SAM RICHELLE
Tough Feminine
www.inquirer.net/red
SEPTEMBER 2014
Editor’s Letter THE THRILL OF THE PURCHASE They say higher the heel the closer to God (knows what). For me, the more shoes I have, the more I feel like I’m in heaven. I think I do have a slight shoe addiction. It used to be bags, but these days, I’m happy with any bag that will keep my hands free—which seems to explain my recent focus on shoes. September is our fashion issue, and who better than to have Samantha Richelle on the cover. Not only does she have a great wardrobe, bag, and shoe collection but she is also a budding fashion designer poised to make everything she touches sexy-chic. Her loft in itself is testament to her penchant for design. We also have Giselle Go, a Filipina based in Singapore who is the editor of their biggest fashion magazine. With the job comes invitations to Fashion Week and exclusive interviews with fashion’s bigwigs. Yes, I do love shoes, but no, I hardly buy them full-priced. I believe fashion should be fun, and part of it is the hunt: finding amazing items that are on sale or buying things full priced because they're “investment pieces” anyway. I do know that these material things have a life span, but if they make you happy, then why not. What’s always fashionable? The pursuit of happiness!
@riaprieto 08/29/2014: Maison Martin Margiela heels and my newly cut jeans #diy #sotd #shoes
Ria Prieto
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Contents admiRED /16
Sam Richelle
Forges her own path On the cover: top, Robert Rodriguez; jeans, 7 For All Mankind; Slip ons, Miu Miu This page: Dress, Celine On The Cover: Photography Paolo Pineda Styling Ria Prieto Makeup Pong Niu of MAC Cosmetics Hair Jay Aquino
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art A refreshingly quiet presence squaRED A reopened concept store
regains life
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acquiRED Dress your home in
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exploRED A town you'd think you'll
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baRED This month's best in scents
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devouRED Enjoying the freshest sushi in a state of Zen
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quirky designer fabrics only see in books
attiRED The surreal fashion life admiRED Sam Richelle makes a go at the RTW industry
empoweRED Editrix Giselle Go
what's what
Editor-in-chief Ria Prieto Art Director Ni単a Muallam Associate Editor Mara Santillan Miano Copy Editor September Grace Mahino Editorial Assistant Meg Manzano External Relations Officer Sophie Villanueva
Contributing writers Ren Aguila, Isa Almazan, Margaux Salcedo Contributing photographers Johann Bona, Sam Lim, Mark Nicdao, Paolo Pineda, Mark Vicente Interns Angela Manuel Go, Mikaela Pamatmat
Board Chairperson Alexandra Prieto-Romualdez Group Publisher Bea Ledesma SVP and Group Sales Head, Inquirer Group of Companies Pepito Olarte Sales Director Ma. Katrina Mae Garcia-Dalusong Business and Distribution Manager Rina Lareza
art
THE THRILL OF THE SUBTLE Appreciating the evocative art of Patricia Eustaquio W O R D S R E N AG UI L A
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Eustaquio will be presenting drawings in Silverlens Galleries from September 18 to October 18 as a continuation of the series presented in her solo exhibition Figure Babel in Taipei.
Patricia “Patty” Eustaquio set up first her contribution to a massive group show paying tribute to her mentor Roberto Chabet at the CCP before flying out of town. I first thought of the usual strategies for dealing with such matters (including the usual extended email interview), but Patty laid it out for me: I could go through her work. Much of her past exhibitions are online, and readers may want to see what she has been up to over the last few years. As with any good conceptual artist, Eustaquio has an eye for the interesting premise. One of the first shows I saw of hers, the 2011 exhibition Cloud Country at Silverlens, focused on how dreams of the strange give rise to reflections upon memory and image. It was a mixed-medium tour de force, bringing together canvas, glass, blass resin, wood, and text. I saw the exhibit not long before I took my own journey to a place almost beneath the clouds. Was the show memorable? I did recognize the landscape, and probably the glass on which the text was etched. “Memory is a tricky thing,” Eustaquio says in the catalog writeup, “When we recall, we see things twice.” And,
