Northern Living: 2014 September by Hinge Inquirer Publications

September 2014 Volume 8 | Issue 13

wearable future

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CONT ENTS

NORTHERNliving GROUP PUBLISHER BEA J. LEDESMA BRAND AND COMMUNITY EDITOR DIANNE PINEDA EDITORIAL ASSISTANTS MARAH S.D. RUIZ, DENISE DANIELLE ALCANTARA CREATIVE DIRECTOR NIÑA MUALLAM GRAPHIC ARTIST DANICA CONDEZ

08 NORTHERNER Abdul Dimaporo is a craftsmith first, designer second.

SEPTEMBER 2014 02 HEALTH Putting your best foot forward doesn’t mean compromising comfort

12 FEATURE A visual articulation of an accessories designer’s process

04 BEAUTY A clear-cut beauty regimen is applicable to men, too

32 STYLE Two designer colleagues’ salute to military wear

06 CRAFT Bring grandma’s favorite cross-stitch pastime to life

42 EATS A healthy restaurant serves bowls of greens and potted desserts Cover photo by Ralph Mendoza

EDITOR’S NOTE What makes a creation original? In this age of information overload where everything is instant and transient, a barrage of images, ideas, people, places, among other entities—the word “inspiration” is thrown around as basis for any piece of work. At the very core of Postmodern thinking, nothing is really “new,” things are echoes or recycles of existing ideas. In fashion, it is easy to categorize a creation that cannot be explained, whether it’s a deconstructed dress or a jumbled muddle of garment, as Postmodern. In this issue, we discover that it is rather easy to dismiss this idea, as originality comes from designers and their intentions, and from the differences in style of the ones who wear the creations. The type of black leather material that Gian Romano uses may not be new, but

he puts meaning behind every seam, silhouette, and raw edge. Jewelry making may be an age-old practice, but Arnel Papa’s wild imagination has produced exaggerated necklaces and bracelets made by the hands of artisans from all walks of life, making each and every piece unique. Military wear is a tried and tested look, but Charina Sarte and Jerome Lorico’s every pose and movement brings with it a fresh spin. True, we are not different from our forebears. But as Barbara Vinken says in her Art of Fashion lectures, “The old is not excluded and denied, but is made into the material of the clothist…The traces of youth, the time of their making, the history of clothing are inscribed into these creations, they absorb time and decline age into themselves.”

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CONTRIBUTORS WRITERS BEVERLY DALTON, AJ ELICAÑO, KAT PATIÑO-MARQUEZ, PRISTINE DE LEON, SEPTEMBER GRACE MAHINO, CHINGGAY LABRADOR, NANA NADAL, CHRISTEL BONCAN-CONSTANTINO ILLUSTRATOR PATRICIA ESPINO STYLISTS EDLENE CABRAL, GABBY CANTERO HAIR AND MAKEUP MARK FAMILARA, JOYCE PLATON, CAMILLE VILLARUEL PHOTOGRAPHERS SAM LIM, RALPH MENDOZA, CYRUS PANGANIBAN, GABBY CANTERO, EDRIC CHEN, JILSON SECKLER TIU, COPY EDITOR SEPTEMBER GRACE MAHINO PROOFREADER NAZRI NOOR EDITORIAL CONSULTANT RIA FRANCISCO-PRIETO BOARD CHAIRPERSON ALEXANDRA PRIETO-ROMUALDEZ FINANCE ADVISOR AND TREASURER J. FERDINAND DE LUZURIAGA LEGAL ADVISOR ATTY. RUDYARD ARBOLADO HR STRATEGY HEAD RAYMUND SOBERANO VP AND CHIEF STRATEGY OFFICER IMELDA ALCANTARA SVP AND GROUP SALES HEAD, INQUIRER GROUP OF COMPANIES FELIPE R. OLARTE SALES DIRECTOR MA. KATRINA MAE GARCIA-DALUSONG KEY ACCOUNTS SPECIALIST ANGELITA TAN-IBAÑEZ ACCOUNT EXECUTIVES ABEGAIL GINAGA, ANDIE ZUÑIGA, SARAH CABALATUNGAN, RAM DANIEL TAN SALES SUPPORT ASSISTANTS RECHELLE ENDOZO, MARA KAREN ALIASAS PRODUCTION MANAGER NOEL CABIE PRODUCTION ASSISTANT MARICEL GAVINO FINAL ART SUPERVISOR DENNIS CRUZ FA ARTIST JR LAROSA

This magazine was printed responsibly using recycled papers with biodegradable inks.

HEALT H

FOOT NOTES

The contents of your shoe closet could be the overlooked suspects for inconvenient body pains TEXT CHINGGAY LABRADOR ILLUSTRATION DANICA CONDEZ

You can strut down the city streets in your highest heels or opt for a more comfortable walk in your best flip-flops. Whatever shoe choice you’re making may be keeping your feet looking pretty, but chances are they’re also doing them some kind of disservice. Get behind the good, the bad, and the ugly on your favorite footwear and know that your toes can enjoy both fashion and comfort. High heels They may make your legs look leaner, but they’re also putting a huge strain on your lower back. Good posture doesn’t just involve your spine—even the way your feet are positioned can impact your stance. Elevating your heels brings weight to the balls of your feet, pushes your hips forward, puts your spine out of alignment, and gets you off balance. You could be hyper-extending your knees just to compensate for this misalignment and, oftentimes, you’re dumping a lot of weight on your lower back as well, which could cause pinched nerves. Rx: Save the five-inchers for cocktail parties and make sure to pack a pair of flats to change into after a few short hours.

