Red 21 july 07132014

BETINA OCAMPO Knit Girl

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JULY 2014

Editor’s Letter LUXURY IS LIVING WELL Everyone has a guilty pleasure they like to indulge in, whether simple or ostentatious. Mine is spending half an hour in a tub whenever I am on holiday. When I got pregnant with my first-born, the first thing my husband did was to take me shopping for one. Today, having to care for three energetic boys, it is rare that I get to soak in the tub at all, and long bubble baths have become, for me, the ultimate luxury.

This issue is dedicated to all things grand—a swift and forbearing neglect of things utilitarian. Betina Ocampo (page 20), directs a group of local craftsmen on embroidering elaborate designs on fabric, creating beautiful, Filipino-made T-shirts sold in Gail Rothwell, Ikram, and Barneys New York in Beverly Hills and Madison Ave. The brand BETINA has been commended in Harper’s Bazaar and Vogue.com. For our space section inspiRED, a jewelry designer lets us swoon at Carrara marble, 19th century Persian carpets, bone inlaid chairs, and wooden antiques. Turn to page 22 and see how she cleverly mixes old wood and gold. And on exploRED (page 26), Sara Black through captivating photography attempts to convince readers that Kenya should be the next tick on their luxury travel bucket lists.

To end, I’d like to point out that luxury need not be excessive. Luxury, at least in the RED frame of mind, is less about acquiring material things and more about acquiring experiences. Luxury, in today’s context, has ceased to be unattainable. Feel free to indulge in a good cup of artisanal coffee at breakfast, or reward yourself with a good massage after a hard day’s work.

There is a huge difference between living ostentatiously and living well— the latter always being the more sensible option.

@riaprieto 07/05/2014: Always been attracted to metallic accessories! #sotd #shoes #silver

Ria Prieto

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METAL OF HONOR The declaration of love now comes with a wrist W O R DS M E G M AN Z AN O

Forecasting a return to trendy geometry is Hermès and its newly edited Cape Cod Rocabar timepieces—so named after the artful incidence of sunlight at the famed peninsula. Created by master class enamellist Anita Porchet, the Rocabar pays an illuminative homage to the brand’s iconic Rocabar scarf. With its heirloom-quality metal that promises to age most gracefully and its intricately assembled dials, it appears the declaration of lifelong intimacy has arrived as a wrist most definitely worth taking.

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Hermès Cape Cod Rocabar line: matt black alligator, matt havana alligator. Available in Hermès, Greenbelt 3; Rustan's Makati, and Rustan's Tower Shangri-la Edsa

Contents admiRED /18

Betina Ocampo Knit Girl

6 8 10 16 18

On The Cover: Photography Roy Macam Styling Meg Manzano Makeup Peejay Lapan Hair Mark Familiara Wool jacket, Dr. Denim, Adora, Greenbelt 5; white deep halter swimsuit, Tamed, 3005 Lancaster Hotel, Shaw Boulevard, Mandaluyong; white vintage frames, AC+632, Greenbelt 5; gold heels, Christian Louboutin, Rustan's Makati; ID choker necklace, knot bracelet, gold cuff, Céline, celine.com; President watch, Rolex, Corinthian Plaza 121 Paseo de Roxas, Makati; towel, Hermès, Greenbelt 3.

This Page: Photography Cyrus Panganiban Styling Ria Prieto Makeup Patrick Alcober of Shu Uemura Hair Ronie Misa of Kiehl’s Stylist Series Embellished shirt, BETINA, betina-ny.com; leather skirt, YSL, ysl.com.

acquiRED Ease into seating options as beautiful as they are functional

devouRED Dine in a garden in the sky social diary A visual dispatch from this year's Art Basel Hong Kong baRED Ultimate relaxation comes from unabashed spa luxury admiRED Betina Ocampo knows a thing or two about making it in America

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inspiRED The confluence of baroque styles with modern

25 26 30

art Visual artist Goldie Poblador's interpretation on the senses

accents in this home creates an almost holy space

exploRED A photographer's safari journey empoweRED Fernando Zobel, the painter of atmospheres

Editor-in-chief Art Director Associate Editor Copy Editor Editorial Assistant

Ria Prieto Niña Muallam Mara Santillan Miano September Grace Mahino Meg Manzano

Contributing writers

Norman Crisologo, Jei Ente, Petra Magno, Anton Miranda, Josh Orbeta, Trina Razon, Margaux Salcedo

Contributing photographers

Sara Black, Roy Macam, Cyrus Panganiban, Joseph Pascual, Patrick Segovia, Tammy David

External Relations Officer

Sophie Villanueva

Board Chairperson

Alexandra Prieto-Romualdez

Group Publisher SVP and Group Sales Head, Inquirer Group of Companies Sales Director Business and Distribution Manager

