Fashion
Jude Jowilson’s Fashion Line is a True New York Success Story
Jude Jowilson left behind an atelier and successful career in Cebu to pursue his fashion design dreams in the Big Apple–and it’s definitely paid off.
In 2005, Jude Jowilson Elardo was making a name for himself in the Cebuano fashion scene. His designs were head and shoulder above his contemporaries—fusing panels when everyone was doing beadwork, using teal when everyone was still doing fuchsia. Stylists took notice of his designs, eventually leading to features in glossies like this one. He soon became sought-after, with clients ranging from Chinese businesswomen to It girls, even before the term was coined.
So it came as a surprise to his colleagues and clients that one day, his studio along Jones Avenue appeared to be closed. Indefinitely. “After eight years, I realized there was something missing—I was a designer, but I didn’t know how to make a pattern or how to sew. I only knew how to sketch,” Jude admits. “At that time there was no fashion design school in Cebu, and I was hungry for knowledge. I wanted to learn more of the things I was passionate about.”
Jude left Cebu to continue his education in fashion design at the Parsons School of Design in New York. He learned the basics of pattern-making, draping and sewing. He also discovered cutting edge techniques that he wasn’t aware of while in Cebu.

Jude Jowilson gets his inspiration from Old Hollywood. SEATED Tallulah Dress in French Chantilly lace. STANDING FROM LEFT Harlow Dress with cape in French Chantilly lace; Olivia dress in Italian tulle soft a skirt and French Alencon Lace
More than a decade after, the decision to move to the Big Apple proved to be smart and rewarding. His New York bridal label Jude Jowilson has a steady stream of clients, mostly modern New York brides who appreciate his attention to detail and his choice of fabric, which is mostly 100% silk and lace sourced from Europe. He is inspired by good old Hollywood glamour, and actresses like Marlene Dietrich, Greer Garson and Rosalind Russel. His designs steer clear of cliches—the overly designed and heavily beaded wedding gowns—and lean more on the clasic and elegant.
The presence of Jude Jowilson’s designs continues to reach more stores each year, and can even be found as far as Korea. Through bridal website The Knot, and through social media and referrals from past clients, he is also in-demand for custom bridal gowns. He travels the country, doing trunk shows to personally meet potential brides in the stores that carry their dresses.
Their biggest break was joining New York Bridal Week at Pier 92 in the Spring of 2015. “We got a small spot, and were up against all the major bridal brands. It was scary and intimidating,” Jude recalls.

Their studio is in a 1920s building with the original tin ceiling intact.
“We were told by most exhibitors and the director of the show not to expect any buyers because it was our first show, and we were a new brand. We were lucky and got picked up by a few stores. We were happily surprised and grateful, since it was unexpected. After the show, we needed to find a small studio in Manhattan to be our sample room. We found one in the NoMad district. This Fall 2016 will be our fifth season, and we moved to a new larger studio earlier this year in the heart of Chelsea.
Similar to brands like The Row who produce domestically in an effort to resuscitate the city’s garment District, Jude Jowilson is proudly “Made in New York.” But unlike these massively funded brands, Jude swears you don’t need to break the bank to start a fashion label. “In 2013, I started building my first collection of 13 dresses all by myself—with no assistance, a one-man show. We started in the kitchen of our old apartment, and then used one of our spare small bedrooms for sewing.”
Part of the reason why his label is so successful is because of how involved Jude is in every aspect of production. The quality of craftsmanship is exceptional. His business partner and husband Larry shares, “He has a way about him that makes everyone feel comfortable, and there’s no denying his creations are beautiful works of art.”
Jude Jowilson Elardo has changed his brand to Jude Jowilson as a rebirth of sorts, a proverbial toast to new beginnings. This second act, it seems, is proving to be quite the New York success story.
For appointments, call +1 (917) 362-878 or email them at info@judejowilson.com. Visit their website here.
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
Fashion
Behind the Scenes: Backstage at The Philippine Terno Fashion Show 2025 in the Waterfront Cebu City Hotel & Casino
By Doro Barandino
What most people attending fashion events don’t realize is that the actual battleground happens backstage. Here’s a peek at the real magic that transpires among fashion designers, stylists, hair and make-up artists, dressers, and ramp models hours before showtime. In the recent Philippine Terno fashion show, a whole team of creatives in the fashion industry produced the most extravagant and whimsical recreation of the celebrated garment in the country’s cultural landscape.

Fabric manipulation simulating bird feathers are the main features in Cary Santiago’s ternos.

Mesh-like sculptural head accessories added to the visual impact of the designer’s collection.

Jun Escario’s relaxed barong tunics are characterized by its fine embroidery on pinya fabric

The modern kimona reinterpreted by Jun Escario.

Edwin Ao’s take on the Barong is both linear and minimalist.

Edwin Ao ‘s modern version of the traditional baro at saya has architectural folds as its signature look.

The classic terno has draping and printed silk fabric on Joji Lloren’s master class look

Joey Samson known for avant-garde designs has assorted neckties as an accessory to complement the color black.

Protacio re-shaped the silhouette of the traditional barong Tagalog.

Joji Lloren added geometric patterns for a more contemporary look on the terno.

Unfinished stitches of embroidery leaving loose threads add movement and volume to Edwin Ao’s version of the terno
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