For workwear that requires some lift, opt for a wider heel and a more manageable height that won’t drastically change the arch of your foot. Flats You can walk in these shoes a lot longer and they may seem like the comfortable answer for occasions that require you to dress up, but spending all day in flats can be harmful, too. With soles that are as flat as pancakes, your feet lack cushioning from the shock that continued walking can bring. On one hand, this well help train you to work the muscles of the feet; on the other hand, there may be a tendency to overdo it, thus causing injury. Having your feet trapped in tight, closed-toe shoes could also lead to bunions and hammertoes. Rx: Look for a pair that provides arch support, or get a pair of Dr. Scholl’s inserts to add some extra cushioning in your shoe. If you’re susceptible to bunions, pads can help realign toes. Trainers They’re designed to get you to pound the pavement for as long as possible with their scientifically accurate cushioning. This would work when you’re running a marathon, but people who live in their trainers are missing out on a key aspect of footwear: being able to work the feet. Getting too comfortable dampens the communication lines between your brain and your feet. Running shoes are also designed to have you in constant forward motion, putting less emphasis on the heel, which could be damaging too. Rx: Be mindful of your footwear choices. Trainers are great when you’re at the gym or on a walking tour, but don’t forget to air your feet and give yourself a chance to work all of their muscles with a regular pair of shoes.

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BEAUT Y

A ROOM TO GROOM

What men should do behind closed (bathroom) doors TEXT BEVERLY DALTON ILLUSTRATION PATRICIA ESPINO

Even if it’s just a T-shirt paired with jeans, deep down (even if they won’t admit it), men take the time to curate this simple a look in say, maybe five or 10 minutes. What more if they’re wearing a suit? When it comes to grooming though, five minutes may not cut it, especially when they’re trying to impress. Sure, women take more steps to get ready for the ball, but men, too, have their own beauty regimen; they just don’t want to call it that. Grooming transcends gender, and there’s no shame in taking down notes on how to man up when it comes to hygiene. Here are some grooming tips for men, especially when it’s time to suit up. (Surprisingly, women can also get some lessons from the dudes, particularly in shaving.) Facial hair Bringing out the razor daily isn’t always the answer. Shaving causes slight trauma to the skin, so doing it every

day is a no-no. Besides, that 5 o’clock shadow actually looks good. Instead, try exfoliating daily. This softens the skin and unclogs pores, too. Lotion is also good after shaving, but moisturizing before the razor hits the skin can prevent ingrown hairs and bumps. If growing a beard, a goatie, or a ’stache is your thing, shampoo it every day just as you would the hair on top of your head. Trim regularly, too. Tip: Don’t trim while your beard or ’stache, is wet because wet hair is longer.

Eyebrows Grooming the brows may seem like a girl thing, but in reality, it’s not. Brows need as much TLC as the mustache. But don’t ask for tips from a woman— most of the time, women have their brows threaded or waxed. For men, plucking is better, as threading or waxing gives the brows a really clean shape that makes them look “done,” and that’s when things start to look girly. Leave some stray hairs behind.

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Sideburns These face-framing layers may have had their heyday in the ’70s, but if done right, sideburns may have a resurgence this new millennium. Up until the last days of disco, the thicker the sideburns, the better. But today, keeping them narrow might gain you more friends. Don’t let them grow wider than an inch; like with your facial hair, trimming is key. Hair Most men’s haircuts have been the same since forever. Whether it’s a Jew-fro like Bob Dylan’s or wavy like Conan’s, make sure to get a trim every month, not unless you want long hair like Brad Pitt’s in Legends of the Fall. Don’t forget to neaten the back of your neck, too. For those with receding hairlines, here’s a tip: keep the front trimmed and swept across your forehead. If you go too long, the strands will look stringy.

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STITCHED SENTIMENTS

Make a favorite quote or a comic statement come alive with some needle and thread TEXT KAT PATIÑO-MARQUEZ PHOTOGRAPHY AND STYLING SAM LIM

What you’ll need:

Cross-stitch fabric Embroidery thread Hoop/Frame Needle Scissors Pencil

Directions:

1. On the plank, divide the space to allow all three clamps and jars to fit. 2. Using a pencil, draw marks on the plank where each clamp will be drilled onto. 3. Drill a hole on each clamp and on the marks placed on the plank. 4. Screw on each clamp using a screwdriver. Once screwed on, fit each Mason jar through the clamps. 5. Tighten the clamps around the neck of the Mason jar, making sure it won’t slip through when upright. 6. Hang on wall.

NOTE: Cross-stitch is similar to painting in pixels. When plotting your design, make use of the squares on the fabric to map out where to place each crossstitch and color.

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SUNTRUST HORIZONTAL OMNIBUS

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NORT HERNER Abdul Dimaporo’s workshop is a happy mess of fabric, paper patterns, thread, reference books, and of course, finished shirts waiting to be picked up.

