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A Tale of Two Designs: The Aesthetics of Zero Waste

Jay Chadly Pulan’s Foliosa dress and footwear pieces, and Lyanna San Pedro’s Osiris earrings share their advocacy for zero waste fashion.

The creative mind is one that fabricates beautiful things out of the most meager resources. From recycled plastic, bottle caps and straws, to scraps of wood and acrylic pieces, University of the Philippines-Cebu’s third year Product Design students, Lyanna San Pedro and Jay Chadly Pulan, aim to give life to pieces we once neglected as trash.

Osiris

Since her win during the Aboitiz Green Fashion Revolution stint for her collection of accessories, 20-year-old Lyanna San Pedro has ventured on the path of jewelry making. She recalls that in class, during the conceptualization of one of her designs, her goal was to always innovate materials and give it an aesthetic rebirth.

Lyanna San Pedro’s Osiris collection of earrings were created purely from scraps and trash the Fine Arts-Product Design student picked up.

Her earrings collection Osiris is made up of different pieces, unified by the essential ingredient of recycled materials. From Egyptian mythology, Osiris is the god of resurrection, transition and regenerations–which Lyanna believes encompasses the essence of her design.

The earrings collection made from scrap materials and 50% plastic is a rebirth of the tons and tons of scraps and trash she found in places she frequented. Machineries in her university also helped her make use of the scraps through the process of grinding and pressing for plastic, which then allowed her to play with different shapes and materials in her collection.

The rightmost pair is Lyanna’s personal favorite rom her collection, which is also her first ever prototype.

The spring and summer collection was inspired by Lyanna’s childhood memory of the local borloloy, a Tagalog slang for fashion accessories. These are colorful pieces of jewelry, such as bracelets, necklaces and earrings, that one would wear at church on Sundays or for special events. 

Her favorite piece, though nameless, holds a special place in her heart as it is her first ever prototype. She also took the time to develop such a piece, adding one piece after another until she found the design complete. No wonder it had become her go-to accessory when she went out.

Lyanna finds her earrings collection unique, aside from her advocacy for a zero waste lifestyle, because she also takes pride in its creation. Her creative eye was put to the test in order to take in junk and transform them into a one-of-a-kind product. With bits and pieces of lace, buttons, worn out pearls, acrylic, scrap fabric and a dash of creativity, Lyanna gave birth to the Osiris collection through the the rebirth of what many had considered trash.

Foliosa

One look at the at 22-year-old Jay Chadly Pulan’s designs, and you wouldn’t think they were made straight out of recycled plastic bags of different shapes, sizes and colors. Giving in to her inner diva, she translated the styles of Lady Gaga and Beyonce into her trashion (trash + fashion) pieces.

Jay Chadly Pulan used heat to melt the color of the plastics she had collected, putting them all together into one sheet that she then used to cut out patterns.

The collection is named after the coral specie folios, as the composition depicts the abstract formation of ruffles and waves in corals. By fusing plastics through heat pressing and ironing, Jay collected at least two large bags containing varied types of plastic–bags, caps and straws, among others–and ironed it into a big sheet that she then formed patterns with. Jay went on to buy heels from a thrift shop, and experimented its form using scraps of wood to form the unique arched shape of the heels in the piece.

Jay sees her designs as a unique venture into sustainable and environmentally friendly trashion concept, as it resulted in an avant-garde piece. This is a unique take on clothing made from recycled materials, which usually focuses on the creation of ball gowns and ternos. The technique of using heat and fusing the colors to come off into an off-white color makes this Fine Arts student stand out.

The Foliosa shoes were created from a pair that Jay had bought at a thrift store, then experimented with using the plastics.

Calling out to budding artists in the local art scene of Cebu like her, Jay says that anyone can create a perfect design. What sets a good designer apart, however, is the advocacy they are supporting through their designs. In Jay’s case, she hopes for zero waste in the fashion industry. 

Jay aims to add to her collection more fine, sustainable and environmentally friendly pieces in the coming months, and visualizes that the future of the fashion industry, and that of her projects, will venture into new technology that would develop motion on dresses.


The concept of fast fashion has come about in this generation, which has proved to leave polluting footprints. Some clothes literally just end up in landfills after they go out of style.

However, with efforts like this, the future of the local fashion scene looks promising. New ideas, like those of these art students, show that fashion doesn’t have to focus just on aesthetics. Instead, they also put heavy thought on how to reduce waste in the industry of fashion, without compromising their art.

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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.

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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.

Jennifer Helen Weigel Sarmiento, and Mags Cue

Kaye Tinga, Mia Borromeo and Bernie Montinola-Aboitiz

Jennifer Ty and Tessa Prieto-Valdes

Councilors Edu Rama and Joy Pesquera

Mariquita Yeung and Protacio Empacis

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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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