Arts & Culture

Nostalgia: With a View

Sitting on one of the best locations in Amara, James Linsey and Don Servillas’ home brings together modern architecture, classic design elements and traditional Filipino details.

Once James Linsey opened the oversized wooden double doors that led into his house, it was clear that the star of the morning would actually be the playful doberman that approached us curiously as we walked into the foyer. “I don’t really own this house. It’s actually Atlas’,” James jokes, referring to the dog who was then settling on the living room sofa.

James has had Atlas for almost as long as he’s had the house, which finished construction about three years ago. A retired lawyer from New York City, James decided to settle in the Philippines, where his husband Don Servillas is from. He especially fell in love with this particular piece of land—situated on a slight hill in Lilo-an’s Amara, which looks out to the municipality’s historic lighthouse.

“We call it the Parola House because almost every room has a view of the parola,” James shares, using the local term for lighthouse. The architecture of the house definitely takes advantage of the vista—the main living rooms are positioned towards the lighthouse, with large picture windows that frame the structure as a sort of living art piece.

The couple had worked with architect Jun Ruaya, although James had specifically wanted to take inspiration from Horace Gifford’s work on Fire Island, a small stretch of land off the coast of Long Island that had garnered popularity as a gay vacation destination in past decades. “The Architecture of Seduction,” James says, reading the title of the coffee table book which served as the moodboard for the house’s design. Wooden elements, textured details and streamlined shapes cover the inside pages of the book.

These features found their way into the Parola House in the square spaces of the layout, the high ceilings, linear details and the aforementioned scenic windows. “We really wanted a more American and modern style when it came to the architecture,” James explains. He adds that the high ceilings were particularly important to allow better ventilation and take advantage of the cool ocean breeze. “Most days, I don’t even have to turn the air conditioning on,” he says.

A feeling of spaciousness is certainly felt upon entering the house—the two-storey foyer feels even larger with sparse furnishings, a large staircase, vertical window detailing, and drop pendant chandeliers hanging from the ceiling. A small indoor garden is tucked beneath the stairs, while across it a wide white wall is punctuated with a large Sio Montera painting and a Barcelona chair sitting beneath it.

Sliding glass doors lead to the den which holds a sitting area and entertainment center, and offers a view of Amara’s sprawling grounds and the sea beyond. Further into the house is the open floorplan of the living, dining and kitchen areas, each tucked into their own nooks.

With its sleek gray counters and modern appliances (“I know—so American!” James laughs when I point to the dishwasher), the kitchen gets a visual boost with the patterned backsplash. “Those tiles were made for us in Morocco, and had to be shipped to New York and then shipped here in balikbayan boxes,” James relates with a laugh.

A similar challenge came when they had the Mies van der Rohe daybed shipped from Hong Kong, along with the Barcelona chair. “There was some delay in customs,” James shrugs. The rest of the furnishings were locally sourced, with James and Don working closely with Murillo for many of the pieces. “Their pieces are so good.”

Finding that balance of modern design and traditional Filipino elements was important to the couple in conceptualizing their home’s interiors, which James and Don had put together themselves. The dining table, for example, is made from one piece of Ironwood, shipped all the way from Surigao. “It’s Don’s hometown,” he adds.

The traditional design technique continues at the roof deck, whose walls are lined with woven panels. “These guys came in with all the materials, and they just wove it right here on the spot,” he relates. “I really liked the pattern, I felt it was very native.”

The roof deck is one of James’ favorite areas of the house. The third floor sanctuary that looks out to the lighthouse and its grounds features vertical gardens, and has a bar and dining area. I tell him it’s all very New York, and he laughs. “It’s so rare for people to have roof decks here,” James states. With a view like this, it seems all too appropriate.

In my opinion, though, the best room to admire the view is the master suite. Occupying the southeast corner of the house, the bedroom offers 180-degree views of the Mactan Channel and the lighthouse. The bed faces east, allowing its occupants to enjoy the early morning sun. “At around 5 or 6 in the morning, the view from here is just beautiful,” James shares.

