Fashion
RTW: Ready To Welch
Fashion shows are usually my little piece of Disneyland. You get to see magical creations from these geniuses that we call designers.
Fashion shows are usually my little piece of Disneyland. You get to see magical creations from these geniuses that we call designers. From properly constructed dresses to custom tailored suits and from time-to-time, if you are lucky and in the right type of show, you see these extravagant pieces that you know deep inside you will never look good in, but can not help but simply still gawk at and appreciate.
Fashion shows are a chance for designers to express their creativity, personality and cutting edge designs. The clothes they make represent who they are as a part of the industry, what makes them unique and what makes them stand out from the rest of the millions of designers out there. These shows are crucial especially to the up and coming ones. To put it out simply, if you are not ready, do not do it unless you want to make a fool of yourself, fall and carry that scar around wherever you go. There is no way the brilliant minds of this industry can easily excuse or palliate your dirty work.
Now let us move on to why I christened this entry as such and how my little piece of heaven was crushed and stomped on by Lucifer himself.
With the expectations I had in mind, I was deluded by a recent show I attended. Considering it was labeled as ‘prestigious’, I honestly expected a lot from it. It was a show for fashion designers to show off their custom made chef-d’oeuvre. Instead all we got were supposedly hyped up versions of Ready-To-Wear collections. Promod had genuinely better items and since when was RTW considered as high fashion?
Let me narrate the whole experience as short as possible:
Before the show began, which was thirty minutes late (typical Filipino fashion which I was sort of okay with), they were showing a slideshow of all the designers who were about to introduce their collections. Trying my hardest not to be so judgmental and shallow since we are talking about fashion here, the only thing I noticed was they all had one thing in common: Paris. Not Paris Hilton, my dear haters, but Paris as in the beautiful city of France, one of the four fashion capitals of the world. It is like this is a must-have for every designer to put in their resume. Maybe these designers have never heard of New York, Milan and London? And can we add Tokyo to that list? No matter, it made me sick. Add some variety to your experiences, look around you. Try to build substance in the country you live in. In defense to those designers though, it is healthy to travel and participate in different cultures but at least reflect that on your work, do not leave it as bragging rights if you actually have respect for what you do.
Now to the collections!
First, let us talk about the menswear collection that night. Nothing but one designer, came close to the style and practice of an actual man. If you base your collection on a theme or genre, please make sure you meet the standards. Saying your collection is inspired by Hip Hop, we expect your pieces to look more like Kanye West or P. Diddy, full of life, color and history, not something that looks like it came out of Alexander Wang’s closet. Just because your clothes are loosely fitted and paired with white sneakers, doesn’t instantly make your items Hip Hop. You have to dig deep, look into it’s soul before you start making an entry that will insult a culture.
Speaking of Alexander Wang, I saw a lot of apparel that were inspired by him that night. The casually cool, downtown style that embodies Alexander Wang. I personally believe that most Filipino designers lack the knowledge when it comes to menswear. They are all trapped in these four walls: rock and roll, sex, suits and casual wear, most of them can not even get out. I think it is time for Filipino men to start breaking their shell and express their personalities through the clothes they wear. If a few designers can lead a pack, the rest will follow. Maybe rock and roll is your thing, maybe not but when all of you think of the same thing and no one is any different, there is something wrong.
Combat boots does not describe a hardcore male fashionista. Where are the bags, the 2012 fashion trend for men: two tone, the skirts, colorful pieces and the ever-so-beautiful double monks?

On a lighter side of things, I would like to send my appreciation to that one designer who brought in dresses for men. But next time, make it look more flattering. Do not make your model look like he is about chant with one of the Gregorian monks or post-circumcision.

Raf Simons Fall 2010
Let us have a temporary sex change and divert ourselves to the ultimate sinners that evening, the women.
Now, let me just start with the models. Although some people will never find curvy attractive, I personally think that is just a matter of getting used to. Marilyn Monroe was not waif-like but she was a sex symbol and most of the women in this country are not size zero. Designers should throw maybe one or two plus size models every now and then. It sometimes just looks dead to me, so maybe a little meat can compensate for the lack of creativity. Most of the models I saw are emaciated. More like clothes hangers than people actually wearing clothes. There is a limit to how thin you are, and that is called Gisele Bundchen, not horror house skeletal. Maybe you were born that way? Well that may be the first time I have witnessed a spawn of two skeletons. I should congratulate you for being the first of your kind.
When using fashion icons or let us just the generalize the term, celebrities, as your inspiration, make sure you envision these people actually wearing your clothes or if they would actually even wear it, and if you do not get that close to your incentive, I advise you just label your collection as Scheiße. Very Gaga and it lives up to your collection.
The R’nB collection. Beyonce would never wear a wrap dress and leggings or an ordinary dress with a very low neck line in her concerts. If she was, she would not be Beyonce or she would actually go to Forever 21 and save herself some money to buy a cheeseburger. Most R’nB women are flamboyant. I saw nothing of that. It really looked like a retail shop was doing a show that night.
A collection has to compose of different looking pieces. Not the same dress recycled over and over again. I do not know who these designers are trying to please. The fashion industry or Greenpeace.
Craftsmanship is very important. Your illustrations and rendering might look commendable, but if you do not know how to sew, your work will look like it has been done by a frog, and that is saying something because frogs can not sew, just like you. Now you have something you can collaborate with.
Now to Lady Gaga. The woman is all about no boundaries. If you take a look at her wardrobe, everything to her is wearable. Just because your wedge is covered with glitters or your jumpsuits are covered in Tron-like line details, does not, in any way make it instantly Lady Gaga. This is how you trample on their dreams: take away the glitters and the details, the clothes will look ordinary; take Lady Gaga’s Kermit the Frog details, she is naked. The details make the dress, not the other way around. Besides the collection is very much based on Alexander Wang’s Spring 2012 regarding on the Tron-like details and masculine structure.
Britney Spears is not a fashion icon. She is a music icon but there was not even a single piece that lived up to the Toxic singer. Not even her famous, hipster jeans or her patent leather jumpsuit. So do not make me start nagging about how they ruined Audrey Hepburn and Marilyn Monroe because I guarantee the apocalypse will be here sooner than the 21st of December this year.
Although the color blocking collection was not so bad, it was actually pretty decent and well constructed. But overall, majority of the collections failed. Most of the clothes did not even fit properly, it looked like a disease was hanging on the model’s body. There was no edge, no variety or even a piece that made everyone’s jaw drop. It plateaued miserably. Aside from the color blocking, there were no leopard prints to be found anywhere, thank goodness. There is nothing high-end about that these days, unless you are asking for extreme Kardashian attention. Leave that to the retail shops, do not put it on the runway anymore.
- By: Veronica Chiongbian
- photos from Veronica Chiongbian Tumblr website
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 trousseaux 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

Imelda Romualdez Marcos

Lisa Tinio Bayot

Elvira Ledesma Manahan

Leonila Dimataga Garcia
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
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