Fashion
Shades of Grès: A Fashion Design Competition
ZEE Lifestyle Magazine pays tribute to legendary French neoclassical couturiere Alix Grès through this fashion design competition open to all designers and aspiring designers whose clothes have not yet been photographed and published in its fashion editorial pages.

DEADLINE FOR SUBMISSION OF ENTRIES IS ON JUNE 20, 2012
Description
ZEE Lifestyle Magazine pays tribute to legendary French neoclassical couturiere Alix Grès through this fashion design competition open to all designers and aspiring designers whose clothes have not yet been photographed and published in its fashion editorial pages.
Recreate the drape and dynamism of the clothes crafted by Madame Grès in your own designs to become one of the featured designers in the fashion pages. The cover girl for the October Fashion issue will be wearing your winning piece.
Theme:
Channeling the drape and dynamism of the iconic jersey dresses created by Alix Grès. Designers recreate the fluidity of her creations while making the clothes wearable today.
Prizes:
WINNER
- Winning garment on the cover of Zee’s 2012 Oct. Issue, “Luxury”
- Prominent feature in Zee’s 2012 October Issue fashion editorial
- Php 10,000 in cash
- PhP 20,000 worth of scholarship from Fashion Institute of Design & Arts (FIDA) in Cebu.
- More prizes to be announced.
FINALISTS
- One Page feature in Zee’s 2012 October Issue fashion editorial.
Criteria:
Sketches
- Design Innovation 40%
- Relevance to Theme 40%
- Photos Previous Works 20%
Interview
- Previous Garment 30%
- Knowledge in Technical Construction 30 %
- Personality 20%
- Vision 20%
Garments (FINALS)
- Construction/Finishing 30%
- Wear-ability” 30%
- Adherence to the Concept 20%
- Photogenic Appeal 20%
MECHANICS
i.ELIGIBILITY
a. UNPUBLISHED Only designers whose garments have not been photographed and published in the fashion editorial pages of ZEE are allowed to join.
i. Designers whose garments have been published as collaterals for fashion shows under the events pages can join.
ii. Designers whose designs have been published as fashion illustrations and not as photographs can join.
iii.
Designers whose clothes have been featured in pages of ZEE Magazine other than the fashion editorial spreads can join.
b. AGE Aspiring and professional designers of any age can join the competition.
i. Designers below the age of eighteen must submit a letter of consent from their parent/legal guardian along with their application.
c. GENDER Aspiring and professional designers of any gender are allowed to enter the competition.
d. EXPERIENCE:
i. Aspiring designers or sewers or anyone interested in fashion who are not yet working professionally as fashion designers but who have produced at least 3 garments that they designed themselves.
ii. Fashion Design students who don’t have dress shops or factories but who have produced at least three garments that they designed themselves.
iii. Any creative person who wants to be featured in the fashion editorial who has produced three garments of his own design.
e. REGION Only designers from Visayas and Mindanao are allowed to enter the competition
i. This includes designers who are currently living in the regions, were born in the
regions, have a permanent address in the regions.
ii. SUBMISSION OF SKETCH ENTRIES
a. NO. OF ENTRIES Designers are only allowed two (2) sketches as entries into the competition.
i. In the event that a designer submits more than two (2) entries, the first two (2) entries reviewed by the judges will be qualified, while the rest will be disregarded.
ii. Both sketches must be submitted in the same packet via email or hard copy.
b. DIMENSIONS Designers must submit their sketches (online or a hardcopy) on a Sketch Sheet with dimensions: 8.5″x13″ (long size bondpaper)
c. COLOR Sketches submitted online and through a hard copy must be rendered in full color.
d. SWATCHES:
i. For hard copy submission- actual swatches of all fabrics used measuring 1-½ inches by 3 inches per fabric should be attached to the Concept Sheet not on the Sketch Sheet.
ii. For soft copy submission- fabric swatches of all fabrics used measuring 1-½ inches by 3 inches per fabric should be scanned and pasted on the Concept Sheet, not on the Sketch Sheet.
e. ILLUSTRATOR Designers may use an illustrator and are not required to sketch their garments themselves but must indicate that they have done so at the bottom right of the Sketch Sheet.
f. SIGNATURES AND DESCRIPTIONS Designers must not sign the sketches or add descriptive marks on the submitted Sketch Sheet.
g. PARAPHERNALIA Paraphernalia attached to the Sketch Sheet are prohibited and can be a basis for disqualification.
iii. CONCEPT SHEET:
a. Dimensions are
b. Should have an image of the inspirational garment from Madame Grès.
c. Should contain detailed description of the design.
i. Description of additional fabrics used other than jersey.
ii. Description of techniques and special skills that will be used to produce the
designs.
iii. Description of embellishment if any is used.
iv. Description of accessories if any are used
iv. BIODATA/APPLICATION FORM
a. SUBMISSION Application forms must be downloaded from HERE or acquired from the ZEE office and submitted with Sketch Sheet and Concept Sheet. Entry packets should be submitted via email at shadesofgres@res210.servconfig.com or physically at the ZEE Cebu office.
v. ENTRY PACKET CONTENT: Submitted packets should contain 3 sheets namely: the Sketch Sheet, Concept Sheet, and official Application Form.
vi. INTERVIEW OF SIX FINALISTS
a. TIME AND DATE Time and date of interview of top six finalists will be set by Zee LifestyleMagazine and must be strictly followed.
i. CEBU Finalist in Cebu will be interview first on DAY1
ii. OUT OF TOWN Out of town finalist will be interviewed on DAY2
iii.TRANSPORATION Zee will not shoulder transportation expense for this stage of the competition.
iv. ABSENTEES
1. Cebu-based finalists who cannot make it on their interview date will automatically be disqualified. A new finalist from the waitlist will be picked and interviewed the following day.
2. Out-of-town based finalists will be given a grace period of one day only provided that they advise the organizers of their inability to travel ahead of time.
3. Waitlisted contestants who make it to the top six finalists may receive the cash allotment for fabrics, materials and production a day later but the same deadline of delivery of finished garments apply.
b. SAMPLES OF DESIGNED GARMENTS Semifinalists must bring a garment that they had
previously designed and created.
i. Designers must bring garment that they designed themselves and that they either
produced themselves or supervised during production.
1. Deconstructed garments from ready-to-wear and other designers are
prohibited
2. Refurbished pieces from old garments are prohibited.
vii. FINAL JUDGING
a. SUBMISSIONS Designers are to produce two garments out of the 5 thousand pesos that they have been provided and submit them for final judging.
b. FABRICS Seventy percent of the fabric used in both garments must be jersey.
i. ADDITIONAL MATERIALS Designers are allowed to purchase additional materials
beyond the Php 5,000 given to them but the costs will not be refurbished by ZEE.
1. OTHER MATERIALS Beads, feathers, metal, etc. are permissible only as accesories.
ii. ACCESSORIES Designers may provide accessories for the garment, but will
not be considered as part of the garment.
1. HATS AND HEADGEAR Hats and headgear made out of the primary fabric will be considered as part of the garment and will be judged as such.
iii. COLOR Designers are allowed to use any color in their garments.
1. DYING Coloring or dying fabric is permissible.
c. OWNERSHIP The winning garments are the property of participating designers. However, they will be kept by ZEE for the fittings, pictorials and launch of the Fashion Issue and will be returned after the event.
i. REPRODUCTION Loalde reserves the right to reproduce the design under any of its design labels but will credit the designer accordingly in press releases and sale pitches. ( WE HAVEN’T CONFIRMED LOALDE YET)
d. CONSTRUCTION Garments may or may not be sewn by the designer him/herself but he has to prove at least 75 % participation in its actual construction.
i. The designer may utilize a seamstress/tailor for the garments however; he has to overlook the production himself.
ii. As proof of his participation in the actual production of his designs, the designer
should present any one of the following during the final judging.
1. Patterns he drafted.
2. Toile or mock-up muslins.
3. Documentation such as a photographs or videos.
Fashion
To See and Be Seen: Philippine Terno Gala, A Celebration of Heritage and Couture

