Inquirer RED: 2016 April

Jaime Ponce de Leon, Carlo Calma, and Stacy Rodriguez’s

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Creative Circle

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EDITOR'S NOTE

God is in the Details I believe there is a direct correlation between space and inspiration, at least for me and I’m sure for a lot of people, too. Travel has a way of presenting new ideas, and if this isn’t possible, books and the simplest things such as opening your computer and checking out Pinterest can do wonders.

I love seeing many beautiful interior spaces. If you follow my Instagram account @riarecommends, there are a lot of posts about interiors, and yes, shoes. Even the everyday object, if designed with passion, can be a work of art.

In this issue, this is what we want to focus on: design.

We explore how creative minds come up with their products, architecture, art, and even food. Sometimes, even just changing your shades to some hip Linda Farrows can be the first step to new fashion possibilities. Get inspired!

@riarecommends

CONTENTS

ADMIRED 12

INSPIRED 6

Photography Artu Nepomuceno

An artist’s charmed space buoyed by a

Styling Ria Prieto

magic weave

Creative direction Nimu Muallam

Makeup Chuchie Ledesma and Joan Teotico

EXPLORED 18

Hair Rudolf Davalos

Charting Cascadia’s offroad routes and

On the cover: On Jaime: Shirt, Paul Smith, Greenbelt 5;

hidden lakes

shorts, Calvin Klein, SM Aura Premier; shoes, Paul Smith, Greenbelt 5. On Carlo: Polo, Paul Smith, Greenbelt 5;

shorts, Calvin Klein, SM Aura Premier; shoes, Carven,

THINKPIECE 23

SM Aura Premier. On Stacy: Dress, Givenchy, Adora,

The loss and neglect of what were once our

Greenbelt 5; sandals, Giambattista Valli.

foremost landmarks

This page: Ribbon stool, Capellini, Studio Dimensione.

Group Publisher Bea Ledesma Editor in Chief Ria Prieto Creative Director Nimu Muallam Art Director Edric dela Rosa Copy Editor September Grace Mahino Editorial Assistant Pristine de Leon Staff Photographer Patrick Segovia External Relations Officer Liza Jison

FOLLOW US ON

Contributing Writers Lex Celera, Angelo Comsti, Denise Fernandez, Jenna Genio, Lisa Ito, Meg Manzano, Romeo Moran Contributing Photographers Elvert Bañares, Jenna Genio, Pat Mateo, Artu Nepomuceno, Angelo Sison Contributing Illustrator Martin Diegor

Inquirer RED Magazine-OFFICIAL

Board Chairperson Alexandra Prieto-Romualdez SVP and Group Sales Head, Inquirer Group of Companies Pepito Olarte Sales Director Ma. Katrina Mae Garcia-Dalusong Business and Distribution Manager Rina Lareza Sales Inquiries Email: sales@hip.ph Telephone No: +63 (2) 403 8825 local 239

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Want to see the other issues of Inquirer RED Magazine? Check out inquirer.net/red

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ON THE RADAR

By the Prairie Prints and patterns are at the forefront of the season's most coveted WORDS DENI S E FE RNA NDE Z

BRING OUT THE PJS

Known for its signature underwear-as-outerwear look, Dolce & Gabbana further feeds our fancy by bringing the slumber party out of the home and into the limelight. Their capsule collection consists of premiumquality silk pajama tops, trousers, robes, gowns, and shorts that come in multiple prints.

QUEEN OF AROMAS

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Alexander McQueen is finally dipping its toes into the business of perfume with the launch of its first ever fragrance house and its first signature scent for women.

McQueen, dubbed as a fragrance fit for night owls, recalls evening encounters right out of a Gothic romance novel, with feminine floral notes of jasmine, ylangylang, and tuberose contrasting the subtle hints of pink and black pepper, clove, and vetiver.

SITTING PRETTY

Roche Bobois’ 8x8 Mah Jong sofa has been a favorite for its customizable features that can unleash anyone’s creative streak. For a special charity auction, the French designer tapped eight artists, including Pio Abad and Larry Achiampong, to re-interpret the famous piece to their liking—from its patterns and design to its formation and placement. Their work will be displayed at the Roche Bobois London showroom from April 5 to 10 before finally being auctioned off on April 21.

A PATCHWORK ORANGE

The last quarter of 2015 saw the rising trend of animal prints and patterns, with fashion labels such as Erdem, Alexander McQueen, and Céline drawing much attention through their print collections.

February 2016’s London Fashion Week saw the same in Burberry’s new line called “A Patchwork,” a frenzy of textures, patterns, and prints. One of its major attractions is Burberry’s latest Patchwork Bag, a petite buckled clutch that can also be used as a sling or a crossbody bag. Each Patchwork Bag is uniquely named after different British villages, streets, and towns, and with no items designed the same, the phrase “one-of-a-kind” has never been better embodied.