she adds, it is hard to see the second time. It is this fascination with the lacuna of remembering—the “ghost forms,” as a write-up on the Silverlens site puts it—that sets her apart. The Eustaquio work with which I am most familiar is in the Ateneo Art Gallery’s permanent collection. “Psychogenic Fugue” is a resin piano form covered in lace cloth. The cloth may have been quite immaculate when it first appeared, but last I saw it, it was starting to yellow and fray— the reliability of memory, again. It is all the more apparent when, even if she has stood out in her field (she is a past Thirteen Artists awardee and an Ateneo Art Awards winner in 2009), the world of conceptual art here has, for me, seen images, texts, and figures dissolve into a blur. How Eustaquio stands out is what her most recent solo show, the 2013 Vargas Museum exhibit The Future That Was, attempts to depict. It puts into question how fashion and art interact in the light of aesthetic and market forces. As a writeup on her site puts it, it consequently throws into question our perceptions of taste and the aesthetics of minimalism and maximalism. But I also see echoes of
how remembering makes the familiar strange. The image that stood out was of a mannequin made in metal then painted black. It was meant to remind the viewer of a terno-clad personality of some note, by the way the hair was coiffed (though, of course, such coiffing is familiar). The mannequins were all over the space, in different poses. In one case, Eustaquio draped dark floral cloth over the legs of a seated mannequin, a passing nod to those who remember. Indeed, what I appreciate about Eustaquio’s work is that even in her explorations of various ideas, she establishes strands of continuity in her aesthetic language. Those strands rely less on shock than on subtlety, an appreciation of the role of the material in the way we imagine the world. I am reminded of the quiet presence of a familiar friend—a presence that continues to remind me of things I sometimes take for granted. This may be true of many Filipino contemporary artists, but her voice is the kind of contrast we sometimes need when the plaudits shift from the subtle to the shocking. Such voices may be what we need now when we grow tired of all the shouting. •
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squaRED
HOUSE OF STRANGE
The bare bones—and fur, and more—of Xbesitzer W O RD S M AR A M I AN O P HOTOG R A PHY SA M LI M
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Besitzer is a German word for "owner" or "possessor," and Xbesitzer is a wordplay that connotes the origin of these eccentric baubles. Most of the items were owned by a renowned taxidermy trader. The concept, housed in a narrow storefront space painted in black, is lit up in warm white, making Xbesitzer striking in the dark. Driving by in the evening, one couldn't help but get down from the vehicle to satisfy a curiosity about the quirky furniture arranged beside stuffed wildlife, which includes a huge beaver clinging to a tree stump right by the glass—as if peering out for predators. The clumsy and butterfingered are better off looking from the outside; the place is filled to the brim with fragile items, like alligator skulls and ostrich eggs in flimsy baskets on the floor. For those who would rather not risk breaking these precious objet d'art, proceed immediately to the lefthand side of the store and look through their smaller trinkets: miniature photo books by artist MM Yu, wallets with designs by prominent local artists, Jun Sabayton toy figures, and inside the glass drawer, a young crystal collector's hoard. Concealed in the back wall is a door leading to another part of the store where the larger items are stored: chairs, deer and bear heads, and large framed posters. At the end of room, hanging on the wall, is a frame holding three curious items: a hand-signed license for prostitution owned by a Lisa Renee, dated March 1881, beside a black-and-white photograph of a risqué lady in bed, and above them, an old five-dollar bill. •
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1 Venus comb shells, P50 each. 2 Old turtle shells, P4,000-P8,000. 3 White-tailed deer from South Carolina, P30,000. 4 Posters (shell, skeletal system, butterflies, eye exam), P3,000 each. 5 Kerosene lamp, P1,200. 6 Brass lamp, P2,500. 7 Marble lamp, P1,200. 8 Monitor lizard, P8,000. 9 Alligator head, P9,000. 10 Animal skull replicas P1,700-P4,500 each. 11 Tulip armchair, price available upon request. 12 Local deer antlers with skull cap mounted on burnt wood, P5,500. 13 Real human hand skeleton, P5,000 each. 14 Coyote fur pelt, P4,500. 15 Butterfly chair, P24,000. 16 Coyote fur pelt, P4,500. 17 Spun floor lamp, P15,000. 18 Bear head P48,000. 19 Spanish chair, P12,000. 20 Gail Vicente beeswax sculptures P7,500 each. 21 Animal skull replicas P1,700-P4,500. 22 Brook trout, P16,000
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acquiRED
WHEN FASHION MEETS FURNITURE A tale of two French houses and their off-beat collaboration W O RD S M I K A P AM AT M AT
Distinguished French fashion designer Jean Paul Gaultier is best known for his inimitable sense of style that challenges customary views of fashion. He even once made a bra for a stuffed bear—a childhood artifact that was featured later in an exhibition of his work. Later on, this love for fashion transformed into a statement that revolutionized the world he was immersed in. As the enfant terrible slowly became a household name in the business, he drew inspiration from and partnered with the likes of Yves Saint Laurent, Hermès, and pop icon Madonna, for whom he designed the iconic cone-bra for her Blonde Ambition tour. The Jean Paul Gaultier brand has