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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.

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Unfinished stitches of embroidery leaving loose threads add movement and volume to Edwin Ao’s version of the terno
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Salt, Silk, and Stardom: Ten Reasons Celebrities Wear Amato by Furne One

by Oj Hofer
At Take Me to the Sea, Amato by Furne One unveiled more than a resort/bridal collection — he revealed a world suspended between tides and starlight, where salt, silk, and stardom stitched themselves into every look.
Held at The Hall of the Crimson Resort and Spa Mactan, the show was a transportive experience. As waves whispered beyond the glass, Amato’s gowns swept down the runway like sirens called to shore. Here are ten reasons why global icons return — time and again — to his sea of style.
1. Salt in the Craft
His garments carry the wild grace of the sea — textured, elemental, unforgettable. Every bead, cut, and crystal tells a story shaped by emotion and intuition.
2. Silk in the Movement
Though opulent, his creations float. There’s ease in the drama — cascading motion without weight. Ideal for performers who speak through movement.
3. Stardom in the Vision
Furne doesn’t chase trends — he conjures icons. His gowns command attention while allowing the wearer’s light to radiate.
4. Salt as Spirit
There is soul in the stitching — a deep undercurrent of cultural pride and personal mythology. His work carries weight because it carries truth.
5. Silk as Spellwork
His fabrics don’t just dress — they enchant. Each piece invites touch, reverence, and awe.
6. Stardom in the Silhouette
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7. Salt of the Earth
Despite global acclaim, Furne remains grounded. His humility fosters collaboration, creating space for intimacy in the creative process.
8. Silk-Wrapped Strength
There is softness, but never fragility. These gowns are fierce — veiled in elegance yet unapologetically bold.
9. Stardom as Alchemy
Wearing Amato is not mere adornment — it is transformation. A star steps into a Furne One creation and becomes mythic.
10. Salt, Silk, and the Furne Himself
Furne One is the thread. With quiet charisma and a generous spirit, he doesn’t just dress celebrities — he disarms them. And from that space of trust emerges what every artist longs for: wonder.
And in Amato’s world, wonder always wins.

Fashion designer Furne One
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