Bea Ledesma Pepito Olarte Ma. Katrina Mae Garcia-Dalusong Rina Lareza

DARK GLAMOUR Jewelmer’s latest collection pays homage to Asia’s most enigmatic times I L LU STR AT I O N ARC HI E C AYAM AN D A W O R D S M ARA S AN T I L L AN M I AN O

After the surge of European explorations known as the Age of Discovery, the world saw an epoch of great tumult. Europe was consumed with the competitive idea of imperialism, while Asia suffered from the dilemma of opening its doors to foreign influence or protecting its cultural integrity. The opium wars yielded the ingress of European culture into China, the commerce gateway to the other parts of East Asia, and the growth of trade sparked edifying elements that included a rapidly modernizing aesthetic including luxurious textiles and precious gems. Bold fashion pieces boasted stability in a dark era, afforded only by royalty and those married to the dominant military. The collective notion of fashion and beauty was “dark glamour,” underscored by this year’s red carpet events and fall/winter collections: indigenous colors with sparkling metals, large stones, and rare pearls. Jewelmer’s C’est La Vie collection is reminiscent of this period, with clean lines shifting attention to the rich hues and rare Golden South Sea pearls. Jewelmer, backed by an equally rich legacy, is the pioneer in setting the Golden South Sea pearls on a national and global scale.

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C’EST LA VIE

The most vibrant of colors emerge for an unexpected mosaic of geometric harmony. Golden South Sea pearls are interspersed in dramatic swirls of colored gems for a strong woman’s bold statement.

Jewelmer is located at the Manila Peninsula Hotel, Makati Shangri-La Hotel, Glorietta 4, Greenbelt 5, and Alabang Town Center.

acquiRED

SPACE INVADERS Make some room for the year’s best pieces W O RD S T R I N A RAZ O N

Transformers

A practical solution to small spaces, multi-functional furniture is a two (or three) in one piece.

While not a new concept, the designs nowadays go beyond the usual sofa bed.

Fancy a coffee table that works as a storage desk and chair, or a sofa that can be converted into a recliner?

Madison sofa, Bo Concept, 11th Ave., Bonifacio Global City, Taguig

Interior design trends have a longer life span than the average runway piece, but there are also certain parallelisms between the two. Case in point: As metallic fabric shines bright on the runways of Lanvin and Ferragamo, the fabric has also found its way to the living room sofa.

In recent years, we’ve seen a merge between the two industries with high street brands like Zara, H&M, and homegrown brand Bench, creating home lines of their own.

Both fashion and interior design are intimate reflections of lifestyle and personal taste. Whether you’re thinking of doing a complete overhaul or just investing in a piece or two, here are some design elements to consider incorporating into your space.

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Metalhead

Metal is a tricky trend to work with but when done right, can add visual interest and create a focal point in a room. The key to keeping metallics from looking too gaudy is to keep the rest of the room understated if you’re working with big pieces like coffee tables and sofas.

Benson coffee table, Minotti by Rodolfo Dordoni, 2/F Shangri-La Retail Arcade, Ayala Ave., Makati

FURNITURE TREND FORECAST Curve Your Enthusiasm

Embrace curves and go with the flow on this one and invest in a plush armchair—bonus points for choosing one in a hot-right-now shade. Gone are the clean, almost architectural, lines of mid-century modern chairs, look for pieces that will (almost) make you want to be a couch potato.

Ito Kish, Furniture Designer “Opulence that borders excess lavishness will be a strong statement for furniture this year. Bring out the extravagance and glamour!”

Carmel armchair, Poliform, Nicanor Garcia St., Bel-Air, Makati

Take Me Back

Oh Honey Honey

The previous years’ obsession with dark and dramatic wood tones has ushered in the movement towards fresh and light honey hues. Lighter wood creates a more natural feel and blends in easily with any style, keeping the room from feeling too heavy.

Leveled coffee table, Roche Bobois, Chino Roces Ave., Makati

Glam is back but do away with the idea of overly gilded pieces and instead opt for a more classic and timeless silhouette. It’s a return to tradition but with a modern touch here and there; think Louis chair accented with a splash of bright orange or a chaise lounge upholstered in metallic fabric.

Vito Selma, Furniture and Interior Designer “Trends lean toward material innovation, new process application, and very humancentered designs. From new materials being introduced to upcycled pieces, brands are veering away from stylized pieces and are now innovating new applications to fit the growing lifestyle changes of the market.”

Chair, Roche Bobois, Chino Roces Ave., Makati

The Warmest Color

We can finally say goodbye to boring beige (the prevalent neutral for the past few years) as blue takes the spot for the color of the year. Navy blue might be the new neutral but turquoise, while tricky to work with, is the accent color to go to for brightening up a room.

