The PNB Financial Center in Pasay recently hosted “Awanggan,” a breathtaking graduation fashion show from De La Salle-College of Saint Benilde’s Fashion Design and Merchandising students. The theme, an archaic Filipino word for “infinity,” hinted at the boundless creativity about to unfold – a showcase of over 90 emerging designers ready to leave their mark.
The evening wasn’t simply a display of clothes; it was a powerful exploration of identity, heritage, and the future of Filipino fashion. Many designers drew deeply from their roots, weaving personal narratives into every stitch and seam, suggesting a future where tradition and innovation beautifully collide.
Elmar Pascua’s “Kabsat,” meaning “sibling” in Ilocano, immediately captivated the audience. Massive white dresses flowed down the runway, sculpted with expert draping and gathering techniques. These weren’t just garments; they were ethereal visions inspired by traditional Ilocano weddings, utilizing vintage *inabel* fabric sourced from family.
Shagami Felizco’s “Walang Tamad sa Quezon” (Nobody’s Lazy in Quezon) presented a bold and unforgettable statement. A striking gown was dramatically armored with a giant woven basket, while a magnificent, beaded ruff collar evoked the vibrant energy of Quezon’s Pahiyas Festival. The collection served as a poignant tribute to the province’s often-overlooked hand-beading traditions.
Joaquin Rubio’s “Paparazzi, Press, and Power” offered a sharp commentary on the relentless pursuit of celebrity. A striking tuxedo, echoing Yves Saint Laurent’s iconic “Le Smoking,” was adorned with strips of film, and a dress constructed from velvet ropes – the very barriers between stars and their fans – spoke volumes about the price of fame.
Jennica Aquino delved into darker territory with “Eyes on Me,” a haunting exploration of facial dysmorphia. Hand-beaded faces and distorted imagery adorned her designs, creating a visually arresting and emotionally resonant collection.
Justin Hernandez’s “Ecce Homosexual” was a deeply personal and provocative work. The collection, inspired by his complex relationship with religion and sexuality, featured white drapery and a flesh-toned dress that subtly alluded to the image of Christ, challenging conventional notions of faith and identity.
Alliyah Camporendo’s “Efflorescent Dreams” brought a touch of whimsy and artistry to the runway. Sculpted dresses blossomed with delicate, artificial petals, creating the illusion of living flowers and enveloping the wearer in a fantastical world.
Chloe Uy’s “Flowing Within” demonstrated a masterful manipulation of fabric, creating the mesmerizing effect of flowing water. A spinning applique added a dynamic element, further enhancing the illusion and showcasing her technical skill.
Ionica Abrahan-Lim, program chair, emphasized the program’s unique strengths – a focus on textile manipulation and cutting-edge technology. Students aren’t simply taught to purchase materials; they’re empowered to create them. Advanced software allows for virtual prototyping, streamlining the design process and fostering innovation.
Perhaps most importantly, Benilde fosters a lasting connection with its graduates. The program provides continued access to facilities and mentorship, allowing designers to refine their concepts and build their careers long after graduation. This collaborative spirit, extending beyond traditional fashion boundaries to incorporate elements of architecture and design, is what truly sets the program apart.