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ACQUIRED

Stools of the Trade

The constant reshaping of the home’s humblest of thrones Kub stool by Nendo, Moroso

TWB, Cappellini

Nassau round ottoman, Ethan Allen

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Tom & Jerry stool, Magis

Stool One, Magis

Container stool, Abitare Internazionale

Brook stool by Tokujin Yoshioka, Moroso

Capitello stool by Rajiv Saini, Moroso

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INSPIRED

A Woven Tale The natural elegance of pieces wrought from wood and weaves W O R D S PR I S T I N E D E L E O N P H O TO G R A PH Y A R T U N EPO M U CEN O

Above: Works of Roberto Chabet adorn the walls, for the maestro was the mentor of Soumak’s owner a few years back.

Right: The artwork proclaiming “Quit while you’re ahead” is a work made by artist Jayson Oliveria.

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Manila was volatile in the ‘80s. It was the decade that followed the uproar of a long-bourgeoning revolution, a succession of years when a messy country was making headlines across the globe, and a decade that—with no related Messianic purpose whatsoever—saw the birth of a rug called The Binding Weave.

The rug made of abaca, produced by an export company called Fibex in the ‘80s, wasn’t to make the news until 1994 when it won the Editors Award for floor covering at the International Contemporary Furniture Fair (ICFF) in New York, besting the likes of Jack Lenor Larsen, Einstein-Moomjy, and 4,000-something other hopeful participants across the globe. Call it a magic carpet of sorts. Reportedly, one mute weaver began to talk after weaving for a year. No doubt that the fiber easily acquired the comedic yet convincing moniker “Abacadabra.”

The artist who designed it, a sweet lady notorious for her outrageous and provocative conceptual art (which raised a few eyebrows and which, as she laughingly puts it, nobody understood) made her foray into the business of design. It eventually paved the way for the creation of Soumak, a retail store carrying art and luxury handmade furniture made from abaca, ruffian, tikog, buri, and kugon, most of

Right: Alongside antiques, the unit exhibits Soumak pieces such as the chandelier, the classic rug, and artworks by Gerry Tan and Johnny Alcazaren.

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which populate the charmed interiors of a One Roxas Triangle unit. In a sense, it serves as Soumak’s extended showroom, and occasionally the thinking place of the artist/designer who sired the brand.

Over the years, Soumak rose to prominence with its artisanal home furnishing: artworks, lamps, chairs, placemats, candleholders, baskets, and scents. Inside the One Roxas loft, artworks of maestros Roberto Chabet and Constancio Bernardo lend their quiet panache to the room alongside the works of artists Trek Valdizno, Johnny Alcazaren, Pardo de Leon, and Elaine Navas. There’s rarely a space untouched by some enchantment or another.

One enormous kamagong bookshelf assumes the appearance of having grown in the room over the years, like a tree plucked straight from an

enchanted wilderness or simply from the artist’s everwild imagination. In another room, a banig woven in Marawi is on a bed, waiting to cradle the weight of royalty.

Moreover, streaks of the artist’s taste for the outrageous are still furtively in attendance. Take for example the room at the far end, which can look like a bordello.

As for The Binding Weave, it saw many other iterations, gracing the homes of Waldo Fernandez, Trip Haenisch, Britain’s The Shard, and the showroom of Ralph Lauren in New York. A Singaporean ambassador was said to have ordered several of the floor covering just last March. Here, it’s present almost everywhere, recalling either the artist’s penchant for provocation, the revolt of a country at the cusp of fragmentation, or simply the weaver who regained his voice. Whatever the case, now, as it did in the 1980s, the Abacadabra still weaves its magic.

Above: Multiple incarnations of The Binding Weave are present in every room.

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Left: For years, Soumak has been turning local artisans into designers able to work with natural materials such as abaca, ruffian, tikog, buri, and kugon.

DOWN TO EARTH Apart from furniture, Soumak’s roster of curiosities includes woodwork by acclaimed wood carver Osmundo Esguerra; a volume of Bistro Filipino promoting local cuisine; and the latest iteration of The Binding Weave organically dyed with acacia leaves.

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DEVOURED

Feasts for the Senses For these classic dining destinations, a compelling visual enticement is part of the attraction WORDS ANG ELO COMS TI

Design goes beyond visual value. It serves another purpose, which is to engage people in a conversation. Much like a piece of artwork, it wants you to react and reply to the message it is trying to convey, be it constructively or otherwise.

In restaurants, design doesn’t only come on a plate; it is plastered on the walls and injected in practically every corner of the room. That is because our eyes eat first. Dining is an experience, and anything, from the provocative wallpaper to the dim lighting, can contribute to the encounter to be had.