Love me tender sofa, Moroso, G/F, A/C Burgundy-Empire tower, ADB Ave., Ortigas Center, Pasig

Nix Alañon, Interior Designer “We're seeing more transitional furniture designs. Defined as a blend of old world traditional and contemporary design, the transitional style focuses on comfort and practicality. Think clean and simple lines that are sophisticated and timeless—a fresh contrast to the ultra-modern trend we see nowadays. ”

devouRED

A TASTEFUL REFUGE

There's a pocket of calm, European spring within the walls of this culinary haven W O R DS M AR G AUX S AL C E D O P HOTO G RAP HY P AT R I C K S E G O V I A

Within the frenzy of the bustling Bonifacio Global City, there is a haven of serenity called Le Jardin.

You walk through the doors of the W Hotel but once you reach the doors of the restaurant at the penthouse, all sense of city is left behind.

The lush entrance signage reeks of The Secret Garden and interiors are reminiscent of scenes straight out of The Talented Mr. Ripley, with vinecovered walls and a trellis at the far end of the room. “Window” planters also transport you to a European spring, even if it might be stormy beyond the main dining area’s glass walls that offer a view of the Metro Manila skyline. To complete the setting, calamansi trees emerge from the center of tables lining the middle of the restaurant.

To completely relax, the menus are prix fixe, giving guests the indulgence of not having to think while they are there.

All you have to say is whether you want three, four, or five courses.

If you must limit yourself to three, surrender the soup for escargot, which dutifully pays tribute to the classic French

Right: Filet d'espadon, sauce au vin rouge, fondue de poireaux (swordfish with red wine reduction and leek fondue) Left: Pouponette au confit de canard (cabbage stuffed with duck confit and foie gras sauce).

Le Jardin is located at Penthouse, W 5th building, 5th corner 32nd Ave., Bonifacio Global City, Taguig.

For reservations, contact (0917) 817-6584.

dish. Choose the sous vide pork over the soupy albeit very tender beef cheeks, to give the chef 's creativity a chance. And for a final note, err on the side of a creative dessert; then look forward to the complimentary cheese platter that follows it.

Finally, take a break from the world of hashtag food critics and just get lost in the serenity of the setting. You're in a garden in the sky, dahling. Euphoria is the only f lavor that counts.

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squaRED

BEYOND FOUR WALLS For this art connoisseur, not having a desk isn’t bad at all WO RD S JO S H O R B E TA P HOTO G R AP HY TAM M Y D AV I D

There are a few people whose drive brings them more than just the luxury of doing what they love. Jun Villalon’s passion for art, whether Filipino or foreign, has brought him around the world and back with each visit giving him a fresh set of eyes to see art.

Villalon started The Drawing Room in 1998 with the idea of collecting only works on paper, but he and the gallery have evolved since. “I look for art that speaks about the artist, his life, his environment. I like artists who have experiences to draw from.”

With a schedule as erratic as the weather (his shoot and interview had to be rescheduled a few times due to art emergencies abroad), it's

no surprise Villalon is able to work anywhere.

But his travels are more than just to see art from the outside world and bring them in; he also wants art from home to be seen by the world.

“I want Filipino artists to show the world what we can do. I want to see [the response] to the type of work we do in the Philippines.”

He says there's no perfect age to start collecting art; you just do it. But when you do start, he recommends taking risks. “Push your taste and boundaries a little. Be open to new things. Maybe you’ll see something.” For himself, his sources of inspiration are endless: family, friends, artists, travel, fashion design.

“Everything I see inspires me. ” •

Home isn't only where the art is for The Drawing Room's Jun Villalon (above), whose travels within and outside the country have yielded a treasure trove of pieces, from conceptual installations to sculptures of mythical proportions and details.

The Drawing Room is located at 1007 Metropolitan Ave., Metrostar Building, Makati

social diary

I SAW WHAT I SAW JUST DON'T ASK ME WHO I SAW One man's visual journey through Art Basel Hong Kong 2014 B Y N O RM AN C R I S O L O G O

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ART BY NUMBERS

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premier galleries

featured in the second edition of Art Basel in Hong Kong.

2014 year

Art Basel decided to include a Film sector curated by Li Zhenhua and hosted by Hong Kong Arts Center.

A total of 49 films by 41 artists were screened.

65,000 visitors

reportedly in Hong Kong.

“Art Basel has brought more Europeans and Americans to Hong Kong, and Asian collectors are becoming more interested in purchasing Western art,” muses Paul Kasmin gallery director Nicholas Olney.

$99,817 thousand

reported price The Singapore Tyler Print Institute (STPI) sold Ronald Ventura’s “Into the Woods no. 2” piece for.

