continues to reshape my understanding of design. These disciplines have led me to explore the apparent opposites of minimalism and maximalism, not as competing philosophies but as complementary expressions of the same aesthetic truth.

At this stage of my career, I find fulfillment not merely in creating garments but in contemplating the ideas that give rise to them. My work has become less about fashion itself and more about cultivating awareness through form.

2019 — Athleisure Silk-Knit Suit with Ensō Circle | A fluid meditation on movement: silk knit falls in asymmetric, unstructured lines, punctuated by an oversized Ensō circle. Zen austerity meets athleisure ease—imperfect, instinctive, and deliberately undone.

What wisdom have you gained that you would like to share?

The two most profound lessons I have encountered are emptiness and impermanence.

In fashion, as in life, we are often conditioned to assign value according to rarity, ornamentation, or material wealth. Yet experience has taught me that the humble warp and weft of linen can possess the same dignity as silk adorned with ten thousand crystals. Neither is inherently superior. Their value emerges through context, intention, and perception.

Plainness and embellishment are not opposites; they are complementary manifestations of the same underlying reality. Once the mind ceases to divide experience into hierarchies of simplicity and extravagance, it begins to perceive their essential non-duality.

Perhaps this is the deepest lesson that fashion has taught me: beauty is not an attribute of objects but a quality of awakened perception. When we understand the emptiness of fixed distinctions and accept the impermanence of all forms, creativity becomes less an act of self-expression and more an expression of wisdom.

2026 — Spiral-Cut Cropped Top and Skirt, created for a wedding in New York City. | An exercise in sculptural movement, the spiral cut winds around the body with a precision that feels both architectural and fluid. Ivory layers cascade into a sweeping train, transforming a cropped top and skirt into a modern bridal silhouette—minimal in palette, maximal in gesture.

Cotton-Rayon Spiral Ensemble for Chin Onglatco’s New York Wedding | An exploration of texture and movement, this fluid cotton-rayon ensemble wraps the body in a continuous spiral of hand-worked folds and engineered drapery. Ivory layers sweep from a cropped silhouette into a fluid train—bridal dressing distilled into something tactile, modern, and unmistakably personal.

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