Through a walk-in closet is the master bathroom, which certainly feels like the best corner to relax in. A window runs along the length of an entire wall, while sitting next to it is a marble bathtub. “It’s from China, and it’s carved from a single block of Carrara marble,” James shares. The slate gray walls are decorated with capiz-framed mirrors and a ceiling lamp from Murillo.

James’ enthusiasm as he shows us around the house is palpable, and who could blame him? The home that he and Don have built for themselves is chic and comfortable, bringing together remarkable design elements while maximizing some of the best views in the area. “I hardly go into the city,” James admits, adding that he flies back and forth between New York City and Cebu. “I fly there usually about twice a year, maybe in the summer, but probably eight months of the year, I’ll be here.”

“It’s all very functional,” James continues to describe the house. “We wanted rooms that we would really use.” Perhaps that’s really what gives this house its appeal—although the details and fixings are thoughtful and luxurious, it still feels lived in and relaxed. Nothing in the space is there simply for show, and its habitability is something that will continue to draw guests and its residents—Atlas included—in.

Related Topics:Don Servillas James Linsey

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Arts & Culture

Asia’s Fashion Czar I Knew as Tito Pitoy; Remembrance of a Friendship Beyond Fashion with Designer Jose R. Moreno

by Jose Carlos G. Campos, Board of Trustees National Museum of the Philippines

My childhood encounter with the famous Pitoy Moreno happened when I was eight years old. My maternal grandmother, Leonila D. Garcia, the former First Lady of the Philippines, and my mother, Linda G. Campos, along with my Dimataga aunts, brought me to his legendary atelier on General Malvar Street in Malate, Manila. These were the unhurried years of the 1970s.

As we approached the atelier, I was enchanted by its fine appointments. The cerulean blue and canary yellow striped canopies shaded tall bay windows draped in fine lace—no signage needed, the designer’s elegance spoke for itself. Inside, we were led to a hallway adorned with Art Deco wooden filigree, and there was Pitoy Moreno himself waiting with open arms—”Kamusta na, Inday and Baby Linda,” as he fondly called Lola and Mommy.

“Ahhh Pitoy, it’s been a while,” Lola spoke with joy.
“Oh eto, may kasal na naman,” my mom teasingly smiled.

Linda Garcia Campos and Pitoy Moreno’s friendship started when they were students in the University of the Philippines in Diliman.

When Dame Margot Fonteyn came for a visit to Manila, Pitoy Moreno dressed her up for an occasion.

We had entered a world of beauty—porcelain figurines, ancient earthenware and pre-colonial relics. It was like stepping into a looking glass, only Pitoy could have imagined.

Destiny led me back years later when my mother Linda told me that Pitoy Moreno was working on his second book, Philippine Costume, and needed research material and editorial advice. At this point, around the 1990s, I was in between assignments—unsure of how a broadcasting graduate like me could possibly contribute to a fashion icon’s masterpiece. Fortunately, I agreed to the project.

Former First Lady Leonila D. Garcia and daughter Linda G. Campos in Malacañang Palace.

Returning to the designer’s atelier brought back a rush of pleasant memories. The gate opened, and there stood Pitoy Moreno, beaming as always.
“Come in, hijo. Let me show you what I have in mind—and call me Tito Pitoy, okay?”
He led me to his worktable.
“I want to publish a book that tells the story of Philippine fashion—from our pre-colonial roots to the present. A designer’s collection of images and heritage expressed in clothing.”

I was awestruck. “How can I help you?” I inquired.
“Did you know that your mother, Linda, was my barkada in the University of the Philippines in Diliman?” he grinned.

US President Dwight Eisenhower with First Lady Leonila Garcia and President Carlos Garcia in a state dinner at Malacañang Palace in Manila.

