METROWEAR REVIEW: A little constraint goes a long way

Confidence. Ease. That appeared to be the mood for Lulu Tan Gan’s collection which opened the second installment of the Metrowear series. No-nonsense frocks in the designer’s signature knit fabric came down the runway in refreshing succession. Tan Gan brought dimension to a one-fabric collection. Working with an almost entirely black and white palette, save for hints of blue in some pieces, didn’t hinder the collection as Tan Gan crafted sleek daywear that easily transitioned from office to cocktails (a must for any hardworking girl hoping to maintain a social life) and dressier looks in more volumized shapes.

She began the show with collared blouses, this time with the sleeves updated to a slightly billowy effect, neatly tucked into slim pencil skirts. She took one of the bigger – and sure-to-last – trends for spring, a slimmer silhouette, and worked it into many of the looks.

Grace Tagle came down the runway in a crisp white blouse, nattily accessorized with a slim knit scarf in a thin piano-inspired pattern and a white pencil skirt with two stripes running down each side.

Jo Ann Bitagcol worked a slim long-sleeved cardigan in a thin black knit over a collared blouse with a single vertical tier of ruffles in black and cornflower stripes. A pair of lean knit pants in black finished the look. Nice and slim, the neat arrangement of ruffles against strict lean cuts made for a sophisticated combination.

It’s clear from her opening pieces that Tan Gan is staying true to form. In an earlier article in YStyle, she was quoted as saying, "My collection is a tribute to the working woman. I’ve singled out various roles women play in the work force and created looks for each of them."

No doubt Grace Tagle’s ensemble could easily fit into the closet of a publishing executive or magazine editor, while Jo Ann Bitagcol’s would suit well-traveled businesswomen.

For evening, Tan Gan layered a black puff-sleeved blouse underneath an empire dress with a pleated skirt. She incorporated bubble shapes into a tube top that included a narrow column that moved upward to encase the neck. Paired with skinny pants, it was distinctly low-key and yet undoubtedly confident. Working girls around the metro can heave a sigh of relief now that Tan Gan’s taken up their cause.

All Baubled Up

Katrina Goulbourn followed with a collection inspired by the ‘40s and ‘50s. The designer took Silk Cocoon’s fabrics – a mélange of locally-woven materials ranging from decadent one-of-a-kind handpainted silks created by local artists to lush brocade – and formed a collection consisting largely of jewel-toned suits and dresses.

She opened her segment with a sleeveless plum dress, tightly fitted around the model’s bust and then flowing into a full skirt parted in the middle to reveal panels of tulle. Her decision to play with volume was immediately apparent. If skirts weren’t draped for a bubble effect, they were given wide pleats for a broader shape. One attractive look, on a blue suit worn by Isabel Roces, had a skirt pleated at the back for a frothy volumized shape reminiscent of ‘50s suits worn by well-to-do women.

An empire-cut, flesh-colored dress cinched with a flaxen bow and paired with a coat looked young, while the rest stayed true to Goulbourn’s more mature clientele.

A full-on canary yellow outfit consisting of draped skirt, corset top, cropped jacket and velvet leggings drew varied reactions from the audience. The head-to-toe brights was a conversation halter.

Goulbourn’s menswear was wearable and contemporary. The men’s pieces were given a light touch of embellishment, like red stitching on a black long-sleeved shirt. One particular standout was a red long-sleeved shirt (in what look like linen) given a trompe l’oeil treatment, a pair of jaunty suspenders painted or silkscreened onto the fabric decorated the front and back.

It’s this sense of humor Goulbourn’s displayed in her menswear pieces that speak to her clientele – old and young – and make her label not only accessible but young and contemporary.

He Loves The Night Life

Jun Escario isn’t afraid of lamé. He sent out a series of ensembles, all topped off by black blouses alternately in a stretchy material and sheer lacy fiber embellished with glittery frills, and all paired with skinny gold pants. Models tottered down the runway in impossibly high heels, their legs encased in spangly gold columns.

The designer clearly channeled the disco era, creating a pastiche of club-ready looks mixed with almost romantic pieces like a lace blouse with ruffled sleeves tied at the waist with purple velvet ribbon.

He took off from the overtly sexed-up pieces and moved into glamorous evening wear – a particular favorite of the designer. Ria Bolivar came out in a bright scarlet dress, its deep backless cut framed by a gold column meant to emphasize the halter style. Val delos Santos was dressed in a plum goddess gown cut low and decorated with a sprinkling of diamante across the bodice and obi belt.

Escario’s menswear was cut close to the body and given lean proportions. He juxtaposed a button-down lace shirt with lattice-like print with a narrow suit. The interesting play of textures worked on the lean silhouette, although only the very tall and masculine will be able to get away with this without looking fey.

He finished the show with a showstopper of a dress. A halter dress with a keyhole neckline detail in black was embellished with circular and rectangular sequins. The sequins trailed off mid-thigh into a mere smattering of gold pieces to reveal the black fabric and a slight train.

Escario cleverly took his disco theme and incorporated it into his dressier eveningwear segment, turning out an elegant and refined evening gown that’s sure to garner numerous admirers and an envious stare or two. Now if only that came in my size.

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