transcended clothing, accessories, and fragrances to include an exclusive collection of furniture for French furniture manufacturer Roche Bobois. With wit and talent, he reinvents and puts a fresh spin on his own classics—the sailor blouse, corset, and trompe-l’oeil—to revamp the Hans Hopper
Italian Gusto
Dressed in Missoni Home, the Jean Paul Gaultier Mah Jong couch celebrates its 40th anniversary. Roche Bobois, 1120 Chino Roces Ave., Makati
Mah Jong sofa and other pieces in the collection; expect theatrical fabrics that feature sailor stripes, pleasure-garden florals, a silver-screen kiss, and negligee-like black lace. Consider these new additions to your home for a poetic, quirky, yet sophisticated aesthetic. •
exploRED
MYSTIC CITY An otherworldly escape nestled in Morocco's mountains W O RD S M E G M AN Z AN O P HOTO G R AP HY M AR K V I C E N T E
Tucked away in Morocco’s Rif Mountains is Chefchaouen—an ancient city with an allure that hints at the divine. “There’s a certain aura of mystery or magic to it,” muses travel and street photographer Mark Vicente, who has journeyed to the medina. Immersed in captivating shades of blue, Chefchaouen has had many a traveler under its hued spell. With white-washed walls painted with tekhelel (one of Morocco’s traditional natural dyes), the city mirrors the ancient skies it resides under. The walls' brilliant blues have also been known as an attempt to allude to God’s power, the color calling the skies and heavens to mind.
Chefchaouen, or Chaouen to its residents is home to Berber tribespeople, Muslims, Jews, as well as descendants of Moorish exiles from the 1400s
“You’ll hardly see the awe on the faces of locals since they live there, but you would honestly be hard-pressed to find visitors who don’t relay a hint of shock.”
Surrender to the ancient city's charm: masterful handicrafts, rich dyes, and a reserved round of townspeople
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The result is a gorgeous series of buildings that easily captures and captivates. Its walls and streets landscape a terribly picturesque maze any traveler would readily surrender to, perhaps even get lost in. “It’s mesmerizing and just beautiful,” starts Vicente. 2“You’ll hardly see the awe on the faces of locals since they live there, but you would honestly be hard-pressed to find visitors who don’t relay a hint of shock.” On the list of things to surrender to are one’s tastebuds; indulge in a favorite Moroccan dish called tagine (a delightful mix of cinnamon, cumin, chili, meat, and fish atop couscous) or perhaps feast on the city’s selection of bread charmingly baked in brick ovens. One may also opt to throw caution to the wind and surrender to one’s wallet by heading to the city’s market. Situated near the hillside alleyways is a lovely shopping haven filled with the most colorful crafts: carpets, rugs, fabrics, and throws. “The Chefchaouen folk are skilled handicrafters. They have their own touch, their own style,” says Vicente, who surveyed the rich tapestries embedded in the city’s traditions. “It’s as if the residents have skills passed on from one generation to the next.” If the rich hues and the market place weren’t enough to entice, marvel at the city’s ability to provide an otherworldly escape, what with Chaouen’s general stubborness against modernity. “It’s a city that seems to be disconnected,” explains Vicente of Chaouen’s roots in tradition. “I’ve been to many destinations where the places feel contrived; Chaouen is just genuine.” With hardly any decoration to betray hints of foreign contact, the city boasts a stamp that is distinctly Moroccan. “Every movement and arrangement of the Moroccan folk is beautiful. If anything, it reminds one that in a moment’s notice, it will cease to be as such,” muses Vicente of his photographic craft in relation to the ancient city. “I suppose it’s like taking the place of a storyteller around a campfire,” says the lensman. “I am the one telling the story, so I present it the way I wish. It’s a matter of capturing something fleeting or even ephemeral, and Chefchaouen easily provides the most picturesque setting for that story.” • Chefchaouen is known for being one of the cleanest cities in Morocco, with its regularly repainted blue walls and tidy alleys
NEARBY GEMS
Worthy detours on the way to the blue city BY MIKAELA PAMATPAT
Hassan II Mosque, Boulevard Sour Jdid, Casablanca, Morocco
Completed in 1993, it is one of the largest and most elaborate mosques in the world. The interiors are designed with intricate mosaics, stone and marble floors and columns, sculpted plaster mouldings, and carved and painted wood ceilings. The exteriors are just as picturesque because of its shoreline location, overlooking the Atlantic Ocean. It is open to Muslims for daily prayer while non-Muslims are allowed on special, guided tours.