That friendship soon led to one of the proudest moments of the designer’s life. He had the opportunity to dress not only the First Lady Leonila D. Garcia but also President Carlos P. Garcia during his term. It was also during this time that the President of the United States, Dwight Eisenhower, came for an official visit to Manila. The designer was able to make clothes for the President, his daughter, and his staff.
“Eisenhower even asked for discounts on the barong Tagalog,” Tito Pitoy laughed.

Tito Pitoy then asked if I could find a terno he had made for my Lola, the former First Lady, which she wore for President Eisenhower’s state visit in 1960.
“How about her other ternos, dated from the 1920s to the 1960s?” I offered.
He lit up.

I scoured my Lola’s extensive closet—it felt like unearthing a legacy. Tucked behind layers of vintage ternos from countless fashion designers, I found that terno, which was photographed by Dick Baldovino along with other pieces for the book project. Once the project was finished and I myself had moved on, my bond with Tito Pitoy never wavered.

When my Lola passed away, he was deeply touched when I personally informed him of the sad news. Once, at the wake of former Vice President Salvador Laurel, he asked me to assist him in the placement of the medals in the chapel.

Philippine Costume by Jose Moreno is the designer’s collection of images and heritage expressed in clothing.

Tito Pitoy later invited me to his 80th birthday celebration—a dazzling Manila affair in 2012. During the evening’s festivities, he handed me a printed copy of Philippine Costume and added warmly,
“Thank you, hijo. I’ll call on you for the next one.”

The highlight of his career—and his most unforgettable moment—came during the Metro Magazine Gala fashion show: A Tribute to Pitoy Moreno, Fashion Icon. A collection of evening gowns spanning six decades—many of them unseen and tucked away in his atelier—were revealed that night. When the finale came, Tito Pitoy walked the stage, triumphant and waving to a sea of admirers. Longtime friends from the industry, society’s finest, and fashionistas rose from their seats and gave him a standing ovation.

It wasn’t just to celebrate his craft and ingenuity—it was to honor the man who brought elegance, history, and heart in every stitch.

Arts & Culture

Queer Coding in Cinema: The Best Shows to Binge for Pride Month 2025

compiled by Edge Javier

As Pride Month 2025 goes into full swing, the best way to celebrate LGBTQIA+ voices is with a binge-worthy lineup of shows that center queer stories, joy, love, resilience — and yes, of course, drama. From groundbreaking recent series to must-watch staples and fan favorites, here are the top shows to stream this June that reflect the vibrant spectrum of the queer-coded experience.

1. Heartstopper – Season 3 (Netflix)
Nick and Charlie are back, and the coming-of-age sweetness is stronger than ever. Season 3 explores deeper emotional territory while keeping the wholesome tone fans adore. Expect more queer joy, nuanced relationships, and tearjerker moments that feel like a warm hug.

2. Drag Me to Dinner (Hulu)
Hosted by Neil Patrick Harris, this chaotic culinary competition pairs drag duos in a battle to throw the most fabulous themed dinner party. With outrageous challenges, surprise twists, and plenty of camp, queens serve up equal parts food, flair, and fierce shade. It’s RuPaul meets Top Chef—served with a side of sequins.

3. Queer Planet (Apple TV+)
Hosted by Janelle Monáe, this visually stunning docuseries dives into queerness in the animal kingdom and parallels in human identities. It’s smart, groundbreaking, and perfect for those who want to feel seen—and informed.

4. Fellow Travelers (Paramount+)
This period romance-drama set during the Lavender Scare continues to grip audiences with its tragic beauty and sharp historical insight. If you missed Season 1, now is the perfect time to catch up before the highly anticipated Season 2 lands later this year.

5. The Buccaneers – Season 2 (Apple TV+)
The unapologetically queer period drama returns with more scandal, sapphic yearning, and feminist rebellion among American heiresses navigating high society in 1870s London. Think Bridgerton, but with more edge and better sapphic representation.

6. Our Flag Means Death – The Finale Special (Max)
This fan-favorite pirate rom-com wraps up with a one-hour finale special airing this June. Whether you’re rewatching from the start or jumping into the last hurrah, this show remains a shining example of queer love told with heart and humor.

