The fascinating Ms. Slim
No, this is not a piece about fashion. That would be as incongruous as Rachael Ray doing a show on politics. This is about the artistry, passion, philosophy and the advocacy of one classy lady.
Salvacion Lim (thus, Slim) Higgins lived and passed away shunning self-promotion. She preferred that the spotlight be trained on her body of work, rather than on herself. And what a body of work it was! Indeed, it spoke eloquently about the artist and her craftsmanship. Anyone with a trained eye will marvel at the ageless, meticulously detailed, impeccable silhouettes that enhance the female form. The creativity, originality and legerdemain are too impressive, and in a league of their own that even a professed non-fashionista cannot help but pay tribute.
I have seen too many fashion shows that have left me wondering whether the designer was secretly a misogynist. Or if the so-called “cutting-edge” shapes, forms and structures were better off draped on shapes, forms and structures — instead of a breathing, living, normally curvaceous woman who actually needs to do more than sashay on the ramp. Slim’s signature design is stunning, yet quite wearable as it is designed to amplify the potential while playing down some imperfections of the female form.
Her shapes defied gravity. Her lines were always flattering. “There must be a balance between the top and the bottom of the dress. When the skirt is elaborately cut, keep the top fairly simple. Like a great painting or story, you should know how to edit a dress design properly,” she admonished.
From a distance, a Slim creation hits with immediate and dramatic impact. But as the wearer comes closer and the details become apparent, excitement gives way to amazement. Slim devised a unique method of cutting and draping fabric on a body form, pleating and ruche-ing by hand so exquisitely that it could bring tears to Mary McFadden’s eyes. She used to say “The less seams there are on couture dress, the less you cut the fabric, the better the design is.”
It was said that you could wear a Slim’s dress inside-out and not find a seam. She embellished with embroidery, beads, appliqués piled in intricate layers using all kinds of innovative and indigenous materials like straw or shells so that the closer you looked, the more you discover.
Rudyard Kipling said, “East is east and west is west, and never the twain shall meet.” Fortunately, Slim did not listen. She fused orientalia with occidentalia, designing ternos with a western couture profile, and vice versa, matching kimono blouses with cocktail dresses! Some ternos could even be converted to short party dresses. Then she chose bold strokes of color from a palette that was always unexpected but pleasing at the same time. Her three-dimensional designs are avant-garde even today, 60 years later!
Slim’s loyal clientele belonged to society’s creme de la crème. The list reads like a veritable who’s who that included Elvira Manahan, Imelda Cojuangco, Armi Kuusela-Hilario, Mary Prieto, Chito Madrigal-Collantes, Chona Kasten, Helen Benitez, Leila Benitez, Edith Nakpil, Gemma Cruz-Araneta, Carmen Guerrero-Nakpil, Imelda Marcos, Imee Marcos and Glecy Tantoco to name a few.
She also helped push the best of Filipiniana onto the world stage. The Bayanihan Dance Troupe at the New York World Expo commanded a standing ovation from an audience bedazzled by their grace and the spectacular costumes designed by Slim. The iconic black and white Maria Clara ensemble was so revolutionary that it was featured in a popular postcard for the Philippines. The legendary photographer Sir Cecil Beaton made his way backstage to inspect the costumes up close. Slim’s Singkil princess’ costume was likewise immortalized by Lladro of Spain. Before Manny Pacquiao, there was Salvacion Lim Higgins bringing our country fame and adulation.
But as astounding as her achievements were in fashion, couture barely scratches the surface of this woman of substance. Her artistry is surpassed by her advocacy, the Slim’s Fashion & Arts School, which she founded in 1960. Through this school, Slim has mentored and helped produce today’s fashion designers including Oskar Peralta, Joe Salazar, Cesar Gaupo, Bobby Novenario, Caloy Badidoy, Pepito Santiago, Joe Sason, Eddie Ocampo, Chito Vijandre, Pepito Albert, Auggie Cordero and Barge Ramos.
More than its celebrity graduates, it has provided a source of livelihood to thousands of seamstresses who managed to study through scholarships donated by the school and its patrons. Ben Farrales, dean of Philippine fashion, and another alumnus of Slim offers scholarships for those who want to enroll in the school. Today the Slim’s Fashion and Arts School is run by Slim’s younger sisters, Nena and Lourdes, who teach Fashion Sketching and Dressmaking. The school stands as a continuing tribute to Slim Higgins, who communicated her passion for her art, her vision for the Philippines and her ambition for talented but indigent Filipino artistes with every creation she undertook.
In her honor, words will give way to pictures.
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