These five Manila-based restaurants have done well in starting a dialogue—and are getting positive feedback. They may be different in style and decor, but they all display good taste.

The Blackbird at Nielsen Tower Ayala Triangle Park, Makati It’s a space rich in history, the only pre-World War II structure in Makati CBD to survive decades of evolution and urban progress. Over time, it has seen many transformations. Originally an airport control tower, the space also housed police headquarters and even a public library. But it is for this restaurant that the Nielsen Tower outgrew its ugly duckling stage and bloomed into a stellar space. The Art Deco design is punctuated with bold colors, delivering a statement that’s just too hard to ignore.

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Blackbird's bar area takes inspiration from the old airport lounge.

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Lemuria, the ideal venue for intimate gatherings, evokes the appeal of Southern France.

Grace Park's interiors marry industrial elements with rustic charm.

Grace Park Rockwell, Makati Convention might not deem them attractive but the mismatched chairs, cracked cement floors, and exposed planks all seem to work for the restaurant’s rustic and unkempt design. Step in and you’ll immediately feel at ease as the place has no pretensions and complies with no strict design standards. It seems unfinished, yet this is what gives the restaurant its peculiar appeal.

The same goes for the tableware, with the plates, utensils, and glasses mismatched but working together just fine. It’s a language only a few can pull off with finesse. Luckily, Margarita Forés is a pro at it, with Grace Park as proof.

Vask The Fort, Taguig Be it the Gallery, the main dining room, or the

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al fresco lounge, you won’t run out of spaces to wander into; even the corners and the hall leading to the comfort room are decked with intriguing masterpieces. The rooms are predominantly muted in color, allowing for the artworks and bold graphics to stand out. The same can be said of the dishes in the Gallery, as they are craftily designed to impress. When at Vask, your senses get full even before the meal starts.

Lemuria New Manila, Quezon City There is a reason why this secluded spot always makes it to “the most romantic restaurants” lists.

Its design doesn’t speak volumes unlike the others in the roster, but it definitely sends its message across clearly. The brick walls, wooden beams, and surrounding lush greens offer that cabin-like feel that brings warmth, comfort,

and, well, guys on their knees. Its elegance is unpretentious, evidence that loud decor isn’t always the best means to get heard.

Hole in the Wall Kalayaan Ave., Makati It’s easy to get overwhelmed, even go mad if you have a ton of design ideas you try to stuff into a single space. The result could look contrived and confused and may leave the guests feeling the same way. But in this rather unconventional food court, a far cry from the uninspired stalls that are ubiquitous in many shopping malls, the incongruous mix of industrial ideas and hints of rusticity result to a happy design marriage, one that gave birth to the hip and more warmly welcomed concept of a food hall.

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SOLE SELECTION When it comes to footwear, streamlined, minimalist designs with an edge set the trend for the season. But if you had one new takeaway, that would be strappy sandals from the likes of Gucci and Michael Kors. Pairs with flat soles and soft leather uppers can be the ideal accompaniment to loose dress slacks.

12 Raf Simons

Prada ATTIRED

Pair Play Accessories that lend a playful edge to modern menswear

Gucci

W ORDS L E X CE L E RA PH OT OGRAP H Y PAT M AT E O

Clothes may make the man, but what’s a perfect gent without a pair of sneakers and an accessory to boot?

Suits—the archetypal piece of menswear—are here to stay alongside a good pair of dress shoes. But Spring/Summer ’16 spells more experimentation and less embellishment— classic styles with an athletic twist.

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Sneakers are becoming more and more in vogue, and accessories are consistently getting the starring roles in every runway. While sunglasses will always have a place in any gentleman’s wardrobe, opt for distinct eyewear (conveying authority yet with playful streaks) similar to those from the racks of Linda Farrow.

Loewe

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BARED

Message in a Bottle The angles, curves, and whimsies that give form to the scent's ephemeral charm WORDS PRIS T IN E D E L E ON IL LUS T RAT IO N N IM U M UAL L AM

Perfume bottles never want in their show of panache. From the time of intricate atomizers to the geometric dominance of Chanel No. 5, the bottle form is always as expressive (and as desirable) as the fragrance. Neither Marc Jacobs would have conveyed properly the laid-back cheerfulness of his scent had he not scattered daisies on its golden cap, nor would Jean Paul Gaultier have paid a more provocative homage to women than with a curved bottle wearing a corset. Here, we round up the shapes that did just that: defining, celebrating, and giving an edge to the world of perfumes.

Jo Malone

Prada Marc Jacobs

Diptyque

Burberry

Jean Paul Gaultier

Clinique Chanel

Byredo

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Guerlain

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ADMIRED

THE ART DIVIDE Of departures and finding respite in one’s roots WORDS MEG MANZANO PHOTOGRAPHY ARTU NEPOMUCENO STYLING RIA PRIETO

While artists have traditionally been painted as solitary creatures, it seems today’s landscape is being shaped by the most creative of collaborations.