$100 million

total value of the works

by Picasso, Renoir, Henri Matisse, and Marc Chagall that was put on exhibit by the New York-based Hammer Galleries.

12 attiRED

TEAR SHEETS Inquirer RED's answer to the mono-brand ensembles gaudily worn off the runway

Choker, CĂŠline; celine.com; top, skirt, Issey, isseymiyake.com; flats, Tod's, Greenbelt 4

Headband, top, trenchcoat, Prada, Greenbelt 4; mesh top, skirt, bracelet, Gucci, Greenbelt 4; clutch, ring, Hermès, Greenbelt 3; heels, Azzedine Alaïa, alia.fr

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Necklace, Lanvin, lanvin.com; top, skirt, leather bracelet, Tod's, Greenbelt 4; heels, Saint Laurent, ysl.com

Necklace, dress, Saint Laurent; ysl.com, gladiator sandals, Giuseppe Zanotti, giuseppezanottidesign.com

baRED

THE UNWINDING ROAD The path to proper R&R is laden with caviar W O R D S M EG MA N Z A N O

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Relaxation hubs have upped the ante and added a drop (or two, even three) of pure luxury into the wellness mix as spas are now more elegantly designed, offering not only nourishment for the body but also a delightful feast for the weary senses. Case in point: ceremonial cups of tea have been replaced with glasses of bubbly, generic facemasks with Swiss oils and creams, even a caviar facial mask.

(1) La Mamounia, Marrakesh, Morocco: A glorious mix of Moroccan and Eastern elements, the 27,000 sq. ft. spa features body therapies using Shiseido, Wella and marocMaroc. (2) La Prairie Day Spa, New York, USA: A favorite among Hollywood’s A-listers, it gained

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reputation for the 90-minute caviar facial with caviar eye treatment. (3) Karkloof Safari Spa, Pietermaritzburg, South Africa: Africa’s largest spa offers an authentic safari experience without skimping on the comforts: floatation pools, Kneipp therapy pools and open-air Jacuzzis with views of the surrounding gardens.

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(4) Maia Luxury Resort & Spa, Anse Boileau, Seychelles: Think lush gardens and soothing waterfalls, the hedonist’s ultimate hideaway.

(5) Susanne Kaufmann Spa, Vorarlberg, Austria: Known for using the Alpine plant world of the Bregenz Forest in her treatments, Kaufmann has designed a line that delivers ultimate results. • 5

INSIDER SOCK OPTIONS Whether high or low, see your stocks rise on the trading floor and beyond after investing in these profit-yielding socks

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An overlooked rule in the book of men’s dressing

According to Alan See and Ethan Desu, founders of Hong Kong’s artisanal clothier collective The Armoury, stylish men set themselves apart by paying attention to details. An independent knowledge of apparel comes as mandatory as the inclination to choose a single-malt over a sugary cocktail: he chooses the right tie for a good impression, the proper shoes for the occasion, and, though in long dress pants, the appropriate, quality pair of socks that sets him free to cross his legs in a woodpaneled salon or walk swiftly through the urbane crowd to his next important business meeting. Socks make an ensemble look polished even in a man’s candid moments.

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Like any other garment, socks come in different levels of dress. For casual days, I find it best to choose a pair in neutral cotton, and for those gents who like to push the sartorial envelope, bright colors and quirky prints work best. Maintain a conservative color palette in corporate settings. Gray or navy is the recommended choice, but subtle patterns and textures boast a manly sense of self-assurance: pinstripes, rib knits and speckled yarns. For formal occasions, stick to the classics, but take material into consideration. Go for more luxurious fabrics like silk and cashmere that won’t do your peak lapel tuxedo any shame.

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THE GOOD GUYS Different takes on the dress sock

D Fre Bro ot na sh C the vy rs, soc lassi k c Po we s, Br oo rP lan ks tM all Scott Disick

Jared Leto

Wes Anderson

Joseph Gordon-Levitt

Ryan Gosling

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AN AMERICAN DREAM MADE IN THE PHILIPPINES Betina Ocampo brings local craft to the global stage W O RD S P E T R A M AG N O

Betina Ocampo’s self-titled line of luxury T-shirts is a study in the balance between relaxation and rigor. Though the T-shirt per se is the paragon of casual perfection, its origins in the American working class are humble.

The simplest of the perfect items—the others being the three-piece suit, the little black dress, the white button-down—the T-shirt remains the ultimate throw-on-and-go. As casual as her creations are, Ocampo’s line was first and foremost born of anxiety.

Opposite page: PHOTOGRAPHY CYRUS PANGANIBAN STYLING RIA PRIETO MAKEUP PATRICK ALCOBER OF SHU UEMURA HAIR RONIE MISA OF KIEHL’S STYLIST SERIES Embellished shirt, BETINA, betina-ny.com; gray wrap skirt, Helmut Lang, helmutlang.com.