Kasbah Museum, Place de la Kasbah, Tangier 90030, Morocco
What was once the residence of the sultan (Dar-el Makhzen Palace) is now home to multiple exhibits perfectly summing up Moroccan culture, including The Antiquities collection, which displays some archaeological remnants of ancient Rome. A wide array of galleries featuring exquisite mosaics, sculptured plasterwork, fascinating firearm displays, manuscripts, silks, pottery, and even carpets can also be found here.
The Grand Socco, Medina (Old City), Tangier, Morocco
The Grand Socco is the romantic entrance to the medina (old city) reminiscent of wistful fantasies. It is also where you’ll find the Cinema Rif, which stands on the circle. The brightest light in Tangier’s cultural scene, it is a combination of an art-house cinema, cafe, and archive, and is the local focal point for anything to do with film.
HAIR HABITS When it comes to getting great hair, there are no shortcuts. Here are a few things you need to add to your monthly, weekly, and daily routine so you’ll never have a bad hair day again W O RD S N AN A C ARAG AY
Anything worth having always takes work—and as any health and
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regimen. With all the dirt and pollutants that your hair gets exposed to
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A great, full head of shiny, healthy hair not only grabs attention, but
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everyday, it is important to wash and condition your hair well to keep addresses common hair problems by helping your hair stay clean, strong, and moisturized.
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not only makes you more beautiful, it also positively affects your outlook. Often, when thinking about improving our look, we think of going to the salon to have a stylist treat our hair. But regular salon visits can put a strain on your budget, so maintaining your hair's health on your own at home is always a good idea.
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special feature
A DIFFERENT LIGHT
The simple secret to a beauty that naturally radiates WO RDS ANGE LA M A N U E L GO P H OTO GR A P H Y S ARA B L AC K
It is a common misconception that beauty and success must go hand-in-hand, though these two tenacious women seem to have managed to achieve both. Nicole Thorp and Erika Dee are living proof that real beauty—one that radiates from within— can be achieved while maintaining an admirable work-life balance. Nicole, impressively steadfast, dynamic, and ambitious at a young age, already has a long list of internships under her belt (one of them at a prominent London-based fashion house). When she’s not in school, she balances writing, weekly piano lessons, and planning for her future endeavors. After a long day, Nicole relies on Dove’s Daily Hair Vitamin for her healthy locks. “I also try my best not to do much, keeping it as natural as it can be." Erika, a business development manager, dedicates her days to ensuring that the food outlets she monitors are in good quality and nicely presented, and that operations run smoothly. As an on-the-go careerwoman, feeling self-assured plays a big part in being effective. The type to not wear too much makeup, she believes being able to take care of everyday responsibilities starts with taking care of herself. “Just practice proper hygiene all day,” she advises. To add to her simple beauty routine, Erika shares, “the most beautiful woman is one with the brightest smile. I think to be beautiful, you have to feel and be beautiful inside as well.” These two Dove women show us that nurturing ourselves is the key to both beauty and success. “It's always nice to pamper yourself and add that extra confidence booster in the process,” says Nicole. “Being happy with myself and what I do with my life definitely radiates on the outside, so I try my best to achieve just that.” •
admiRED
MAKE WAY
In the world of Sam Richelle, the noble path is to forge your own
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W O R DS M A R A SA N T I L L I AN M I AN O
When you hear “Sam Richelle,” you automatically think, “bombshell” yet somehow, despite that taut, tattooed body so fearlessly displayed online and in magazines, she is seldom imagined as unsophisticated. Sam Richelle, despite the abundance of toughchick energy and the scarcity in clothing, exudes an otherworldly air. Apart from her light, contagiously happy energy, her bloodline bears Brunei royalty, and in an arguably post-feminist era, she is a real modern-day princess—choosing killer heels and body art over delicate dresses, ridiculous hats, curtsies, and other exhausting royal formalities. And she's as modern-day as it gets. Currently, she is a fashion designer in Manila, waking up every morning to bring her threeyear-old son Myles to school, then going back home to course her seamstress through her latest collection. “I'm busy working on my RTW line,” Sam reveals. “And right now, I'm working on traveling to fashion capitals to network to see where I can eventually launch my Samantha Richelle brand.” She decided to steer away from couture designing, which was what she primarily tapped into when she was new in Manila. “It was more of an experimental situation, being new here. It's what I found would get my name out there