A LIVING CONTRADICTION

This offbeat menswear designer wants to make suits but he doesn’t really like wearing them TEXT MARAH RUIZ PHOTOGRAPHY RALPH MENDOZA

The last thing you’d expect to find in a shop that makes custom men’s shirts is a young man with long hair and a full sleeve of tattoos. But this is what you’ll get with Abdul Dimaporo, owner of White Planes Workshop. After a stint in retail in San Francisco’s Haight-Ashbury district, Dimaporo became interested in menswear and studied the basics of tailoring. He also took a short course on menswear at the Fashion Institute of the Philippines. He soon opened his workshop as a study space back in 2010. Since then, his shop has been churning out custom-made shirts and trousers for men. “I want to make clothes focusing on our climate. Really, it’s either wet or dry. That’s what I really want this shop to be.” He goes shopping in a lot of ukayukays in Tagaytay and Baguio, digging through clothes to look for inspiration. Perhaps, for a person like Dimaporo,

it is better to call it research as his approach to it is almost methodical. When he finds a branded shirt, he buys it to study its different elements—he looks at how the stitches are done, how the collar was attached, or how the cloth was cut—often taking it apart so he can discover the techniques and use them for his own creations. However, by his own admission, he doesn’t like wearing suits. “I like putting things together, not so much having it for myself but more of being able to do it for others.” He thinks it might be because his mind is full of the technical details. “I fuss too much. Whenever I wear suits, I focus on making sure that the tie is in a good knot or making sure that my shirt doesn’t peek out of the bottom button of my coat. I can’t relax when I’m in a suit. I’m just thinking of all these things. My style is very normal. I guess I’m not one for trends.”

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NORT HERNER

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â&#x20AC;&#x153;I like putting things together, not so much having it for myself but more of being able to do it for others.â&#x20AC;?

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FEAT URE The factory located in Bulacan has about a hundred employees, including this woman who paints wooden beads.

THE BUSINESS OF MAKING A STATEMENT Arnel Papa’s secret to selling globally is keeping it real TEXT AJ ELICAÑO PHOTOGRAPHY EDRIC CHEN OF AT EAST JED ROOT

Arnel Papa is known for producing bold, evocative pieces of jewelry. The words “earthy rawness” often come up in descriptions of his work, and his factory in Marilao, Bulacan resonates with them, just as surely as his products do. Far from the abstract, gossamer elegance that’s usually associated with stereotypical jewelry, and worlds away from the soulless, mechanized assembly lines that “factory” brings to mind, Papa’s workplace is unassuming, very much a part of the neighborhood in which it’s located, and just cluttered enough to feel homey—appropriate, as it’s actually part of his home. It feels authentic, a word that aptly characterizes both the man and his wares. The factory, Papa explains, was converted from the extra space in his house, and most of the 100-odd workers are locals who live nearby. The atmosphere is fairly comfortable, evident in the interaction between Papa and his employees. “Even if you haven’t washed up, it’s okay; you can come to work,” he explains in Filipino, then adds with a smile, “Even if you haven’t taken a bath.” This sense of familiarity permeates Papa’s entire operation, which is as much a community as it is a workplace and a business. You’ll be tempted to call it laidback but for the rigor with which it runs. A typical day in the factory starts at 8 a.m. and ostensibly ends at 5 p.m., but, as Papa explains, it can last “[for however long]

they want to do overtime, but normally until 10 p.m.” A single necklace can be assembled in one to two days; factor in the number of employees working on the pieces and the quality of the finished products, and the effectivity of Papa’s approach becomes evident. Workers are given training, too, but as Papa points out, many of them are already seasoned veterans of their crafts. “Everything is made here: the shaping, the beads,” he says of the factory. Much is done by hand, and it shows in the uniqueness and the craftsmanship of the pieces. Papa also does design work and oversees assembly in the factory, ensuring that the vision behind each piece remains constant and informs each stage of the production process. Every work of jewelry, from start to finish, from raw materials to polished final piece, goes through its life cycle in the converted workspace. “It’s really great to have your factory in your house,” adds Papa. “Any time you want to work on anything, even at night, even if you’re the only one there, you can do it.” When asked about what inspires him, he is very clear: the materials. “What I like is when I see something and think of what I can do with it, what I can make it into,” he explains. “The materials are gathered locally. Horn, bone, wood, shells, coconut shells… In Europe and the States, they want natural materials [like these] because they

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FEAT URE This statement necklace of gold and pearls is inspired by a sea urchin (left). Wood is finely shaped to resemble corals (bottom, left), while brass is used to make chunky pieces (below).

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don’t have much of those there. Locally, it’s more about gold, silver, and stones.” Papa also uses kamagong wood, coco shells, Philippine brass, and copper—a veritable catalog of local natural treasures, all put to use to create internationally acclaimed pieces with a distinctly Filipino voice, flair, and origin. On his favorite materials: “Mother of pearl, carabao horn, bone, cow bone,” Papa rattles off. “The cow bone, when you have it finished, looks like ivory,” he adds, with the pride of a craftsman who knows—and loves—his medium of choice. When he begins the design process, he needs two things: a relaxed frame of mind and all his components gathered. Always, the materials come first. “Of course, your ideas are there, your drawings. But when it comes to materials, you need to know what you’ll be using. When you’re exporting, your materials need to be there already. You might have a good idea, but [if you don’t gather your materials], you might not be able to deliver anything. You can’t have them there now, but not available tomorrow.” These elements are then shaped, assembled, and refined into pieces like necklaces, bracelets, and other accessories. Mother of pearl serves as a base for precious stones, dark kamagong is curved and shaped to just the right fit. The shapes and contrasts that Papa creates are dramatic, eye-catching, and organic, suggesting natural forms made luxurious but still grounded in a down-toearth, local aesthetic. Many of these pieces bear the signature chunky Arnel Papa look, a fact that he attributes to his experiences with international audiences who are more accustomed to the style. “I’ve been exporting to Europe since 1984. I started with Paris, and still deal with them up to now, so I’m used to chunky pieces,” he explains. These met mixed reactions from Filipino audiences at first, but in recent years, Papa believes that the local market has become more receptive