The potency of art has seen it cross large divides—from the heady world of classic visual creativity to rhythm, film, and fashion. From Schiaparelli’s infamous lobster dress designed in collaboration with Salvador Dali to today’s rather more democratic takes—the creative partnership, for example, between skater brand Vans and Japanese artist Takashi Murakami—the nature of these collaborations has evolved immensely. Today, we celebrate these artistic constellations that not only serve to bring pockets of the craft to different audiences, but also find new forms of expression.

14 On Jaime: Shirt, Paul Smith,

Greenbelt 5; shorts, Calvin Klein, SM Aura Premier; shoes,

Paul Smith, Greenbelt 5. On Carlo: Polo, Paul Smith, Greenbelt 5;

Shorts, Calvin Klein, Greenbelt 5; shoes, Carven, SM Aura Premier.

On Stacy: Dress, Givenchy, Adora, Greenbelt 5; sandals, Giambattista Valli.

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“MY BACKGROUND IN INTERIOR DESIGN BECAME MY FOUNDATION IN THE ART BUSINESS. IT GAVE ME THE CONFIDENCE TO PUT ART IN ITS PROPER CONTEXT."

Shirt, Calvin Klein, SM Aura Premier.

JAIME PONCE DE LEON Gallerist

For a man whose daily commerce largely revolves around art, Jaime Ponce de Leon has all his bases covered. Despite having no formal education in the field, Ponce de Leon has always attempted to put it in its context—“I started to take courses related to work: I’ve attended Caring and Acquisition of Art at Sotheby’s in New York, History of Modern Art at University of Arts London (UAL), The Movements of Modern Art at the University of Paris, and now I am currently in London studying Art Law at Sotheby’s,” explains Ponce de Leon. Helming León Gallery since its inception, the art aesthete has been credited as one of the authorities in Manila’s burgeoning auction circuit, “I

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finished business management in school but my background in interior design became my foundation in the art business. It gave me the confidence to put art in its proper context,” he relays. This marriage of industries consequently resulted in a practice that gave Ponce de Leon the foresight needed to ground and in many ways, grow an audience of art. “At the end of April, we will be having a show that will showcase the Masters of Philippine Modern Art, and in May, we will have the first exhibition in Manila specializing on 19th Century Philippine Art that will include painting, ivory, and furniture,” he offers, “this will be the show of the decade.”

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“WHAT I’M LOOKING FORWARD TO IS WORKING WITH DIFFERENT ARTISTS—I FEEL LIKE THAT’S WHY I CAME HOME, TO FIND PEOPLE WHO HAVE BEEN DOING THIS FOR SO LONG, LIKE THE BARONG EMBROIDERY.”

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Top, Eustacia; Pants, Calvin Klein, SM Aura Premier; Shoes, Dries Van Noten.

STACY RODRIGUEZ Designer

“What I'm looking forward to is working with different artists—I feel like that’s why I came home, to find people who have been doing this for so long, like the barong embroidery.” Months after arriving back in Manila, Stacy Rodriguez whips up a new collection for her namesake label, Eustacia.

Initially a stylist, Rodriguez charts her foray into fashion design as an organic occurrence. “When I was doing it before, I was just making clothes and selling them online. Out of frustration, I applied for formal fashion training because I would constantly draw these pieces and show contractors pegs but they couldn’t do it, and even I couldn’t do it! So now that I’ve gone to school, I can show them exactly how to go about it—it helps the business, less cost and less mistakes,” explains the designer previously based

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in New York. Now, the Parsons graduate’s label seems a gorgeous extension of the artist herself, “It used to be called Glasnost pre-New York era, and now it’s called Eustacia because these are things I’d like to wear all the time but just have these little details that are different—no-fuss dressing also, basically.” From the empire state of mind that taught Rodriguez not to use other fashion references, and to instead cull inspiration from other things apart from the realm of fashion, the designer comments on the local industry’s peg culture. “It’s good to have a peg because you know what you want,” starts Rodriguez, “but I can’t make you exactly that. If you want that, then just buy it.”

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MA KE U P CH U CH IE L E D E S M A AN D JOAN T E OT ICO H AIR RUDOL F DAVALO S

“IF YOU CAN’T EXPLAIN YOUR DESIGN IN ONE SENTENCE, IT MEANS YOU’RE STILL CONFUSED. IF YOU ARE ABLE TO, THEN YOU’RE MORE CONCENTRATED, OR YOUR WORK IS MORE EDITED.”

