It happened. Manila Fashion Festival (MFF) Day Four delivered, even stronger than how it started.
Before every show began, Art Personas chief executive officer Ronnie Cruz kept reiterating that the point of MFF is to sell clothes. Truth be told, the last day of the festival showed great options that are (finally!) good enough to wear—that are worth the money, even. You’ve got carefully crafted designs that don’t make you look like a joke and expensive-looking pieces that don’t go overboard.
Yes, we agree with Ronnie on this one. Fashion, no matter how creative it can be, is still a business. The five designers on the last day knew how it works, shelling out pieces that you can readily see someone you know pulling off. And that goes for you, too. It’s thrilling to see a show once again where you find yourself eyeing a piece or two that puts you on the edge of your seat saying, “I’ve got to have it!”
Jaz Cerezo
I’ve always been doubtful of pastels. But when Jaz showed us how to embrace intimacy by using these sugary hues—we’re looking at gentle ruffles on the sleeves, a touch of ribbons on the back, and subtle draping on the trimmings of the pieces—I’m sold. The right choice of colors and fabric—neoprene, that is—makes for Jaz’s brilliant recreation of the ’60s mod silhouette. I mean, these are overly used colors and pieces,but somehow they all feel new again. To see Jaz evolve from her dark aesthetic is welcome change.
Anthony Ramirez
Anthony’s La Forme collection is the perfect example of taking a source of inspiration, breaking it down, and digesting it to create something that isn’t too literal. The theme was apparent: Japanese kimono dressing. However, obi belts were configured into ribbons, softly tied at the back as an accent. The demure collars and sleeves were turned into strapless iterations that hint to a little cleavage and the shoulders. It was the right amount of sexy most women can feel comfortable gravitating towards.
Mark Bumgarner
If there were an award for the most times one manipulated fabric, it goes to Mark Bumgarner. There was tough mesh cocooned to create a black evening number, immaculate pieces made of light lace, and fringe sprinkled throughout structured top-and-trousers pairings. We see Mark’s skillful designs this season, more than just his usual romantic side. The absence of a clear indication of what the collection was all about is all but forgiven. Given 22 looks, with not one in the same silhouette as the other and in varying degrees of design influence, it was a carefully thought-out show.
Pablo Cabahug
Manila circa 1920 was emblazoned on the screen with “Bongga Ka ‘Day” blasting in the background. And just like that, Pablo managed to catapult us back to one of Manila’s finest decades. Here lies the attempt to rework and modernize the traditional baro’t saya. Unfortunately, the cheerful intro and groovy vibe of the show were dampened by a few off-putting suggestions: a suit with a hoodie and the piña crop top with blue shorts. Reinterpretations of our national costumes come and go on the runways, so it might take a whole lot more than just a butterfly-sleeved dress over trousers and layers of pleated piña to fully sway anyone.
Randy Ortiz
Randy does womenswear so well, probably better than he does his menswear pieces. But the latter dominated his 30-look collection and I’m still not complaining. Men were made to enjoy hot red bomber jackets with oversized pockets, formal joggers paired with club jackets, and kiss-mark prints on button-downs. Sleekness wasn’t exclusive to his formal suits as they were also translated to these sporty mixes. As a counter-balance to these dapper men, a few women’s looks made an appearance, which became instant favorites. Think all-white and all-black mesh pantsuits and silk jumpsuits under snake-print coats. Even suits worn with rubber shoes, though not entirely new, seemed like a good idea again.
Click the slideshow above to see these designers’ looks!
Photos by Acushla Obusan