to the idea. “Filipinos only started appreciating chunky pieces recently. Before, it was all dainty jewelry, things with single strands or beads. But now people are learning to like chunky jewelry.” When asked about making more toned-down pieces, Papa laughs. “Yeah, we do have some, because not everyone will wear the flashier stuff. But my chunkier pieces are something else. They’re statement pieces that, when you see them, you’ll think, ‘That’s an Arnel Papa.’” This commitment to authenticity has paid off well. As an international accessories designer, his pieces get displayed and exhibited both abroad and locally; he’s working on four upcoming seasonal collections for his western audiences, and recently showed in the United States and Europe. He is continually exposed to audiences and experiences both Filipino and foreign, something from which he has benefited and learned while still holding true to his personal style and aesthetic. If anything, Papa has learned that the choice of jewelry is a matter of preference and confidence. “It depends on whether you can carry off the accessories. It doesn’t matter whether you’re chubby, thin, or anything else, as long as you have the guts to pull off what you’re wearing,” he insists. “Sometimes, I’ll have a client who’ll tell me they can’t wear earrings that are too big because they don’t wear big jewelry. ‘Try,’ I tell them. And now, they won’t wear smaller jewelry [anymore]. They’ll see a small piece and say, ‘I don’t want this. I want a big one.’” And Papa’s own preferences are clear: chunky, raw, and distinctive. His personality infuses each of his eye-catching statement pieces, enabling him to make a unique name for himself. Perhaps it’s all summed up best by the Arnel Papa design philosophy, which—like the jewelry it creates and the man whose name it bears—is simple, substantial, and unapologetic: “It has to be original. It really has to be different from others.”

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Papaâ&#x20AC;&#x2122;s own preferences are clear: chunky, raw, and distinctive. His personality infuses each of his eye-catching statement pieces, enabling him to make a unique name for himself.

FEAT URE Len Cabili (extreme right) is born and raised in Iligan City where her parents did public service. Living in the Northern Mindanao region, her mother Leni Cabili (right) exposed her to different cultural practices.

MADE IN THE PHILIPPINES

At the heart of Len Cabili’s designs is a cultural fiber that threads through every Filipino TEXT DIANNE PINEDA PHOTOGRAPHY JILSON SECKLER TIU

Fashion designers have different ways of getting inspiration for their next big work. Alexander Wang took notes from something as ordinary as laundry disasters to make a collection with intentional color bleeds, while Junya Watanabe took to history books to give life to traditional Japanese peasant clothing. Back home, Len Cabili, designer and founder of ready-to-wear line Filip+Inna, goes for a more personal approach. She travels far south to Mindanao to interact, share stories, and even live with the country’s oldest tribes to learn about how they make their time-honored fabrics. “There is no middleman between us. It’s me going straight to the artisans and vice versa,” she says. The personal relationship she forges with the tribes enables her to understand not only the fabric but the culture and the meanings behind every color and pattern. The handmade aspect of the fabrics is what drew her to focus on natural and indigenous materials, supporting the different villages that made them. The challenge, however, came with some trepidation. She explains, “I was a bit scared to get into fashion because it’s very competitive. It’s a different world. But I knew I had to do something with meaning and purpose—and I love the work of the hands.” She translates the different elements of tribal clothing

into beaded tunics, woven vests, and patterned jackets. For her new collection set to be unveiled this October, Cabili will feature the work of artisans from 10 indigenous groups, some of which include Itneg, Kalinga, Ga’dang, and embroidery from Lumban and Taal. “It is quite exciting as we have spent the past year working and traveling to visit the groups who all have distinct textile traditions,” she shares. Cabili doesn’t consider the tribes she works with as mere resource people from whom she gets the materials. She continuously supports the communities to provide jobs for them and their families. At present, she leads a Back to the Loom project together with John Robshaw, her friend and a textile designer from New York. They were able to build the first weaving center for Yab Mann, one of the remaining dream weavers of Lake Sebu. The Filip+Inna enterprise, as Cabili staunchly advocates, is neither an abstraction of a certain culture, nor an exoticism of it. She looks at the process, the people, and the culture as a whole, not as an outsider looking in, but as someone who belongs to the group. She says, “I don’t update traditional wear—I take inspiration from it. The men and women of the indigenous groups around the Philippines are my fashion icons. I just love looking at old pictures and seeing how stylish they were.”

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The materials are made by tribal groups from the T’boli, Maranao, B’laan, Kalinga and Benguet Provinces.