with all the events.” But currently, she is strictly designing RTW (“which is my forte,” she chimes), working on fashion projects and simultaneously helping the family businesses in real estate and film production. Though she never expected to make fashion a profession, art was always something Sam Richelle enjoyed immensely. A Fine Arts major, she knew the field was something she could excel in—fine arts, painting, and experimenting with different mediums—but she recalls that in the middle of high school, she found herself doodling tall, long women “with a fashion flair.” For that, she gives credit to her mother, Puan Fatimah Abdullah née Evangeline del Rosario. “I grew up being surrounded by fashion, with my mom having such a natural love for it as well,” she says. “I always just admired the way she would dress.” Sam Richelle went to the Art Institute of New York City for a year to pursue the field, but decided to move to Los Angeles instead to enroll in the Fashion Institute of Design and Merchandising (FIDM). “I decided after visiting the school while on vacation with my family in Los Angeles,” she shares. “The school is known for being one of the go-to design schools in the US, so that was the main reason why I wanted to go there. I
Sweater, Zara; Skirt, Nicholas
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Sheer longsleeves, Club Monocco; Tube top, All Saints; Skirt, Miu Miu; Shoes, Fendi
wanted to learn from the best of the best." Her experience before becoming a full-time designer includes designing for a menswear designer and working as a stylist in Los Angeles. She says the menswear background inspired her to incline towards “very minimalistic, romantic designs that have a great tailored edge to them.” And when asked who her biggest sartorial influence is, she replies, “I design for myself—whatever I would wear. I would imagine the people in [my clothes] to be very carefree and confident.” Her creative process begins when she travels and visits new places. "It normally starts with the feelings I get from the stories I've learned and the places I've seen. I love to create a storyboard of images, even with photos I've taken myself.” When asked to name five cities
that people in art and design should visit, she lists London, Milan, New York, Paris, and Tokyo, in that order. “They all have great history, from their architecture to their street walks to new and innovative spaces and buildings. Each city also offers events and venues that cater to art enthusiasts, like fashion weeks comprised of top designers and innovators, and museums housing pieces from the art gods. “I believe there are no boundaries with design," she continues. "But when it comes to dressing people, after being a stylist in L.A. for a few years, I know what looks good on certain body types and what shapes and colors flatter a person. You do really need to know your body when dressing up.” Sam admits she has a style that she likes to stick to. “Needless to say,
some trends don't work for everybody. I will acknowledge trends that inspire me, but I'll still make it them own.” As for her personal style god, she picks coming-of-age fashion princess Audrey Hepburn. “Her style is timeless and classic, but at the same time still fashion-forward. She could be avantgarde yet simplistic. Her style was very carefree. She's a fashion icon.” •
Dress, Céline, céline.com PHOTOGRAPHY PAOLO PINEDA STYLING RIA PRIETO MAKEUP PONG NIU OF MAC COSMETICS HAIR JAY AQUINO
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1 Giorgio Armani Sì, Giorgio Armani, Rustan's. 2 Comme des Garçons Cologne Series 4: Anbar Eau de Cologne, Adora, Greenbelt 5. 3 Pi by Givenchy Eau de Toilette, Givenchy, Rustan's. 4 Fendi by Fendi for 9 Aqua Allergoria Pamplelune, Guerlain, Rustan's. 10 L. 12. 12. Noir Lacoste, Lacoste, Rustan's. 11 Eau des Baux Eau de Toilette, L'Occitane en Provence, Rustan's. 12 Endless Euphoria, Calvin Klein, Rustan's. 13 E 17 Dolce, Dolce & Gabbana, Art of Scent, Shangri-La Plaza Mall East Wing. 18 Armani Eau Pour Homme, Rustan's. 19 Violetta Eau de Toilette, Penhaligon's, Adora, Greenbelt 5. 20 Terre D'Hermès, Hermès, Gree Gucci, Rustan's. 25 Osmanthus Blossom, Jo Malone, Art of Scent, Shangri-La Plaza Mall East Wing. 26 Rosabotanica, Balenciaga, balenciagafragrance.com. 27 Pour Homme No. 4, Cereus, cereusfragrance.c 32 Hasu-No-Hana Eau de Parfum, Grossmith, grossmithlondon.com. 33 03 Century Eau de Parfum, Odin, odinnewyork.com. 34 Burberry Brit Eau de Toilette, Burberry, Rustan's.