CARLO CALMA Architect

“Today is the mourning day of all architects right now,” states Carlo Calma, “because Zaha Hadid passed away and she’s basically like our Michael Jackson.” Immersed in the worlds of art and architecture, Calma is a man who wears his myriad interests quite well. Commenting on the landscape of art as a highly diverse one, the architect observes how food is also thrown in the mix along with fashion and music. “To create a niche market [for your brand] is to create something multi-disciplinary.” He adds, however, “If you can’t explain your design in one sentence, it means you’re still confused. If you are able to, then you’re more concentrated, or your work is more edited.”

Ensnared by the undeniable market that is emerging in Asia, Calma, who

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received his education at the California College of the Arts in San Francisco and the Architectural Association School of Architecture in London, figured it’s the most opportune time for him to go back to his roots. With a mother working in manufacturing and a father in construction, his decision to return also allowed the possibility of cementing himself as one of the folks who would build and reshape the local landscape, along with the discourse that surrounded it. With a roster of clients who adore his dizzying proficiency for translating art into livable space, as well as a much-anticipated October show with photographer Jay Yao (“Think ‘assemblages’ for our show”), Calma continues to accomplish what initially brought him back home.

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Clockwise from Left: Preparing to kayak back to the car through the Cascade Lakes Scenic Byway; a boat-in-only beach reached through Cultus lake; Mt. Scott’s peak, the highest point in Crater Lake National Park

EXPLORED

Country for Two

In the Pacific Northwest, dunes, mountains, and hidden lakes are the grand attractions W ORDS A ND P HOT OGRAP H Y JE N N A GE N IO

Many refer to the Pacific Northwest region as Cascadia, and the lucky many who have plumbed its heights and depths can testify to its charm. The iconic Cascadian flag brandishes the silhouette of a douglas fir tree superimposed on blue, white, and green, the blue representing the sky and the Pacific Ocean, the white alluding to snow and clouds, and the green symbolizing the forest and foliage. In short, it’s all about the woods, the wonder, and the wilderness.

I was in Portland, Oregon visiting my partner Xavier when we organized a backpacking road trip down through Central Oregon, going up the coast back to Portland. We left the city at dawn aboard his black Subaru Baja. It was off-season in early fall. The sun was warm, the

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nights were freezing, trails were clear, and every destination felt fantastically remote.

Our journey took us to an alpine meadow at the foot of a jagged peak called Three Fingered Jack, whose saddle we reached through scaling a wall of scree. That night was the first time I shot the unobstructed Milky Way and its Dark Rift.

During the day, the occasional rifle shot would echo in the distance, likely coming from a hunterfrequented backcountry.

We made the city of Bend our base when we wanted to treat ourselves to a nice lodging and a hearty meal.

We’ve always nursed a fondness for eco-tourism adventure towns.

They’re places to gather intel, get outfitted, and marvel at the gear of like-minded travelers: 4x4s,

bikes, canoes, you name it.

From Bend, we climbed Black Crater in a day, its summit stained with red cinder and adorned by a garden of bleached, natural bonsai. We then wandered across alpine lakes for two nights, paddling with kayaks, packing in dry bags, and sleeping safely by the water.

By the time we were set to leave Bend, I’d gotten wind of a breathtaking spot they called No Name Lake, tucked away in one of Broken Top Mountain’s saddles. We then extended our trip and made the overnight trek to see the glacial pool at sunrise—simply put, it was epic. After a few high fives, we hit the road and went south to feast our eyes on the sacred Crater Lake from the highest point of the park, Mt. Scott.

We headed westward to the Pacific Ocean.

With some consulting with Google Earth, we looked for a beach to camp in. It pointed us to a rough dirt road with deep ruts, a route favored by 4x4 enthusiasts as it kept most travelers at bay. We braved it aboard the Subaru, and there at the end of the route, a vast empty beach was tucked away where the sea, dunes, and forest converged. We pitched our tent right on the sand.

The trip was one for the books. Of course, by the end of it all, needless to say that I’d grown attached to Xavier’s Subie, felt proud of myself for leveling up my backpacking stats, and took home a lot of photographs for some indulgent reliving.

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On a long hike up Broken Top, a view of Mt. Bachelor greets every traveler wandering near Todd Lake.

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e

d

Clockwise from Left: C|S Design Consultancy, Inc.'s sculpture re-imagining the Pasig river; visual art by Poklong Anading on KM 0 in Luneta; Jorge Yulo's muhon representing the Mandarin Hotel.

ART

Seeing the City

The Philippines' first participation in the Venice Architecture Biennale speaks of places remembered, recorded, and imagined WORDS P RIS T IN E DE LE O N P H OTOGRAP H Y E LV E R T C. BAÑ A RE S

Surveying local buildings, landmarks, boroughs, and landscapes, six architects and three contemporary artists present an image of the city at this year’s Venice Architecture Biennale. Muhon: Traces of an Adolescent City is the selected exhibit for the country’s National Pavilion opening from May 28 to Nov. 27.