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FEAT URE Cabili considers her mother Leni (left) as her muse since she was the one who introduced Philippine music, clothing, and dance to her daughter through the Bayanihan Philippine Dance Company. Cabili takes inspiration from traditional accessories (below).

MAKEUP CAMILLE VILLARUEL.

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“It is quite exciting as we have spent the past year working and traveling to visit the groups who all have distinct textile traditions.”

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the perfect balance

Two confident urban women on why “me-time” matters text DIANNE PINEDA photography SARA BLACK

After decades of struggle for emancipation from societal constrictions and after a long journey towards equality, women and their roles in what was previously considered a man’s world have tremendously evolved. Women now occupy important positions in the competitive work space as their heels click and clack up the concrete steps of the corporate ladder. However, women now face yet another struggle, one that is less cumbersome, but still pressing nonetheless—it’s finding the perfect work-life balance. And while this seems like an easy task, every metropolitan woman still needs time to engage in meaningful conversations, to unwind, and to cherish relationships. Cat Ng works in human resources, with responsibilities that range from strategic planning, employee and organization development. It can be a difficult career as it deals with the foundation of every well-functioning business: people. But for Ng, nothing

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is better than interacting with people and seeing their growth as time goes by. “I get motivated when I see people who set good examples for others and those who work hard to get closer to their dreams,” she says. Cheskie Ayson, on the other hand, works as a Public Relations officer for personal care brands. A self-professed workaholic, Ayson shares, “I’m addicted to work. I’m really ambitious. Every day I jump into the daily grind of meetings with so many brands.” But as for what keeps her going, she says, “I get inspiration from the strong women around me.” Despite their busy lives, both Ng and Ayson agree that time for the self is still essential. Ayson believes that one trick to do this is to leave work woes once the day ends. “Women should have time to take care of themselves, they deserve real care.” Ng says, “Women deserve to be happy, to have inner peace. I think a beautiful woman is one who’s happy and confident.”

After hours beauty

“Follow the basic steps for beauty: cleanse, tone and moisturize.” —Cat Ng

“To minimize eyebags, put on cold patches under the eye.” —Cheskie Ayson

For effortless, soft and manageable hair, both use Dove Daily Hair Vitamin.

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LIVING ON NORTHERNliving

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THE EDGE NORTHERNliving

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Gian Romano sets some things straight

TEXT SEPTEMBER GRACE MAHINO PHOTOGRAPHY RALPH MENDOZA

Gian Romano claims he’s nicer now. “I don’t just open my You’re rough around the edges—is that a fair assumption? mouth, letting out the B-word, the S-word, the C-word, I think so. I don’t sugarcoat things, and with the lifestyle the P.I.s,” he says. “I’ve realized it’s wasted time and energy, people think I have, with the people I associate myself, dwelling on unpleasant people and circumstances when I “rough-edged” is a word that comes to mind. I used to be very shy growing up in the province. Only when I was could be doing other things.” It’s a benefit of growing older. While crow’s feet is a fear— abroad did I realize I’ve nothing to lose by saying what I revealed humorously, hands patting the outer corners of his want to say. A lot of people may not like you for being open, eyes—the 33-year-old enjoys being a veteran of sorts in the but they’d respect you more. They’d also know you’re easy to fashion industry with all the wisdom age entails. “Of sorts” talk to because you don’t beat around the bush. is a valid qualifier, as despite being a full-time designer for nearly 14 years, something in him remains maddeningly Part of the industry, though, is the social game. elusive; unlike his peers, Romano has never presented at Yes, a lot of people like to be liked. It’s not about being Fashion Week, isn’t part of any designers’ association, and sweet but about being a person others would want to generally is not a visible figure in the scene. Much like meet. Now, I’m a good judge of character; it may be douche-y but sometimes, I meet sightings of Bigfoot, his forays into people and think, “No, I don’t the public eye are few and far between, “I used to be very shy want us to be friends.” Before, I’d just enough to remind people that give someone the benefit of the there’s more to Philippine fashion growing up in the province. doubt yet in the end, they screwed than the usual suspects. Yet his name Only when I was abroad me up. I eventually learned to trust and growing design legacy endure, my instincts. Some may find that testament to how brilliance is still a did I realize I’ve nothing to rude or mayabang, but mayabang weighty currency in the face of hype lose by saying what is bragging about what you’ve and social pleasantness. I want to say.” done. It’s not being selective of the There’s also the persona tacked on company you keep. to him, something he rarely bothers to address: that of a dark, rough-edged figure people have to be wary around lest they earn the brunt Are you back in Manila for good? of his wrath. Romano’s known to be blunt: fast to give his The thing is, I’m in and out of the country. People just succinct opinions, not-so-fast with making friends. Together assume I live abroad. with the brooding visage, the thick mane of hair, and the predilection for blacks and grays, there’s little needed to What’s next for you, then? convince the public that the legend surrounding him is true I’ve always wanted to do RTW, but it’s not the right time yet. It’s definitely in the plans, though. RTW is appealing to to life. Currently finishing his latest collection for Inquirer RED’s me: I make the clothes, display them, people send in their upcoming gala in November, Romano now confirms, clarifies, orders, I send the clothes to them—business done. I don’t and even reveals heretofore unknown facets of his life: that need to talk to every single customer who goes to the store. his Malate studio smells like cupcakes with his baking, that he can nurture plants from seeds to full bloom in his tiny Are you still selling in Singapore? garden at home. “I have a green thumb, I can cook, bake, I stopped because one, Black Market, the store that stocked sew—pwede nang homemaker,” he jokes. There is light within me, ceased operations six months ago. But even before that, I’d stopped because I wanted to focus on my brand. It also this dark enigma. Only a few are allowed to bask in it.