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baRED
BOTTLED LUXURY
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Just a spritz of these scents is an immediate balm to the senses
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r Women Eau de Parfum, Rustan's. 5 John Varvatos Artisan, The SM Store, SM Aura. 6 Petite Cherie, Annick Goutal, Rustan's. 7 Essence Aromatique, Bottega Veneta, Greenbelt 4. 8 Daisy, Marc Jacobs, Rustan's. Extatic, Balmain, balmain.com. 14 Bond No. 9 I Love New York, The SM Store, SM Aura. 15 Philosykos, Diptyque, Rustan's. 16 Neroli Portofino Eau de Parfum, Tom Ford, Art of Scent, Shangri-La Plaza Mall East Wing. enbelt 3. 21 Jasmin Deluxe Eau de Parfum, Gianni Versace Couture, Rustan's. 22 See by Chloe, Rustan's. 23 Be Delicious City Blossom Urban Violet, DKNY, Art of Scent, Shangri-La Plaza Mall East Wing. 24 Flora by com. 28 Born in Paradise, Escada, Rustan's. 29 Infusion d'Homme for Men, Prada, Greenbelt 4. 30 Signorina Eleganza, Salvatore Ferragamo, Greenbelt 4. 31 Acqua Di Colonia Russa, Santa Maria Novella, Rustan's. 35 L'Homme Parfum Intense, Yves Saint Laurent, Art of Scent, Shangri-La Plaza Mall East Wing. 36 Chanel No. 5, Chanel, Rustan's. 37 Eau de Parfum Spray, Tory Burch, Greenbelt 5
attiRED
GOOD SHEPHERD Leading the sweater herd to cool new heights P HOTO G R AP HY O L I V I E R YO AN
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KEEPING IT SURREAL Take an imaginative flight into the playful world of surrealism with pastel-perfect hues STYLI N G M E G MAN Z AN O AS S I S T E D B Y AN G E L A M AN UE L G O AN D ARA N E P O M UC E N O P HOTO G R AP HY JO HAN N B O N A O F AT E AS T JE D RO OT P O S T - P R O D UC T I O N N I ÑA M UAL L AM
Lavender leather bag with acrylic handles, Repetto, Greenbelt 3; yellow sundress, Jaspal, Adora, Greenbelt 5; heels, Giambattista Valli, Univers, One Rockwell, Makati City
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This page: Embellished marching band jacket, Ralph Lauren, Rustan's Makati; salmon clutch, Jimmy Choo, Greenbelt 4; kitten heels, Pierre Hardy, Univers, One Rockwell, Makati City Opposite page: Long-sleeved polo, Marc by Marc Jacobs, Greenbelt 5; blue dress, Carven, Shangri-La East; floral top, Balenciaga, Univers, One Rockwell, Makati City; patent strappy sandals, Jimmy Choo, Greenbelt 4
Skirt worn as tube top, Marc by Marc Jacobs, Greenbelt 5; checkered clutch, Kate Spade, Greenbelt 3; embellished skirt, Carven, Shangri La East; heels, Jimmy Choo, Greenbelt 4
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EYES ON THE PRIZE Hide with style in a pair of sunglasses
The Hangover Tom Ford
attiRED accessories
Eagle Putt Prada
NIFTY SHADES
Every man’s guide to understanding the accessory’s broad spectrum W O R D S AN G E L A M AN UE L G O
Little is known about the long and arduous journey before sunglasses found their claim to fame. Prehistoric men flattened walrus ivory to shield themselves from the sun, 12th-century Chinese officials made use of dark quartz to hide their emotions in court, and Roman emperors watched brawls between gladiators in the coliseum through polished gems. Hundreds of years passed without any further enhancement, until James Ayscough started experimenting with tinted lenses to correct visual impairments and created the shaded spectacle in 1752. Finally, close to two centuries later, it was a picture-perfect moment in 1929 that brought the iconic accessory into the wardrobes of many: on a fine sunny day on the beaches of Atlantic City, Sam Foster introduced commercial sunglasses to America for the first time. From humble and troubled beginnings came an influx of designs, brands, and styles that makes choosing the right
shades close to impossible. When lost in a sea of modernity and ever-changing trends, the best thing would be to stick to the classics. From the effortlessly, sharply-dressed look of their Wayfarers to the Aviator-styled specs that are both tough and debonair, Rayban and Persol are arguably the most iconic of shades, with no shortage of timeless styles available from their roster. For athletes and outdoorsmen, no need to look further than the iconic, lightweight, and durable lenses that Oakley has to offer. Motorists and racing enthusiasts trust Porsche Design and Carrera shades to best complement any ride. If you’re looking for a fresher take on the classics, Cutler and Gross and Oliver Peoples have got you covered. For men, the cosmetic power of finding the right sunglasses is almost like discovering the best make-up. Contour, enhance, and conceal; all it takes is knowing which shade is the perfect fit. •
Street Walk Tom Ford
At the Polo Club Persol
In Yacht Fashion Alexander Wang
FACE OFF Show off, or hide, those chiseled cheeks with the right lens shape
Oval
George Clooney
Triangle
Ryan Gosling
Round Brad Pitt
Diamond
Adam Levine
Oblong
Kanye West
Square
David Beckham
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empoweRED
SARTORIAL STUDIES Strong-willed statements from Singapore's number one editrix W O R D S I S A AL M AZ AN P HOTO G RAP HY M ARK N I C D A O
“Were there any?” Giselle Go quips when asked about her misconceptions when she first began working abroad. “I just went into it without any preconceptions.” At 26 years old, young and unaware of the industry ins and outs in Singapore, she was made editor of one of the biggest international magazine titles, Harper’s Bazaar. And from Harper’s Bazaar to STYLE and its offshoot HIGH, Giselle is now one of the authorities in Singaporean fashion and luxury. RED talks to Giselle about success in
