Inno SENSE

It may be a measured, soft-spoken undertone, but make no bones about it–when Inno Sotto talks, he doesn’t mince words. It’s refreshing and candid; just what the doctor ordered.

He’s not trying to be Mr. Congeniality among Philippine fashion designers. Inno Sotto has been in the limelight long enough to know that no matter what you do or say, the detractors are out there, ready to pounce on any opportunity, knives out and sharpened.

It’s a peculiar Filipino trait, but any semblance or inkling of success or global recognition is immediately followed by a chorus of nay-sayers and nitpickers; the insecure and jealous who can’t stand to see a fellow professional rise. So Inno just calls it as he sees it, and if it’s unpopular, controversial or just plain ornery but it needs saying, then so be it.

I may not be the ideal person to write about Inno Sotto’s fashion genius. The only thing I can say confidently about fashion is that my closet’s contents are understated compared to German Moreno’s or Brother Mike’s. And I do know that the most popular design house in Turkey is not Effendi. But if Inno, the person is what we’re after, if we want to talk concept for his gala, by-invitation-only show tonight at the EDSA Shangri-La Hotel, then I’m game. If you want to talk silhouette and draping, look for an article written by some fashion critic or editor (Inno has some choice words about those professions as practiced here in Manila!).

The show. "It’s the red carpet, inspired by the Oscars, the Emmies, Cannes, Golden Globe or any event where you have the red carpet rolled out. I viewed this documentary last year about the preparations that go on for these events. If you were going to attend, whether as a nominee, presenter or just invited, about eight to ten weeks before the event, actors and actresses would get hold of at least four to five stylists each. Then up to the day itself, these stylists are hoping they’ll be the selected one for the artist they’re attending to. And for seven days leading to the night, these artists will be at the spa, the salon, day after day. It’s like some sybaritic ritual they all go through. So the clothes I’ll be presenting are suggested by these sorts of events."

At this point I queried if the red carpet of the famas qualified. Inno smiles and says, "Hopefully not!"

"There’ll be a new collection, four to five silhouettes and with treatments thereof. No one theme though. I’ll be mixing some old pieces, if only to show they last or come back. Fashion is so quick; before you know it, you’re back to what was there yesterday."

The state of contemporary fashion in Manila. "I think that at this point in time, it would be highly presumptuous of any designer to suggest any new sort of silhouette. What we do have now are options, and it’s up to the individuals to make their choices; to create their sense of style.

"Naturally though, with all the rules thrown out the window, with this anything goes attitude, you also have disasters and mistakes disguised as fashion statements. It was so much easier in the ‘60s or ’70s to point to persons as true icons. Chona Kasten, Elvira Manahan, your mother and mother-in-law come to mind. Nowadays, I’d really be hard-pressed to mention names. And the irony is, there was actually less variety then, less designers, whether local or foreign. Balenciaga, Dior, Chanel, Balmain, Lanvin; they all had individual silhouettes but they were not so far from each other. Yet, somehow these people (Chona, Elvira, etc.) would all have a sense of style and still look different from each other. Now, they all look like they came out of The Black Shop. Don’t you think so? And it’s not a reflection of where the fashion world is today, as there are so many choices, so many extremes out there. You have Jill Sander, Prada, Armani, Yohji on one side of the spectrum; and then the wackos like McQueen, Westwood and Galliano on the other. So it can’t be the fault of the designers that are out there. It’s more the attitude of the women here today—how they all gravitate to one look."

Mens’ fashion here in Manila. "Now it’s all marketing, depending on Hong Kong and China for all your goods. You know, when Bench started, I did the original label for Ben. That was with Juan Miguel Ongsiako and Jun de Leon–the concept of showing a little more skin. Richard Gomez, right? Then they moved on to Jomari. But you know, when I saw them with Pops Fernandez selling lipstick, I felt that was it. That’s as far as you can take it; a brand normally associated with boxer shorts now moving lipstick. Maybe that’s why they had to put up Human, to find a new market that could still consider their goods as fashion. But that’s it, Bench and Penshoppe are still mass retail; there’s no one filling the niche locally of a more design-conscious men’s line."

More on distinguishing between fashion and style. "At the end of the day, fashion is an accepted idea promulgated by a small group; but it stays for a certain period and is constantly changing, in flux. Style, on the other hand, goes way, way beyond fashion. It comes with the individual, and that applies whether we’re talking of clothes, of your house, your way of life. The sad part is that so much of what passes today for style is derived from the dependency on so-called style moguls, professionals or friends they hire or consult with. Someone dresses you up from head to foot, someone creates your home for you–and you’re stylish. I don’t think so. On the other side of the coin, you have the few who practically sell themselves to us– telling us, reminding us, with media exposure, that they are well-dressed and so on."

On the prevalence of entertainment personalities in the fashion glossies. "Personally, I think the Oscars is the biggest catwalk. Abroad as well as here, it’s obviously become a way to sell the magazine. The days of the Supermodels are over, and so you have to find a way to make people stop and look at your cover. So it’s a plus to have someone they can recognize much faster."

Basketball players and movie stars as models in his show. "Think Oscars. With the women you have a range from Jennifer Love Hewitt all the way to Susan Sarandon. So I have professional models who also display that range. With the men, at the Oscars, you have all these men who are almost clumsy or offish at times. I didn’t want a professional male model walk all the time. So, that’s why they’re here. As long as they don’t trip, I’ll be happy (hearty laughter)!"

Why it’s pointless to try and compile a Best Dressed List of Local Actresses. "I’ve been asked so many times, and for the life of me I can’t come up with any names. It may not necessarily be a reflection of their taste. Perhaps it has to do with the studio system and their stylists, plus the dependence on ex-deals. When you watch the local awards shows, what strikes me is their inability to carry what they’re wearing with any sort of confidence."

On fashion editors and fashion critics, and our world at large. "There are too many people who write now–about fashion, about culture–telling you what you should be conscious of. Anyone with a modicum of looks is an actor or actress. Everyone is a talent scout or manager. Too much! That’s why there’s the absence of quality! Look at the visual, artistic and physical landscape of our country over the last ten years. And that’s partly the fault of the editors. You know enough of the right people, voila! You’re a writer. You can buy the right magazines abroad and pass it off as your thoughts, you have a column. Or since you’re practically always in some gimmick party, you’re now an events chronicler/society columnist. And the sad part is it even becomes a business as you now have people referred to as "eventologists". But can they actually write, interview with intelligence, probe? Then they get their friends together, put little napkins and shoelaces on the women and call it ‘club-dressing’, with claims to being fashion. Wait–if anyone feels alluded to, maybe next time they won’t do a show with me anymore!" (Really laughs.)