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For his upcoming collection, Romano is working with a fabric that is completely opposite from the usual black color and leather he is associated with.

COV COV ERER STORY STORY

came to a point where doing RTW became stagnant; I had to stop first and re-think. It’s still a question in my head where I want to bring the brand next, though, as this whole customer-to-customer thing is so stressful. For now, I’m busy with my upcoming collection for RED; later on, I’ll work on the nitty-gritty of my other plans. Speaking of the collection, please tell us more about it. Will we be seeing the usual “darkness” ascribed to you? People always associate me with the dark arts. Is it tiring to hear that? No, it’s funny, but I don’t take it seriously. Just because I like working with black and dark colors doesn’t mean maitim ang budhi ko. I guess no one does it here so people associate me more with that aesthetic. So what about this new collection? It’s from an idea I’ve had for a long time. A couple of years ago, I was with Martin Bautista, shopping for fabrics. I pointed out a fabric to him—I won’t say what but it’ll be very prominent in the show—and said, “I’d really like to make a collection out of that.” He’s like, “Are you serious?” It’s a material so romantic, so soft, nobody would think I’d work with it since people associate me with leather and black. It’s what you do with the fabric that matters, though. I’ve had this idea for so long but it’s only now that I know how to do it. The collection will be a play of textures, though I’ll still be playing with the whole dark thing. Abangan niyo

na lang. It’s always hard for me to explain when people ask, “What’s your aesthetic?” The people who’ll see the clothes will answer that. Has designing always been a drawn-out process for you? Yes. I’ve learned that while I may have many ideas, it’s more important to edit. It’s the same with life: through the years, I’ve learned to edit people out. In a way, collections are more complicated than dealing with personalities—though they’re complicated too. Some ideas sound good at first, but I have to know how to put out the right things at the right time. I nurture ideas, culture them so they become bigger in the end. I always ask, what’s next? There’s a certain discipline in design that you can exceed at times, but you can only go so far before it ends looking f*cked up, you know? There’s the challenge for me to push forward, but my design and creative processes have always been slow. I don’t like putting out a new collection from season to season, year to year. That makes no sense. I’ll just burn myself out. How does that work for business? In terms of visibility, I’ve always relied on print, making friends with editors. I also rely on having the right people wearing my clothes. That elusiveness people always ascribe to me, I don’t know how it came about but it started after I got back from New York and London. People would say my stuff is so expensive, yet nobody even asks me how much it costs to have something made. Namimili din daw ako

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COV ER STORY

damit mo. A jacket by me is a little less than that—and you can wear it a gazillion times. I’ve also had clients coming in wanting a suit. I give them a price, then they say, “Ganito sa Zara.” Okay, do the math: a shirt there is P2,500. A jacket, P6,000. Trousers, P3,000. Vest, P2,500. That’s P14,000, and they’re not made to measure. They have be altered, which starts at P300. What kind of client do you turn away? Mine is less than P20,000, and the suit is made to fit you. [Deciding that] is instinctive. It’s common here for People don’t think from that perspective, of designer items acquaintances to approach and say, “Hey, yung jacket ko, ha?” as investments. They compare designer with fast fashion, You haven’t even called me, b*tch! Is that their polite way to and think Zara’s the ultimate, which is sad. say “hi” or a way to make me feel good? Because honestly, it’s annoying and insulting. Those are people I’d never want Given all that, what has kept you in the game? to work with. There are also clients who complain and My work. I’ve always been focused on what I do and what complain—some folks are just born scammers, I guess. They I want to do. I’m not concerned with what people think come in, thinking they can get away with things. I don’t deal of me, if they’d love what I do. I’ve been told, “You don’t with those, though. I prefer clients referred by friends and belong here.” Well, I was born here so I have the right to people I know. be here, okay? But then again, if it’s not here for me, it’ll be somewhere else. It’s true I’m more accepted abroad—that’s So is your stuff expensive? fine. What’s more important is that the people I admire like I think my pricing is fair, it fits the product. How much me. I don’t need a thousand admirers; it’s a matter of taste, does it cost to have a designer cocktail dress—around anyway, and most people’s tastes here are different from P15,000 to 20,000, right? How many times would you mine. I have a very niche market, yes, but I’m happy most of wear that? Twice, so people won’t think paulit-ulit ‘yung the people I respect give me the same respect. ng customer. Yes, at times, because I can’t accommodate everyone. There are also people I don’t want to work with. It may be bad for business, but I can’t create something that will make you feel good if I don’t think it’d be a great fit for us to work together. If I force it, you’d just come back complaining.

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COV ER STORY

“I don’t need a thousand admirers; it’s a matter of taste anyway, and most people’s tastes here are different from mine.”

STYLING EDLENE CABRAL. SHOT AT FINDERS KEEPERS.