her editorial career, the people she has rubbed elbows with along the way, her favorite reads and fashion pieces, and, of course, what it’s like being a Global Pinoy. What is the most fulfilling part of the work you do? Putting together a magazine is very much a collaborative project— from producing images, writing copies, putting them together in layout, having the printers produce special paper
executions, getting the sales team to reach ad targets, and more. But the fact that it is a creative process with a physical, tangible product that I can hold every month is the most fulfilling. What is the hardest thing about being an editor for Singapore’s top fashion magazine? One of the challenges for me as an editor of a fashion magazine in Singapore is how
EDITRIX ESSENTIALS
A visual journey of faces she's interviewed, places she's been, and her style arsenal
@gisellego_sg: Front row #Marni textures
MA KEUP D ON D E JESU S FO R M AC C OS MET IC S HA I R OG I E R AY E L F O R K I E HL ' S
to balance the commercial needs of the product while keeping to the editorial vision of the magazine. Who are the people who have inspired you the most in your tenure as an editor, and what have your learned from them? I interviewed Marc Jacobs in New York when he did the Stephen Sprouse tribute collection for Louis Vuitton and found him to be very articulate, engaging, and savvy in handling the media. This is not common to a lot of designers, and I’ve since observed that this trait is somewhat a barometer for a designer’s success. That gave me insight into the symbiotic nature between media and the brands. Another memorable meeting was with Lady Amanda Harlech, Karl Lagerfeld’s muse at Chanel. She talked about the importance of permanence and longevity in fashion, veering away from a culture of waste. That made her one of the greats in my mind. I also always enjoy doing interviews with Tod’s Diego Della Valle because of his unfaltering enthusiasm for what he does, his sharp business acumen, and his anecdotes about Italian culture. Karl Lagerfeld, at a press conference in Tokyo, was another fascinating personality who gave completely unfiltered, probably nonPR-approved answers, which is refreshing in an industry that can sometimes put too much value on a manufactured image. As a Global Pinoy, what characteristically Filipino traits do you possess that you believe helped you make your way to the top? I don’t think there is a universal formula, nor do I think that Filipinos can or should be generalized down to cultural traits. I always believe that every person has their own cocktail of skills and quirks that can be used to excel in a particular environment. I encourage breaking away from stereotype. •
Considered the number one fashion publication in Singapore
“I interviewed Marc Jacobs about his Stephen Sprouse tribute collection for Louis Vuitton.”
Tod's D Bag to lug around during flights
Karl Lagerfeld with muse Lady Amanda Harlech @gisellego_sg: #DolceGabbana #FW14
"I wear this Cartier Trinity ring from my mother everyday."
Tod's Diego Della Valle
Bulgari Tubogas bracelet watch
Marc Jacobs
The Roger Vivier Prismick bag, perfect for the evenings
“Recently, I just finished The Hundred-Foot Journey because I was going to see the film afterwards. I'm one of those annoying people that likes to read the original material first.””
A SECRET FOR THE STEAK LOVERS
The origins of Kitayama Wagyu
devouRED
BLADES OF GLORY Prepare sushi that will make the cut by Jap standards W O R DS M A R GA U X SA LCE D O P HOTO G R AP HY P AT RI C K S E G O V I A
There has always been an ethereal quality about Japan, a sense of serenity that allows one to calm down amidst the bustle of the urban jungle. This is the vibe that welcomes you at Wafu. Credit the expansive space, the sprawling two floors with a landing deck in between: a main dining area on the ground floor, a teppanyaki station on the second floor, and a "pond" floating in between. The pond is an attempt to transport the diner to a surreal Japanese setting. In lieu of water are shiny blue pebbles on which sit giant "lotus pods" that diners can sit in, offering privacy for a group of six to eight. These are creations of artist Ann Pamintuan, known for her horse replicas in the Greenbelt gardens. Surrealism is transported to the plate as prime tuna belly or otoro is made available. Continue to dream with the sweet, slimy botan shrimp, certain to wow even the most high-brow gourmet. For the stylish eater, order the scallop sushi, where the scallop gracefully glides over the rice like a Cynthia Rowley hat. And for a modern
maki, have a Hokkaido roll, which has its own hat of tenkatsu or tempura flakes to contrast the soft avocado and sweet shrimp inside the roll—a creation of Chef Nobuyoshi, previously from Sushi Midori in Ginza. On weekends, the terrace is converted into an al fresco izakaya, showcasing chicken ass and sous vide pork belly barbecue, among other skewered specialities. It's a lively, pleasant contrast to the fine dining pleasantries in the pod area. But whether your choose to be casual or classy, you will definitely feel the ethereal spirit of Japan in the air after having their exceptional otoro. It's the kind of experience that will make you smile, rub your tummy gratefully, put your hands together and whisper, • "Arigatou gozaimasu."