The Philippines’ historic first participation at the Venice Architecture Biennale was made possible through the collaborative effort of the National Commission for Culture and the Arts (NCCA), the Department of Foreign Affairs (DFA), and the Office of Senator Loren Legarda.

Following a democratic open call for curators, Leandro Locsin, Jr., Sudarshan Khadka, Jr., and Juan Paolo de la Cruz of the Leandro V. Locsin Partners (LVLP) was tasked to helm the exhibit,

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exploring the country’s many muhons rendered through the viewpoints of the past (Imprints), the current (Markers), and the forthcoming (Projections).

“The true test of architecture's value is in the way it endures through time and the way it resonates with people. The problem is, we are demolishing buildings before we have had the time to fall in love with them,” remarks Khadka.

Spurred by instances when projects require the demolition of existing structures, the curatorial team intended the exhibit to elicit discourse on the rapid creation and destruction of buildings, rousing further contemplations on their cultural value past the novelty.

Represented by 1335 Mabini, Poklong Anading, Tad Ermitaño, and Mark Salvatus

present KM 0 in Luneta, Pandacan Bridge, and Chinatown respectively, while architects and firms Eduardo Calma, Jorge Yulo, 8x8 Design Studio Co., C|S Design Consultancy, Lima Architecture, and Mañosa & Co. Inc. survey the Philippine International Convention Center, the Mandarin Hotel, the Magsaysay Center, the Pasig River, the Makati Stock Exchange (Lima Architecture), and the Coconut Palace (Mañosa & Co.).

“The true value of this exhibition lies precisely in this: that we, collectively, start internalizing and thinking about these issues being raised,” asserts Khadka. “We may never find perfect or complete answers to our questions. But we believe that the search for identity is more important than finding it.”

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ART

Caveat Emptor A quick look at local art forgery, and how much you should really be afraid of fakes on the market WORDS ROM E O M ORAN

There’s no doubt that local art is experiencing quite the boom right now. All of a sudden, it rose gloriously in the public consciousness: events like Art in the Park and Art Fair Philippines.

More influential people starting to collect works are enabling more artists to finally get their due recognition. Suddenly, the whole thing begins to look more and more lucrative. Although you still need to put in the work, it feels like it’s become a little less tough to be an artist in Manila.

The only problem is it’s not just lucrative for the artists; it’s just as tempting for forgers and fakers.

Although you don’t hear a lot of news about local art forgery (the last I can find was from two years ago about a forger who finally got caught), it certainly doesn’t mean it’s not a prevalent issue. “There are more fake paintings now,” says noted gallerist Vita Sarenas who owns Finale Art Gallery and authenticates various artists’ works. “I have seen several [faked] paintings from the old masters to the young contemporary artists, from [ Juan] Luna to [Elmer] Borlongan.” She tells me she receives at least three fake Ang Kiukoks a day, making one consider at least applauding these fakers’ audacity in their attempts to fool a seasoned gallerist. “As far as the U.S., saying they got it from eBay!” she exclaims. “That's how bad it is.”

Sarenas, who authenticates Kiukoks with the artist’s son Andrew Ang, has access to more sophisticated methods of detection such as chemical testing to check details—for example,

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whether the pigments used are the same as what the artist traditionally used—if the usual eye tests aren’t enough. For the rest of us who can’t always send a painting to the lab to verify, here are things you could (and should) do:

Make sure your dealer has a good track record This is already half the battle. While good dealers and auction houses still get fooled every now and then, it’s still a guarantee that reputable ones will carry legitimate artworks.

Do your homework Perform at least some diligence. If you’re looking at a particular artist, study his work and style and compare those with what you’re looking to buy.

They should line up somehow.

Curiously, however, not everyone in the local art scene has had the misfortune of encountering forgeries and fakers. Even without knowing how it is here, you’d think they would be commonplace.

“I have never encountered art forgery, whether as an art critic or as an artist myself,” heralded local artist Cesare Syjuco tells me. It’s entirely possible that they either choose their associates and contacts well, or aren’t magnets for these kinds of rackets—or both. Eva McGovern, consultant for the local Christie’s, also tells me as much.

Do we have any teeth against forgery? RA 9105 provides six to 12 years in prison, a P50,000 to P500,000 fine, and revocation of licenses from art dealers, but that seems to be about it.

Senator Loren Legarda once tried to push for strengthening the law in Congress, but nothing seems to have come of it.

Sarenas concedes the uselessness of the law.

“Who can stop the forgeries? Let the buyers beware,” she says. “Who will officially, legally police the fakes? Who is qualified to do it? As authenticators, we can only say our opinion.”

Your best bet then is to practice due diligence.