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URBAN UNIFORM The ease of utilitarian nonchalance takes charge against constriction and conformity PHOTOGRAPHY CYRUS PANGANIBAN STYLING EDLENE CABRAL

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ST YLE

On Charina: Jumpsuit, P1,190, and laced bra top, price available upon request, both H&M. Boots, P2,590, Zara,TriNoma Mall. On Jerome: Bomber jacket, P7,990, Zara, TriNoma Mall. Button-down shirt, P3,950, Massimo Dutti, Shangri-La Plaza Mall. Trousers, P2795, Topman, SM Megamall . Boots, H&M, price available upon request.

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On Charina: Button-down shirt, P2,290, and boots, P2,590, both Zara, SM Megamall. Skirt, P1,290, Stradivarius, Glorietta 2. Leather jacket, P19,950, Massimo Dutti, Shangri-La Plaza Mall.

On Jerome: Sweater, P1,690, and boots, price available upon request, both H&M. Trousers, P2,990, Zara, SM Megamall. Leather jacket, P19,950, Massimo Dutti, Shangri-La Plaza Mall.

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ST YLE

MAKEUP JOYCE PLATON OF SHU UEMURA. HAIR MARK FAMILARA. MODELS JEROME LORICO AND CHARINA SARTE.

On Jerome: Overcoat, P7,990, Zara, SM Megamall. Leather jacket, P19,950, Massimo Dutti, Shangri-La Plaza Mall.

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ST YLE

On Charina: Sweater, P3,490, H&M. Trousers, P2,990, Zara, SM Megamall.

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ST YLE On Jerome: Leather jacket, P12,990, H&M. Button-down shirt, P2,290, Zara, SM Megamall. Trousers, P2,795, Topman, Robinsons Magnolia. On Charina: Overcoat, P13,990, and thigh-high boots, price available upon request, both H&M. Top, P1,990, and skirt, P2,290, both Zara, SM Megamall.

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M ARKET

AFTER HOURS

Easy and effortless with a hint of sporty is anything but boring

1. Watch, price available upon request, Armani Exchange, Shangri-La Plaza Mall. 2. Jacket, P10,750, Lacoste, SM Megamall. 3. Scarf, P18,850, Tory Burch, Shangri-La Plaza Mall. 4. Blouse, P6,450, Armani Exchange, Shangri-La Plaza Mall. 5. Sunglasses, P6,000, Panda, SM Megamall. 6. Pants, P4,950, Armani Exchange, Glorietta 5. 7. Boots, price available upon request, Reiss. 8. Backpack, P3,250, Lacoste, SM Megamall.

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market. Coupling this with Sharp’s new AV Rack—a speaker, TV rack, and digital media player all in one--promises an enhanced, cinema-quality entertainment experience for you and your family. Indeed, Sharp has come a long way in its relationship with Filipinos. Even after 32 years, it continues to create products that are deceptively simple but are attuned to the Filipinos’ needs. Just as its products are guaranteed to last long time, so is Sharp’s dedication to uphold its legacy of quality products and engineering. SHARP (PHILS.) CORPORATION Km. 23 West Service Rd., South Superhighway, Alabang, Muntinlupa City Tel. No.: (+632) 842-0525 to 29 Fax No.: (+632) 842-0530 Toll Free No.:1-800-1-888-4952 Website: www.sharp.ph

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EATS The vegetables served with the prawns and scallops are grilled to give it that extra flavor.

HARVEST SEASON

This bistro-style restaurant is rooted in healthy eating and fresh produce TEXT MARAH RUIZ PHOTOGRAPHY JILSON SECKLER TIU

Eating local has always had many advantages. Locavores argue that the food is healthier because the produce is fresher. It also has a number of environmental benefits, like reducing the carbon footprint by minimizing the distance that the produce has to travel. Aside from these reasons, it also has an economic impact on the community as it provides support to local farmers. With all of that in mind, Roots Market Bistro hopes to be a haven for locavores and casual diners alike. They do not bank on anything trendy, but can vouch for the freshness of the produce they use for their food. They receive a fresh batch of different produce daily from their partner farms in Tagaytay and Bukidnon. Depending on the time of the year, they get seasonal vegetables, fruits, and seafood. As such, they build their menu around the produce that is currently available. The look of the restaurant is reflective of what Roots wants to achieve. A mini store, fashioned to look like a farmerâ&#x20AC;&#x2122;s market, will welcome you at the entrance. From

here, you can buy coffee, some sauces that they make inhouse, and some greens as well. The dining area is inside a mall but looks like an outdoor garden set with booths for diners. It was designed by Isabel Maniti, wife of head chef Chris Oronce, to be the embodiment of comfort. Worth a try is the Salad Rian, named after one of the chefsâ&#x20AC;&#x2122; daughters, which has raspberry balsamic dressing, strawberries, orange slices, pine nuts, feta cheese, and arugula mixed in with the lettuce. Roots also makes a mean bacon, lettuce, and tomato sandwich. Perfect for a heavy lunch is the double pork chop served with wilted greens, baby carrots, tomato, sweet apple, and mashed potatoes; while the prawns and scallops, served with roasted lettuce, zucchini, and tomato is perfect for a light dinner. For dessert, have a plant. Or rather, a dessert made to look like a plant. The Roots potted dessert has Madagascar vanilla gelato, chocolate cake, and chocolate rocks served in a small green pot. Roots also makes their own jams, which has flavors like kamias, guava, dalandan, and ponkan.