Baked scallops and sushi medley. Wafu is located at Greenhills Shopping Center, San Juan
Around three years ago, I saw the words "Kitayama Wagyu" on a menu. 'Kitayama' sounded very Japanese, but Google did not yield any results on the word. I wanted to know its origins. From which prefecture is it? Is it near Kobe? What makes it special? Turns out, I couldn't find it (back then) on the Internet because while there is, in fact, a Kitayama village in the Wakayama Prefecture in Japan, this brand is not made in Japan but in our own backyard: in Mt. Kitanglad in Bukidnon. Wagyu cattle was crossbred with native ones, creating— voila—Kitayama Wagyu. Just like in Kobe, Kitanglad cattle are fed grains and nutritious concentrates for at least 600 days. I don't know about massaging and giving them beer, though, rumored to be the practice for Kobe beef. But who knows, maybe in Bukidnon they have the pleasure of hilot and our tourist-lauded San Miguel Pale Pilsen, because Kitayama meats are spectacular. At their shop in Pasong Tamo, you can choose between graded ribeyes, T-bones, sirloins, chuck rolls, and more. All meats are hormoneand enhancer- free. They will also cut the beef right in front of you, and you can tell them exactly how thick you want your cuts to be. Best of all, it's beef with excellent marbling at a lesser price than Kobe steak, it's a steak lover's dream come true. Kitayama Meatshop is located at 2292 Chino Roces Ave., Makati City
TOLD IN IMAGES History and heritage in an artistic landscape
The Formento Economico Mexicano S.A.B de C.V. (FEMSA) Collection, founded in 1977, has served as a representative anthology of the main artistic movements of the Latin American continent. Containing more than 1200 works, it illustrates a path through Mexico’s and Latin America’s modern and contemporary art, representing some of the most important artists of both milieus: Diego Rivera, Frida Kahlo, David Alfaro Siqueiros, José Clemente Orozco, Gerardo Murillo “Dr. Atl”, Ángel Zárraga, Roberto Matta, Armando Reverón, Wifredo Lam, Joaquín Torres García, Emilio Pettoruti, Roberto Montenegro, Gabriel Fernández Ledesma, Jean Charlot, Juan O’Gorman, Antonio Ruiz “El Corzo”, Carlos Mérida, Rufino Tamayo, Remedios Varo, Leonora Carrington, Alice Rahon, Mathías Goeritz, Jesús Rafael Soto, León Ferrari, Fernando Botero, Carlos Amorales, Betsabeé Romero, Luis Cruz Azaceta, Jan Hendrix, Yishai Jusidman, Rafael Lozano-Hemmer, Pedro Reyes, Luis Roldán, and Carlos Cruz-Diez, to name a few. The Collection increases its heritage through the Monterrey FEMSA Biennial, an art contest instituted in 1992 that strengthens, encourages, and promotes artistic creation in Mexico. Internationally recognized as the most important visual arts Biennial in Mexico, the Biennial is a means for the Collection to acquires works in two-dimensional and three-dimensional formats. FEMSA’s acquisition and donation program also allows the Collection to add works that enrich its heritage through its Committee for Consolidation’s art critics and specialists that supervise and validate the Collection’s course and development as fitting its vision and vocation. As a result of all these efforts, the FEMSA Collection is acclaimed as one of the most important modern and contemporary Latin American art collections in the world. In the Philippines, an unprecedented exhibition of the FEMSA Collection can be seen at the Ayala Museum until November 9. “Mexico: Fantastic Identity, 20th Century Masterpieces. FEMSA Collection” will feature 63 pieces of Mexican artworks, starting from the European experience of the early 20th century through the vanguard movements and schools. It’s supplemented by a large group of portraits of the painters, taken by renowned photographers.