May you never be a victim of the bug, and may all your winning bids get you the real thing.

Make sure the signature is consistent with the artist’s practice Figure out how the artist signs; beyond the signature, where he/she signs is also important.

There’s usually a pattern that the artist follows.

The medium and the color of the signature can also be factors; a fake could have any of these things differently.

Check the back of paintings or the bottom of sculptures There’re usually old labels or stamps from previous auctions and owners. Forgers don’t usually think of these details, as they’re preoccupied with making the actual art look good.

Obtain solid provenance documentation Sound provenance pretty much authenticates a piece of art, and it has the bonus of getting you out of trouble should the art you purchased turn out to be stolen.

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ARCHITECTURE

The Last Ones Standing Preserving the cultural landscape, from modern structures to heritage landmarks WORDS L IS A IT O IL LUS T R AT I O N M ART IN DIE GOR

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Last Apr. 1, a fire razed the Faculty Center (FC) or Bulwagang Rizal at the University of the Philippines Diliman. The immensity of loss is still being accounted for in the fire’s aftermath: among the casualties were official records and book collections, artworks and archival materials.

Passing by the burnt building, I could not help but think of the weight and wealth of personal and collective memories that the place represents.

Another dimension of this incident is the issue of architectural heritage. Built in 1964, the structure was designed by Carlos Domingo Arguelles, considered an important proponent of Philippine modern architecture by art historians.

Arguelles was among the post-war architects who pursued the International Style, which, as discussed by Prof. Gerard Lico in the book Arkitekturang Pilipino: A History of Architecture and Urbanism in the Philippines, became a dominant aesthetic for Philippine architecture and a “unifying motif in the construction of buildings in [UP] Diliman” for some time from the 1950s onwards.

Some of Arguelles’ extant works outside the university from the same decade include the Philamlife Building in Manila; the Iglesia Filipino Independiente’s Cathedral of the Holy Child along Taft Avenue; and the Manila Hilton Hotel with American architect Welton Becket and Associates.

The Faculty Center’s fate, perhaps unknown for now, also reflects the larger state of precariousness faced by our historic buildings.

Over the past decades, several fine examples

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of pre-war and post-war heritage sites were lost to successive demolitions of historical landmarks. There may have been instances when the structure was no longer tenable, but in many other cases, structures that could otherwise have been saved and given a new lease on life were lost due to lack of awareness of or priority for heritage conservation in the decision-making processes, or to the displacement by large-scale commercial projects targeting prime urban spaces.

The old PNB Building in Escolta designed

by Arguelles, for instance, was demolished by the city government just a few months ago after a fire in 2015. Becket’s own Jai Alai Stadium, an Art Deco structure built in 1940, was demolished in a landmark controversy back in 2000. In both cases, the demolitions proceeded despite protests and appeals by heritage conservation advocates and experts to preserve the structures and explore strategies such as adaptive reuse.

These places are important material testimonies to Filipino architectural and cultural history. After World War II destroyed much of our cities’ built heritage from the Spanish and American colonial periods, the postwar years ushered in a building boom where the practice of adopting and reinventing Western architectural styles to local conditions eventually gave way to the exploration of a more Filipino and vernacular aesthetic in modern architecture by the 1970s.

These would eventually be overtaken by eclectic and postmodern styles in the 1980s and the developments of the past two decades.

This recognition of history is raised by the

curatorial concept of the Philippine contribution to the Venice Architecture Biennale: how the built heritage of the past 50 years and the new modern icons should be considered important markers of history, connecting the past and present.

The demolition of built heritage in the name of progress does not necessarily result in advances. Recent initiatives, on the other hand, are also trying to activate historic buildings as spaces for contemporary art and the like, emphasizing how historical preservation and development can complement each other.

Conservation groups have long initiated efforts to change policies. The National Heritage Law of 2009 (RA 10066), which recognizes works by National Artists and structures dating at least 50 years old as important cultural property, is now being tested on the ground.

Last year, legislative initiatives such as House Resolution 1566, filed by Kabataan partylist representative Terry Ridon, called for a probe on various cultural properties in Manila that are being devalued.

All these efforts, with hope, will help shape a generation that recognizes architectural heritage as part of the cultural landscape that must be protected and developed.

Back at the Faculty Center, I am comforted to see that a familiar sight beside the building— the Siyam na Diwata ng Sining Filipino monument by National Artist Napoleon Abueva —is still standing. The nine figures symbolizing nine arts, including architecture, seem to speak of a creative spirit that endures despite the losses.