7. This Is Me Now… The Series (Prime Video)
Following Jennifer Lopez’s genre-blurring film-musical hybrid, the series version delves into themes of love, identity, and self-acceptance, and features cameos by queer icons and allies. It’s campy, messy, and made for Pride Month mood-boosting.

8. Sort Of – Final Season (Max)
This critically acclaimed dramedy about a gender-fluid millennial navigating love, grief, and identity in Toronto comes to a close with an emotionally rich final season. A thoughtful and often hilarious story that never loses its beating heart.

9. Red, White & Royal Blue – Limited Series (Prime Video)
After the hit film adaptation, the beloved queer romance returns in a serialized format, expanding on Alex and Henry’s story with new twists and deeper character arcs. It’s romantic escapism, elevated.

10. POSE: The Legacy (FX/Hulu)
This documentary miniseries honors the cultural legacy of POSE and the real-life ballroom legends who inspired it. Featuring interviews with cast, creators, and icons from the scene, it’s a must-watch tribute to queer history and resilience.

Whether you’re looking for laughter, tears, romance, or revolution, these Pride Month picks for 2025 offer it all—while honoring the complexity and beauty of LGBTQIA+ lives. So press play, turn up the volume, and let queer stories shine this June and beyond. Happy Pride! 🏳️‍🌈

Arts & Culture

Chaos and Clarity: Zen Aesthetic in Oj Hofer’s Art

by Jing Ramos |

Oj Hofer, our fashion contributing editor, is a Fine Arts graduate from the University of the Philippines. Though he began painting at the age of eight, his artistic journey took a transformative turn in 2013. While volunteering as a costume designer for Siddhartha: The Musical, he encountered Venerable Master Hsing Yun’s One-Stroke Calligraphy, sparking a deep devotion to Japanese sumi-e painting and kanji calligraphy. Over the years, he refined his craft, using his art to share the Dharma through exhibitions while supporting the Hsing Yun Educational Foundation. In 2022, his spiritual path deepened at Nan Tien University, where he embraced Zen and Humanistic Buddhism, shaping his artistic philosophy.

“Plum Blossoms in Moonlight.” Serigraphy on abaca.

In his recent works, Hofer merges traditional calligraphy with serigraphy, drawing inspiration from his friend Charles Lahti—an internationally recognized New York-based painter and printmaker. Lahti, known for his collaborations with post-war American artists like Robert Rauschenberg, Donald Judd, Andy Warhol, and LeRoy Neiman, introduced Hofer to silkscreen techniques. Through a workshop Lahti conducted in Cebu—arranged by their mutual friend Greg Urra—Hofer integrated silkscreen into his Zen artworks, particularly those on abaca.

“The Circle of Harmony” Serigraphy and Calligraphy on abaca.

Hofer’s cross-disciplinary approach challenges conventional Zen aesthetics. His layered paintings on abaca may seem far from tranquil at first glance, but closer contemplation reveals a meditative core. His serigraph of an Enso circle, for example, initially appears chaotic, filled with Tang Dynasty poetry and overlapping, repetitive forms. Yet, by focusing on a single calligraphic element, the viewer experiences a moment of clarity—a glimpse of awakening within the visual complexity.

“Monkey Mind” Serigraphy and Calligraphy on abaca.

Even more engaging is his diptych Monkey Mind. At odds with the traditional Zen emphasis on negative space, this piece is deliberately busy, reflecting the restless nature of the mind. A distracted viewer may struggle to find a focal point, but one attuned to emptiness and presence will perceive clarity amidst the seeming disarray.

Ink and intention—creating calligraphy in support of one of my advocacies.

By fusing Zen philosophy with the discipline of serigraphy, Hofer invites his audience to look beyond surface impressions and discover stillness within movement, balance within complexity. His art does not merely depict Zen—it embodies the paradoxes at its core, offering a path to mindfulness through the act of seeing and the experience of doing.