It was in her junior year in Parsons when Ocampo started getting nervous about her future. Her past was solid enough, if not a little unfocused: a shift from Fashion Design to Design Management, various internships in editorial, including Vogue, working with stylists such as Keegan Singh, plus a stint in public relations. So far Ocampo had dabbled in every aspect of fashion, except in designing fashion itself.

“I’m really bad with building things with my hands. If you touch my hand, it’s really soft because I don’t like touching things, so I failed three-dimensional class [because] I couldn’t build models. And I said, well, if I can’t do this, then I probably can’t sew or stitch,” she admits.

In junior year, Ocampo watched her friends leave New York one by one. The city remained famously cruel toward those who couldn’t find either sponsorships or employment, and Ocampo felt the pressure. “[Having to leave New York] has been my biggest fear since day

one, because if there was one thing I knew a hundred percent—it was to live [here].”

Ocampo consulted her father, who had to listen to her cry on the phone about her fears: that employment wouldn’t come, that she too would have to pack up her dreams, that the city she loved would be unable to love her back.

“Dad,” Ocampo said, “what am I going to do?

I’m not going to get hired by anyone.”

Not all was lost. To strike out on her own, Ocampo had to draw from not just her Parsons education but also her family life. “After my parents had a retail boutique, the second phase was starting their own line. I watched them manage it from the start and it’s very difficult,” Ocampo recalls, adding, “especially if you’re trying to make it in America.”

As difficult as the New York fashion scene is, Ocampo remained headstrong—a homegrown trait. “At the end of the day, I’m not the kind of person who would do well on someone else’s direction,” she says, crediting

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her father for reminding her that she need not follow in her friends’ footsteps, that she could very well—as terrifying as it sounded— strike out on her own.

From anxiety-ridden confusion, BETINA began, launching in February 2013 with a spring/summer collection that drew heavily from indigenous Philippine textiles. With occasional trips back to the Philippines to meet with local artisans across the country— “Some in Laguna, in Davao, in Cebu, in Baguio…”—and a production designer that she calls her right hand, Ocampo watched her ideas come to life. She runs into some difficulty communicating her vision, goodnaturedly citing her “really bad drawing skills” and “not-100 percent Tagalog skills,” but the happy accidents remind Ocampo that the work is a fifty-fifty collaboration with the artisans, “and I don’t want them to lose their sense of creativity.”

The shirts themselves are a marvel.

Designed from a maelstrom of rich textures—silk, cotton, linen, the occasional embroidered metal mesh—the prints are vivid and embellishments luxurious, as the simple silhouette of a T-shirt is the cleanest possible palette to begin with.

“My dad is a complete genius in creating concepts and starting businesses. He loves to start things. He saw potential in me,” Ocampo says fondly. From her father’s initial idea of a shirt line, it was up to Ocampo to follow through, and she found an unexpected source of inspiration. “Growing up, I never wanted to be like my mom,” Ocampo admits, saying that when she was younger, she would hope her resemblance to her mother only extended to their features. Fighting the good fight halfway across the world, however, changed Ocampo’s view of home. “I’ve started to appreciate my mom a lot more because I’ve realized that as a leader, I share the same leadership skills as her.” If her father had inspired her into designing her own path, it was her mother who gave her the gumption to keep going.

The T-shirt, on which colors and prints clash merrily, also stands for a different kind of battleground: that of Ocampo and her parents. “My father and I argue a lot, we fight a lot, but he is my best friend and we started this together.” Ocampo, having just launched her third collection for spring/summer 2014, is currently in a transition stage, turning her ear for business over from her father the originator to her mother the manager. “I feel like right now I have to be under my mom’s direction; I’m starting to appreciate her for being who she is,” Ocampo says, citing her mother’s meticulous attention to the nittygritty of businesses. “I used to call her a Nazi, but now I need her more than ever.”

BETINA has been fruitful, and Ocampo has been accordingly busy harvesting the results. From being an intern at Vogue, she became a feature. Media such as Harper’s Bazaar sat up and paid proper attention, and Ocampo became one of Vogue.com’s 11 Designers You Need to Know Now with her creations being exclusively sold in Barneys New York, Ocampo’s anxiety has subsided into productive impatience with a clear direction. She plans to join the Incubator to help jumpstart her business, still convinced she’s hardly known in the city she wants to conquer. What matters, however, is that her roots back home remain as strong as ever. •

This page: PHOTOGRAPHY ROY MACAM STYLING MEG MANZANO MAKEUP PEEJAY LAPAN HAIR MARK FAMILIARA Blue sweater, stylist’s own; powder blue vest, trousers, Jaspal, Adora, Greenbelt 5; cuff, Hermès, Greenbelt 3

inspiRED

TIME AND GOLD

Centuries-old pieces are combined with gilded contemporary fixtures W O R DS MARA S AN T I L L AN M I AN O P HOTO G RAP HY JO S E P H P AS C UAL