Roots Market Bistro. Ground Floor, Greenhills Promenade, Greenhills Shopping Center. www.facebook.com/RootsBistroPH.

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EATS The Roots potted dessert simulates the small indoor plants displayed on every table in the restaurant (left). Visible from above, the booths spell out the restaurantâ&#x20AC;&#x2122;s name with tables that resemble Scrabble pieces (bottom, left). The chicken paprika pasta is made from fresh herbs and spices (bottom).

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EATS Maximo serves comfort food inspired by familiar Filipino dishes with an added twist: mushroom chicharon, lamb salpicao, and Chocnut chocolate cake.

RIGHT AT HOME

A return to favorite childhood flavors is at the heart of Maximo’s appeal TEXT NANA NADAL PHOTOGRAPHY SAM LIM

Despite its narrow façade, the restaurant’s parking area is always teeming with cars. Even from afar, you can see the flurry of activity inside through its glass windows, and you can’t help but want to join in on the fun and discover Maximo’s promise of comfort food and casual dining. An easygoing vibe greets you as soon as you open Maximo’s door. The cozy but no-frills interiors are a practical mix of couch and chair seating, occupied mostly by groups engaged in animated chatter. The atmosphere is exactly how the all-male, all-University of the Philippines Manila alumni owners envisioned it to be, a hangout where they can kick back and enjoy food that they grew up with. The menu is a line-up of items that marry the familiar with the interesting: lengua sisig, tuyo with farmer’s cheese pasta, binagoongang bagnet, galantina sandwich. The fast-selling lamb salpicao and mushroom chicharon with cilantro garlic

dip are testaments to how Chef Geth Savellano perfectly injects excitement into old favorites without muddling what we love about them. That holds true down to the healthy Maximo Salad, its flavors clean, each component recognizable, and every bite making a connection. But the nostalgia really kicks in with the desserts. For the Flat Tops buchi, you have to work your way through the crisp exterior and the soft layer of camote before getting to the unmistakable taste of your childhood bonbon. The gratification from the Chocnut chocolate cake is more immediate, with the Chocnut shavings right on top of the very dense and lusciously moist chocolate slice. With the selection of dishes available, Maximo is the type of place that you can and would want to frequent. And with its 60-seater second floor function room, it just may be where you’d want to hold your next party too.

Maximo Comfort Cuisine and Casual Dining. 173 Katipunan Extension, Quezon City. 437-7661. www.facebook.com/maximoqc.

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The restaurant combines both modern and rustic accents to replicate a lived-in and comfortable home.

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RECIPE

SUPER BOWL

An easy pasta dish you can consume as fast as you can make it TEXT CHRISTEL BONCAN-CONSTANTINO PHOTOGRAPHY AND STYLING GABBY CANTERO

ANCHOVY-GARLIC PASTA INGREDIENTS

8-10 garlic cloves, finely chopped 2 cans anchovy fillets 1/4 cup olive oil 2-3 teaspoons lemon juice pasta noodles of your choice Grated parmesan cheese (optional) Chopped parsley (optional) PREPARATION 1. In a large pot, bring lightly salted water to a boil. Cook pasta noodles until al dente and drain. Set aside. 2. In a skillet, sautÃ© garlic in olive oil over low heat for about 2 minutes. Add in anchovy fillets and break them up with a fork. Cook until garlic just starts to brown. Remove from heat and add in remaining olive oil. Sprinkle with parmesan cheese and chopped parsley.

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T HE GET

UNRAVELLING APPEAL

A classic piece that evokes the mysterious charm of generations past TEXT PRISTINE L. DE LEON

In the Spanish era where women’s speech seemed too prudish and reserved, every movement of the body was believed to betray a promise. The hand fan or the abanico served as a medium for expression. With it, every trivial gesture became a revelation of sorts—and it’s up to the gents to decipher hidden meanings. Ambiguity held an exquisite mystique and so a woman with a fan wielded a powerful enchantment. Such customs, of course, receded along with the passing of the Spanish period; yet the lapse of time did not strip the abanico of its powerful allure. Casa Mercedes, Inc., the oldest fan factory in the country, sustains the richness of this charming token of the past, and to prevent it from simply being a remembrance harking back to a lost time, the company chose to reinvent the piece. Monchet y Cia, the bespoke line designed by Monchet Diokno-Olives, features handmade fans rich with classic embellishments yet assuming unique contemporary forms. The company began with Mercedes “Edeng” Diokno-Rovira, who learned the art of making hand fans on her trips to Madrid. The company continues to rework wood and silk, and on the redesigned little canvas, contemporary sensibility finds expression. The abanico has captured and expressed the allure of the changing times. Modern Filipino iconography—food, tourist attractions, and pets—now inspire the 2014 Cruise Collection of Monchet y Cia. Reminiscent of its significance in Spanish times, the abanico once again draws attention to the ordinary and renders it captivating. Queen Sofia of Spain and celebrity Sarah Jessica Parker are only two among the many who now hold pieces from this modern line—a series of hand fans compelling women to make a statement. Casa Mercedes, Inc. 148 G. Reyes Street, San Juan City, Metro Manila. www.monchetycia.com.

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