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A Flower Child’s Wild Wardrobe at SM Megamall The muse of extreme fashion showcases her collection to celebrate women’s month P HOTOG RA P HY A NGE LO S IS O N

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When it comes to local flamboyant fashion and extreme couture gowns, Tessa Prieto-Valdes never fails as a muse. To celebrate women’s month and SM Supermall’s 30th anniversary, SM Megamall unleashed a collection of Tessa Prieto-Valdes’s couture gowns through their 10-day exhibit, Wildflower. The fashion retrospective spanned March 8-18, 2016, featuring bold and ornate pieces from renowned fashion designers Rajo Laurel, Maureen Disini, Francis Libiran, Albert Andrada, Cary Santiago, Cherry Semuya Veric, Amir Sali Amuk, Eric Pineda, Gian Romano, Ivarluski Aseron, Pablo Cabahug, Michael Cinco, Rhetta Eala, Ronald Enrico, Rocky Gathercole, Monique Lhullier, Jojie Lloren, Dennis Lustico, Pablo Mendez, Lesley Mobo, Josie Natori, Joe Salazar, Ezra Santos, Inno Sotto, Philipp Tampus, Oliver Tolentino, Chito Vijandre, and Yvette Ylagan.

Wildflower: A Fashion Retrospective harks back to the root of all inspiration, which is nature. Representing women from all walks of life, the exhibit showcases gowns and headdresses that encapsulate Tessa’s flamboyant personality. An array of creations laden with beads, feathers, and silk was featured at the Mega Fashion Hall at SM Megamall. The launch saw a parade of whites, as guests clad in stark white ensemble welcomed the colorful display of Tessa’s dresses. Every piece introduces the designers inspired by Tessa’s glamorous trademark when it comes to fashion. More than her iconic contribution to the local fashion scene, Tessa believes the exhibit showcases Philippine talent. “The exhibit is really a celebration of Philippine fashion,” Tessa explains. “It shows that Philippine fashion is versatile. I let their imagination go wild.”

Annika, Athena and Dennis Valdes

Angela Lopez and Sheryl Songsong

Tessa Prieto-Valdes

Pablo Mendez

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Bambina Olivares-Wise

Sandy Prieto-Romualdez and Marixi Prieto with Ria Prieto

Nicole Whisenhunt

Myda Prieto and Andrew Prieto

Gian Romano

Tim Yap

Macky Fah, Maureen Disini and Bernard Fah

Christian Mathay, Joaquin San Agustin, Steven Tan, Tessa Prieto-Valdes, and Michelle So

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Heart of the Wild Two guides share a history of glamping and a life spent in the wild safaris P H OT OGRAP H Y AN GE LO S IS O N

Peter Kirua, Mark Houldsworth, Mwiga Mambo

Roberta Feliciano and Gina Aboitiz

Kitty Cortes and Monina Lopez

Personalities and influencers flocked to the Kirov Model Unit beside Rockwell Tent last Mar. 9, where Nomad Safari’s resident chimpanzee expert Mwiga Mambo and Nomad Tanzania managing director and cofounder Mark Houldsworth gave talks on Tanzania as a destination. At the second installment of Inquirer Red’s Safari Lectures, in partnership with A2A Safaris and Proscenium at Rockwell, Houldsworth cited notes on the history of glamping, and Mambo told of the ways and lives (while dynamically imitating the sounds) of the chimpanzees. “[What’s] essential is that you get them down and dirty,” says Houldsworth. “It’s almost become ridiculous now; the style factor has become almost more important than the contact.” Nomad Tanzania is one of East Africa’s original Safari companies. Bent on giving tourists both luxury lodging and a thrilling portrait of the wild safaris, the guides transport their guests straight to where the action is. “We try and make sure to keep the combination of wonderful glamping styles, with the mobility and contact. . .

We don’t want to just enjoy the landscape, we want to be part of it.”

Of the way Filipinos travel, Houldsworth states that “people here understand what glamping’s about.” In the middle of the business district where Rockwell sees a daily influx of prominent personalities ready for an unconventional escapade, the speakers may have just found their audience.

Nomad Tanzania developed wildlife destinations like the iconic Greystoke Mahale, Lamai Serengeti (reigning as the top camp in TripAdvisor) and, more recently, the first private houses in the legendary Serengeti National Park, home to the greatest concentration of migratory game in the world.

These are just three among many of the thriving destinations in Northern, Western, and Southern Tanzania. “The kids love it. They all get involved in what’s going on here. People enjoy lots of activities, lots of archery, spear throwing,” explains Houldsworth. “What’s more, we can make it very easy for you not to lose signal,” he quips.

Loralee Baron-Soong

Andrea, Christian and Stephanie Gonzalez

Shera Tiu

Gabriele and Julie Boschi

Nicole Morris and Fely Atienza Like the safari tours, Proscenium at Rockwell is where comfort meets adventure

Malou and Paolo Pineda

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Binky Dizon, Tracie Anglo-Dizon, Ria Prieto, JP Anglo, Tessa and Dennis Valdes

Liza Ilarde

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