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The space transitions from the urbane atmosphere of the busy Makati mall district through the warm greeting of soft classical music playing through an unseen surroundsound system. For a year now, the place has been home to a family of four—five in a few months. The man of the house is an entrepreneur and his wife is a designer who runs a fashion jewelry line crafted from unique vintage materials combined with crystals and semi-precious stones. “We used to have more stuff [in the home]. I already edited it,” she explains. She tells of how a close family friend gave them taxidermies as presents, one of which is a black bear skin rug, complete with sharp teeth and paws, that looked exquisite but posed a risk for the young tots. “I had to put it away because it hurts when you step on it. At night, you could barely see it with the lights off.”

Even without the animal hide, the place has its own kind of opulence. The walls are stark white, contrasted by dark hardwood floors. A vase of fresh, white Stargazer lilies is set up on a round table in the entrance

Sterling silver and alabaster table accessories bought in Paris on a modern metal coffee table with a Carrara marble top designed

by Miguel Rosales for the couple.

Covering the floor is a 19th century Persian rug.

Clockwise Catholic charms that the lady of the house collects, worn around a 17th century distressed wooden "Corpus"; Baccarat crystal and sterling silver accessories atop a mirrored side table; An E. Murio work desk and chair for the lady of the house, with a pair of Jigger Cruz paintings hanging above; A set of neoclassic bone inlaid chairs, gifted to the couple by the wife's parents, an alabaster vase with a carved flower design

foyer. To its right is a woven mural by Alfredo Esquillo, Jr., commissioned by the couple for the birth of their daughter. Beside it is an early work by Arturo Luz. Leaning on the wall below the artworks is an elegant gilded armchair. Past it is a 19th century botica cabinet with sterling silver handles that the couple converted into a bookshelf, housing curios and books on Philippine history, art, photography, and jewelry-making.

The main living area is decorated with sterling silver and alabaster table accessories purchased by the couple in Paris during their honeymoon. Designer Miguel Rosales crafted for them the metal coffee table with a Carrara

marble top that sits at its center. Above the white Italian sofa are three paintings: “Just Married” by Esquillo, Jr., commissioned by the man of the house as a gift to his wife for their wedding, flanked by two more of Luz's early works.

The larger objet d’art are compelling, centuries-old spiritual antiques, some gifted by the couple's parents and grandparents, and some acquired during trips to Europe.

Religious details like crucifixes and figures of saints, including a Christ-like wooden bust, give the space a dignified air. The home is positively baroque, but with a practical, modernist restraint.

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Upper A 19th century narra botica cabinet with sterling silver handles; Atop the bookcase is a sterling silver urn and alabaster objects flanked by a pair of blanc de chine jars, all purchased by the couple from different antique collectors.

Above An early work by National Artist Arturo Luz; A woven mural by Alfredo Esquillo, Jr., commissioned by the couple for the birth of their daughter; A 19th century French gilded armchair.

art

AS FIRE AND WIND MAKE FORM Goldie Poblador’s unique mark on visual art W O R D S R E N AG UI L A

One of my best memories of visual artist Christina “Goldie” Poblador was when I visited her studio in 2013, sometime before she left for Rhode Island for further studies. She promised to show how she worked with hot glass, and after some delays owing to a minor hand injury, I got to see her at work.

After asking me to wear goggles and stay at a safe distance, Poblador put on some jazz-funk music by the band Medeski Martin & Wood, and she got to work making a small but delicate glass sculpture of an espresso cup. She used two flames, one to heat the glass till it melted and another to temper it.

She blew and spun a rod of glass until it took shape as an espresso cup that was probably smaller than the real thing.

Poblador started with visual art at a very young age, as her parents were collectors. She got to see some of the great works of Western art at the age of 12, but it was Botticelli’s “The Birth of Venus” that got her into painting. It was at 14 when, her parents enrolled her in summer workshops at the UP College of Fine Arts as a resolve to her defiance. “This started my love affair [with art],” she says, “and this is where I felt a sense of belonging apart from my strict Catholic school [upbringing].” She graduated with a bachelor’s degree in fine arts in 2009 and has since been taking part in exhibitions and residencies both here and abroad.

