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The World of Tory Burch

Tory Burch and trusted interior designer Daniel Romualdez talk about how style and inspiration created a flagship store that properly represented the woman behind the name

Tory Burch and trusted interior designer Daniel Romualdez talk about how style and inspiration created a flagship store that properly represented the woman behind the name

Filipino women can’t get enough of Tory Burch. The American designer’s kaftans and ballerina flats are staples in the closets of every chic and well-travelled Pinay. She has a soft spot for the Philippines, having visited the country as a student, and now finding a trusted and ardent Filipino collaborator in Daniel Romualdez, the interior designer of her Manhattan home and stores all over the world.

I had the privilege of meeting Tory and Daniel at the opening of the Tory Burch flagship store in Madison Avenue in Manhattan, New York.  In a recent interview with the dynamic design tandem, Tory tells me about her inspirations, the future plans for her eponymous label and her commitment in empowering women beyond charity, while Daniel shares some of the secrets behind the chic and stylish look of Tory’s home and store interiors.

MELO ESGUERRA: The Philippines loves Tory Burch. I see so many Filipino women who are comfortably walking in your signature flats and tunics. But who is really the Tory Burch woman and how is she similar (or different) to the lady behind the brand?

TORY BURCH: Our customers are women of all ages and personal styles who live busy, multi-faceted lives. We want to make getting dressed in the morning effortless, so we focus on designing pieces that will help our customer feel pulled together — a trench, a cashmere t-shirt, a cigarette pant — but that also have unexpected elements. My design team and I also think about what we’re missing in our closets and hope that other women are looking for some of the same things too.

ME: When we learned about your creative partnership with Filipino interior designer Daniel Romualdez, we loved you even more. How did your collaboration with Daniel begin?

DANIEL ROMUALDEZ: We met while Tory and I were working on her apartment in the city and she showed me the work she was beginning to do on her brand. Initially we agreed it made sense for her to work with an interiors person who specialized in boutiques. But as she got deeper into the process of attempting to translate her brand into an actual retail space, Tory asked me to get involved; she felt that I understood her aesthetic. Since then I have worked with the company on all 73 stores.

ME: I thought your Spring/Summer 2012 collection was so beautiful. What are the inspirations behind your collections? What inspired your latest Fall/Winter line?

TB: Thank you! We draw inspiration from many places each season, whether it’s photographs of my parents from the ’70s, a painting by Gerhard Richter or a great song. For fall, one of our inspirations was Wong Kar-wai’s In the Mood for Love. The looks are polished but with subversive undertones — nipped waists, slim cuts and a lot of leather.

ME: I fell in love with the old townhouse that is now your Madison flagship store in New York, which has a fantasy and heritage element that ignites nostalgia and imagination, and you mentioned that you were eyeing it before it was even on the market. Tell us about the history of the house, and how relevant and significant is the house it is to Tory Burch.

TB: It’s a townhouse that was built in the 19th-century. The space has had special significance for me for many years; I used to go to the diner that was on the ground floor with my boys when they were little, and there was a hairdresser above it. When Daniel and I saw the gutted space years later, we were drawn to it instantly. We thought of it as a restoration rather than a renovation, keeping many of the special details from the 1800s and adding references that spoke to the aesthetic of our brand. We also embraced new inspirations, like the work of the (late) renowned French interior designer Madeleine Castaing — we share a love of bold colors with her — and ideas from our feng shui master to bring great energy to the space.

DR: We saw the space together for the first time after it had been gutted; only the perimeter walls and the raw space were left.  We reconstructed it to largely resemble what the building most likely looked like when it was originally built, but it was more our fantasy of that than an academically correct restoration. We took some liberties to make it very Tory.

ME: You both did a fantastic job in mixing different elements of design to the interiors to make it look like a collection of a world traveller and adventurer. I saw Asian touches amidst a European grandeur in the forms of the wooden boxes with mother of pearl details and some Chinese antique ceramics. What was the design philosophy behind it?

TB: I collect Imari and Ming china, vintage books and artisanal finds from antique stores and markets as I travel. I love the idea of mixing pieces that don’t seemingly go together and making them work, like the green velvet walls with gypsum accents in the Madison Avenue living room.

DR: Tory loves to travel and has toured extensively in Asia. She had even spent some time in the Philippines as a student. When she comes home from a trip she always brings back a few treasures, like the Chinese and Japan porcelain she collects. Since the stores are a reflection of Tory’s homes, we make it a point to include such objects in them as well.

ME: Please share with us the future plans of the brand. Will there be expansion of the brand? Will there be Tory Burch Home one day?

TB: We recently signed a partnership with Estee Lauder and are thrilled to be launching our first fragrance in 2013.  We are developing the scent and bottle design now.  Creating a home collection is on my wish list, but we’re taking our time. In terms of our stores, we are expanding in Brazil, China, Southeast Asia and the U.S. in the next few months.

ME: What are the causes and advocacies closest to your heart, and the contributions and efforts you’ve done to advance these causes?

TB: We launched the Tory Burch Foundation three years ago. As a working mother and someone who firmly believes in empowering women, I wanted to start a foundation to help women and their families. We are currently focused on microfinance and mentoring for female entrepreneurs in the U.S., and we hope to eventually diversify our programs and expand internationally. We have given over 50 loans of $8,000 each on average, and we have hosted mentorship events in New York, Chicago, Los Angeles and Hawaii where entrepreneurs can get the advice they need to grow their businesses. It’s important to me that the Foundation is not a charity; it’s helping women help themselves. That’s incredibly exciting.

ME: Allow us to understand your thoughts on style. As one of the world’s most stylish women, how do you define style? For those who aspire to emulate your style, any specific advice for them?

TB: Great style comes from trusting your instincts about what’s right for you. It’s about finding pieces that look great and help you feel like the best and chicest version of yourself.  When women ask for style advice, something I always go back to is, “Try not to follow trends too literally.” Look for timeless pieces you not only love but that work for your life, and feel free to put your own spin on them.

ME: You love to travel and you mentioned that you’ve been to the Philippines before. What was your experience like?

TB: I went for the first time during Semester at Sea, a college program that allowed a group of us to travel the world for six months, experiencing new cultures. I was a life-altering trip; the program truly gave me a global sensibility and awareness of issues facing people in other countries. I would love to visit again with family.

by Melo Esguerra photography Noa Griffel 

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 trousseau 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

Leonila Dimataga Garcia

Imelda Romualdez Marcos

Lisa Tinio Bayot

Elvira Ledesma Manahan

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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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