Just like other shows I’ve seen by this former protégé of mine, last night’s show followed a consistent theme. He did not fall into the trap a lot of local designers fall into: That is, coming up with a hodgepodge of ideas, brilliant or otherwise.
From the simple street day dresses to the wedding gown finale, clarity of line, detail and execution were evident. Taking a cue from Mademoiselle Coco Chanel, his clothes lovingly caressed the body of his slender models. Whether they were fashioned out of figure-defining Lycra jersey or the softest of silk chiffons, each number loosely hung on the enviably-lithe bodies of his models.
That Inno Sotto is a colorist of the highest caliber was splendidly displayed throughout his collection. From the whisperlike shade of baby pink to the richest tone of aubergine or heliotrope, each number exhibited Inno’s mastery in mixing a rich palette of colors in a single collection.
Very little surface decorations or embroidery were done to enhance the evening numbers. But his wide and opulent collection of paste brooches and luscious necklaces more than made up for the absence of print or rich embellishments in his elegant numbers.
In every collection, Sotto makes it a point to introduce a fresh, often-never-been-seen treatment. In the early part of his "Around the Moon: Five Women" collection, he effectively displayed the unique use of fringes and very unusual textures that covered, at some point, the entire dress.
From the first number to the last, uptightness was something you never saw. This he managed to do by veering away from over-the-top features or treatments in all his designs. A fashion critic once complimented him thus: "Inno knows where and when to stop." Certainly, Inno is very secure about his design and his work.
The manner of presentation of this designer’s latest fashion outing is another milestone as far as originality is concerned. The entire floor area of the newly refurbished Ayala Museum was cleverly subdivided into several galleys. Each side of these galleys was furnished with reproductions of gilded Tiffany chairs so that members of the audience end up facing each other. As the models paraded the clothes, those in the audience were treated to an almost close-up inspection of the same.
To promote his forthcoming scents, ISM for both men and women, Inno gathered a small platoon of well-built and gorgeous-looking young men. In simple, often sexy casual numbers, they marched down the runway single file in a straight line.
Another clever treatment was the video screens that punctuated most, if not all, the walls along the exhibition area. As the models passed in front of these screens a 3D effect of sorts was experienced by onlookers. A blowup image on the screen and a pirouetting model in front of you made for a delightful vision indeed!
One still active fashion designer was seated right next to me during the show. Halfway through the presentation, he found himself openly wondering: "How come Inno can have this kind of crowd in his shows?" He followed that by openly asking: "How come Inno gets the right sponsors who are willing and can afford to foot the bills for such expensive presentations?"
Before this designer could ask another question in wide-eyed puzzlement, I countered him with: But how many of you active designers are willing to put in as much thought, work and care into your collections as this one we are now watching? End of story.