It was in college where, for her senior thesis, Poblador finally got to work with two of the media for which she is known. “I started working with hot glass and the olfactory sense of perception during my fourth year in college,” she says “I grew to love it because it was challenging.” One recent example of how she brought these two together was her contribution to the “Riverscapes in Flux” exhibition at the Metropolitan Museum of Manila. The work, “Scent of Marikina River,” involved intricately shaped glass bottles which contained extracts that exuded, among other things, how the river smelled after the flooding of typhoon Ondoy in 2009. Two years later, she held her first solo show, The Ghost in the Machine, a product of her spiritual journey and quest for identity. “I have always had a love for music,” says Goldie, who was bandmates with milliner Mich Dulce in college. “On some days, [I] still wonder what would have happened if I chose to focus on this path instead.”

Poblador is currently studying for her masters in fine arts at the Rhode Island School of Design. It has been a physically and mentally challenging time for her, she says. Apart from continuing her studies in hot glass, she is currently pursuing 16 mm filmmaking and performance art and is also a teacher’s assistant. For the (northern) summer, she is in residence at the La Fragua Artists Residency in Belalcazar, Cordoba, Spain. Of this experience, she says, “I am finally inspired in the purest sense and have the chance to digest a lot of the work I was making in RISD and all the theorists and artists I was learning about.”

Before the summer ends, Poblador will have a new work on display in Singapore for the Sensorium 3600 group show at the Singapore Art Museum. The show will attempt to cover the full range of human senses, from the orthodox five senses to those not as commonly mentioned: sense of temperature, “Music C” is part pain, balance and time. Of this project, she says, “I will be attempting to create an of Poblador's series to be displayed during interactive installation that functions under the proposition that notes in music “Sensorium 360°.” can translate to notes in a series of olfactory pieces arranged in specific The exhibit will run from July 31 to October arrays.” Poblador hints that she will be working 19 at the Singapore Art with musicians “both living Museum, 71 Bras Basah and dead.” • Rd Singapore.

In Boy's Life, Robert McCammon writes, “They say that somewhere in Africa the elephants have a secret grave they go to lie down, unburden their wrinkled gray bodies, and soar away, light spirits at the end.�

exploRED

THE LAST FRONTIER A photographer's encounter with Kenya's immensity ensues WO R DS SA R A BLA CK AS TO L D TO M E G M A N Z A N O

Under the spell of afternoon sunshine, photographer Sara Black stared through a mist of quiet disbelief at the vast 200 square miles of plains, woodlands, and the occasional greenery stretched out all seemingly for her pleasure.

“I loved the hot air balloon ride across the Maasai Mara,” intimates Black as she recalls the charming ride that afforded her the rare opportunity to see the giant plains. Largely known as the greatest wildlife reserve in Africa, Black was treated to a visual feast for the gods: herds of zebras, gazelles, elephants, and buffalos, not to mention the arrival of the wildebeests as they poured in the lands and stole away the horizons—a spectacle the Mara is famous for as it plays host to the Great Wildebeest Migration every year from July to October.

With an initial pursuit to visit Kenya to see the animals, Black’s itinerary was filled.

“It was an otherworldly experience,” admits the lens woman, “getting to see the plains from a bird’s eye view sans any noise of an engine. You’re just gliding slowly along.

Really magical.” As Black points to a photo she then quickly adds, “It also ended with a champagne breakfast when we landed in the middle of nowhere.”

Perhaps the thing that most puts a stamp on Kenya as a plain of otherworldly occurrence

is this: “It’s one of the last frontiers where you get to experience flora and fauna just as it has been since the beginning of mankind.” The savannahs, forests, and even the coral reefs allow one the rare opportunity to acquire a deep reverence for nature—a surreal landscape that highlights and even provokes existential thought and conversation. “[Traveling to Kenya] gave me perspective on how small I am in this universe,” muses Black, “and how my infinitesimal existence should really give honor to creation, not destroy it.”

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Clockwise from top: (1) The Great Wildebeast Migration: Intoxicated with the idea of rain and greener pastures, more than a million wildebeests flock across the Maasai Mara and brave the currents of the Mara River. (2) The African Fund for Endangered Wildlife: Located in Langata, The AFEW is dedicated not only to preserving wild life but Africa’s residents’ way of life. To donate, visit giraffecenter.org. (3) Wild Stripes: One of the more heartwarming sights during the trip. (4) Expect vast plains and green lands stretched out for miles.

(5) Curious cats: A family of cheetahs look on as a stampede of wildebeests ambush the Mara.

WANDER LAST Save these three best Kenya gems for last

Giraffe Manor, Langata

Nestled in the lands of The African Fund for Endangered Wildlife (AFEW) is Giraffe Manor—one of Nairobi’s most iconic boutique hotels. Built in the 1930s, the quaint manor has preserved its charm what with its brick walls, sweeping vines, and the occasional giraffe breakfast club.

Lamu Town, Lamu Island

Considered the oldest Swahili settlement in East Africa, Lamu’s ancient charm is made up of lovely courtyards, wooden thresholds intricately carved, and houses built with gorgeous coral stone.

