Designers came out to play
What preceded day two of Bench Fashion Week felt quite apocalyptic. There was smog, word quickly spread, and we masked up, sort of. A few hours ahead of showtime, rain was pouring, traffic was bad, and the main roads were flooded.
But the show goes on. To be fair, it isn’t as if the recent grievances have not been mirrors of reality as of late. A year post-pandemic, there still remains that feeling of uncertainty, a disarray. At any given time, we’ve got to be ready to run.
So thank heavens for fashion. Or at least, the chance to play and let loose. With fabrics, our personal style, our hair. Our feelings, too. While the world scrambles to get things back in order, the fashion-forward (and forward-thinkers) imagine and do otherwise —they deconstruct, refurbish, reinvent, reimagine, and get a little crazy.
Renz Reyes: Playful praise to the gods of fashion
A fine arts graduate who finds inspiration in film, art and whatever he sees, Reyes chanced upon a photograph of men in the act of penitensiya (penitence), a Catholic tradition of self-flagellation, where they whip their bare backs with thorns, a way of sharing in Christ’s sorrow during Holy Week. The men wore grass skirts to look feminine — a puzzle to Reyes, as it was meant to humiliate them.
In response, Reyes retaliates and translates this into his aptly titled collection, “Hortitorture,” a portmanteau of horticulture and torture. “There have been a lot of designs that were very different from the starting process,” begins Reyes, known for his strong skill in embroidery and mastery of textile manipulation. “But I’ve learned to alter and deconstruct the pieces and make it entirely new. I don’t want to waste a good design just because it didn’t fit or it didn’t work.”
In hues of navy blue, off whites and camels, models came out in gender-bending clothes. Out came a bevy of exaggerated shoulders, hemlines resembling folded banana leaves from a palaspas, embroidery and interwoven fabrics sewn to mimic thorns or the stab wounds from it, and fabric tabs that seem like cogon grass blades sticking out. Seeing the careful detail in pitch perfect fashion up close was a feast for the eyes — and to the touch (for those who went backstage).
Abdul Gaffar: Where modesty and modernity meet the eye
Always in pride and honor of where he came from, Abdul Gaffar, adored by fashion fans for marrying modesty and modernity into his version of the traditional terno, presents his collection called “People from the Lake,” a literal translation of Maranao, where he hails from. “(The clothes) do not have to be super traditional,” he says of his vision. “One can go back to our roots and make something playful and current, clothes that are relevant to this day.”
The sarimanok, seen embroidered in one of his shirts, was the key piece that set the tone for the rest of his collection, filled with curious elements that are, of course, a pride of the Maranao, featuring Gaffar’s use of the malong, the landap, and the okir, and the brass accessories by the artisans from Lanao del Sur. “I just really wanted to make it Maranao, Maranao, Maranao…”
Maranao, it is. Gaffar’s ingenious craft was woven into his creations of delicate jusi and piña with detailed embroidery, the chicest ever hoods cascading down like a lake, silhouettes that hung elegantly on the body, brass adornments that commanded attention, and the symbolic weaves and motifs that tell a story.
“People of the Lake” exuded the charm and grace of the artisan’s hands, the delight in sharing their art, and Gaffar’s passion and creative mind, orchestrating each detail to ensure that his collection becomes a joyous celebration of his people.
Rafglang: Fashion that takes off in a bold, new direction
“Utilitarian is a classic trend that everyone could relate to,” begins Patrick Galang, the multi-creative behind the brand Rafglang. “It defines power and creates a statement.”
He takes off with collection No. 2, a sophomore repertoire since he returned to the fashion scene as a designer. Reassemble, reengineer and repurpose is the name of the game for Galang. And he does it so well with his decisive eye and practice of restraint. “I’m the type of person who always wants to explore and play with designs, because it helps me become a better artist,” Galang explains. In doing so, “you learn something new. When I design, I start with a silhouette and then it develops as it progresses.”
Inspired by suits and the aviation uniform, No. 2 showcased pieces that are bold and edgy while deftly tailored and sleek: sexy cut-outs in all the right places, sheer fabric where it matters, a healthy dose of texture and leather, the right amount of deep pockets and drawstrings, and in a mix of deep earthy tones that capture how Galang, as a well-versed creative, is serious when he plays.
