Fashion

How Tatah Costales is Making a Mark in Cebu’s Fashion Scene

Tatah Costales brings together ready-to-wear and custom-made designs in a new kind of retail that’s aptly called Alter to Enhance.

Tatah Costales is standing in front of the mirror with one of her store associates, trying to decide if the purple blouse she’d picked out for the shoot might be too long on her. “Can we try pinning it?” she asks, folding the hem to the length she wanted before laughing with a shrug. “You know what, just give me the scissors. I’ll cut it.”

The exchange isn’t something you’d usually hear inside a boutique—seriously, have you ever heard someone in a store offer to cut up something off the rack?—but that’s exactly why Tatah decided to put up her brand. A.T.E. by Tatah was created as an answer to frustrating shopping trips that involve finding a beautiful piece that doesn’t fit quite right. “I saw an unmet fashion need, and thought of a possible solution,” she shares. “I jumped into it, and the rest is history.”

A.T.E. stands for Alter to Enhance, which epitomizes the store’s main concept. “It’s neither a tailoring shop, nor a regular boutique. We are a combination of both,” she explains. “We make clothes—ready-to-wear that may be altered to a size smaller, shortened length, or tweaked to a style or preference.”

Preference is something of importance. “We didn’t use ‘alter to fit,’ because not everything that fits you, suits you,” Tatah says. The brand is also an acronym of her family’s first names—her only son AJ, herself Tatah, and her husband Edgar. More importantly, though, it also plays on the Filipino endearment for older sister, which gives the brand an almost intimate touch. “It connotes Filipino culture and respect, and the female gender, because we only do clothes for women,” she pauses, “for now.”

Of course, Tatah didn’t actually start up her career in fashion. She has a degree in hotel and restaurant management from the University of the Philippines-Cebu, and was an insurance agent for years. She’d gotten the idea to venture into clothing after selling to prospects in the textile and tailoring industries.

The drive to succeed was certainly there. In one night, she had learned the basics of dressmaking and looked to familial ties for marketing—she would make pieces for her mom Virginia, who would wear them when going out with friends and meet inquiries with the news that her daughter was going into the tailoring business.

From there, she took dress orders from family and friends, and eventually sent herself to the Fashion Institute of Technology in New York for a summer course on the business of fashion. To show how serious she was about her chosen path, she also took a course on styling in the University of the Arts in London. The opportunity also broadened up her horizons and gave her an in-depth look at Europe’s sophisticated style.

Her pursuits to learn definitely paid off—she soon opened a shop in Mabolo, followed by the one in Axis earlier this year. A.T.E. by Tatah has already gained a good number of fans for offering stylish silhouettes in the best possible fit. “Each A.T.E. piece gives an emotional connection with the customer,” she says, sharing that the best part of starting out her shop was the bright smiles of women coming from the fitting room.

Shopping at A.T.E. by Tatah is a completely different experience. Customers can look around the racks to find pieces that they like, and are encouraged to try them on. From there, an associate will discuss the different alterations they can do based on the preference and body type—Tatah understands that even just a slight shortening of sleeve length can do wonders for creating a better silhouette. After that, a team of sewers quickly work through the garment, which can be ready for pickup in as less as 15 minutes.

Cutting and styling is something that Tatah does almost inherently, and she admits that she doesn’t particularly enjoy sketching designs. “I work better when I have a dress in front of me, and a pair of scissors in my hand. I can just cut it up into the shape that I like,” she shares. She mostly goes with classic silhouettes for the rack, although if a classic piece doesn’t sell, she sits down and thinks about how to redo it to make it trendier, such as turning a plain shift dress into an asymmetrical top.

Considering the success she’s found with A.T.E., it’s easy to forget that Tatah is actually a late bloomer in the fashion industry, although that’s something she finds pride in. “I always remind myself that I can’t be reckless with the opportunity I’m given,” she says. “It’s not every day that one discovers a new skill at the age of 42.”

Related Topics:A.T.E.Alter to Enhance Tatah Costales

Up Next

Our Three Favorite Songs by Bethany

Don't Miss

How Jennifer Martinez Happily Maintains Her Healthy Lifestyle

Click to comment

You must be logged in to post a comment Login

You must be logged in to post a comment.

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.