South Coast

Blessed with rich marine life, blue waters and white beaches worthy of a host of superlatives, the coastline south of Mombasa has become an ideal ground for Kenya’s exclusive resorts. Whether diving, wildlife spotting, or simple relaxation is on the day’s itinerary, the South Coast proves a perfect setting.

Boxy silhouettes and clean lines for Carven's pre-fall collection.

Below: Carven owner Henri Sebaoun on .

empoweRED

CARVEN THE PATH Henri Sebaoun brings a wartime couture house back to life W O R DS JO S H O R B E TA I N T E R V I E W B Y M ARA S AN T I L L AN M I AN O

Carven was a storied yet struggling Parisian couture house, being passed on from one financial group to another. Then Henri Sebaoun, one half of the duo, purchased controlling shares of the company in 2009 in an effort to yet again resuscitate the on-theverge-of-collapse brand. After having chosen

to close its haute couture doors to focus on the ready-to-wear line and ushered in a fresh, then 30-year old Guillaume Henry, Sebaoun successfully brought the brand back to life.

Now one of the most coveted labels in Europe, Carven is at the top of its game. Sebaoun is unsurprised that Henry is being hailed as the next Saint Laurent. “[It’s] his talent!” And when asked about how much of the brand is Sebaoun and how much is Henry, he says, “Guillaume Henry has complete creative freedom. I told him at the very beginning of our collaboration my ideas of accessibility and creativity. He can really think of the Carven women with no limits; my job is to make it accessible.”

Increasing a branch's reach, especially coming from haute couture roots, can prove to be difficult. While Guillaume is doing his job by presenting collection after collection (the

tailored quirkiness of the aesthetic seems to be the brand’s bread and butter), an in-house communication team takes care of the “global image and making sure it’s a worldwide and coherent image.”

Someone else who has championed the brand to the next generation is British actress Alexa Chung. Sebaoun cites that actresses like Isabel Lucas, Chloë Moretz, and Celine Sallette would also be perfect for bringing the brand to an even broader, more global market.

With Carven having 16 stores worldwide, one of which is in Shangri-La East Wing, the brand’s global domination isn’t showing any signs of slowing down. When asked about where Carven is headed next, Sebaoun gave us no hint. “Surprise.”

• Carven is located at G/F, Shangri-La East Wing

A WELCOME HOMECOMING After showing in the US' opposite coasts, a landmark exhibit reaches its home shores

After exhibiting works of today’s renowned Filipino visual artists at two university museums in the US, “Triumph of Philippine Art” opens at the Ayala Museum this July.

“Triumph” first opened at the George Segal Gallery of Montclair State University in New Jersey on Sept. 21, 2013 then at the Fisher Museum of Art in California last Feb. 6. Curated by the gallery’s Philippine-born director M. Teresa Lapid Rodriguez, the exhibition is inspired by the Philippines’ long history of socio-economic/political struggles and search for a national identity. This unique retrospective is the first exhibit in the US to use artwork specifically to tell a nation’s political story, from the oppression of the martial law period (1972-1986) to the 1986 non-violent “revolution that surprised the world” that

resulted in the vibrant and robust art of a free society at the turn of the 21st century.

“Filipino art’s unique imagery can be attributed to the transformation that occurred in the country over the past 50 years,” says Rodriguez. “That the Philippines is primitive, feudal and modern all at the same time translates into an artistic advantage, establishing a body of distinctive work in the globally competitive art market. Considering that Filipino art was categorized as folk art by the Western art world and was rarely reviewed until 15 years ago, the highly collectable status that Philippine art is now enjoying is nothing short of a national triumph.”

Featured in the exhibit are works by Leo Abaya, Benedicto “BenCab” Cabrera, Buen Calubayan, Ernest Concepcion, Mideo

Cruz, Imelda Cajipe-Endaya, Brenda Fajardo, Karen Flores, Michael Gomez, Gregory Halili, Mark Justiniani, Julie Lluch, Athena MagcaseLopez, Racquel De Loyola, Renan Ortiz, Christina Quisumbing Ramilo, Mark Salvatus, and Pablo Baen Santos.

The “Triumph of Philippine Art” homecoming show at Ayala Museum will run from July 22 to Aug. 31 at the Third Floor Glass Lane and Multi-purpose Hall.

• "A Line Of History" by Karen Ocampo Flores, 2008, Mixed media (collage, acrylic, oil) on canvas, 38 x 72 inches; "Labor And Monkey Business" by Pablo Baen Santos, 2010, Oil on canvas, 72 x 84 inches; "Debris" by Mark Orozco Justiniani, 2013, Reflective media, lighting fixtures, wood, and objects, 24 x 24 x 6.25 inches; For more information, email hello@ayalamuseum.org or visit ayalamuseum.org.