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EDITOR'S NOTE
@riaprieto: Pattern perfect #IHaveThisThingWithFloors
MASCULINE FEMININE I like wearing menswear pieces. I find them easy to wear, and their cuts seem to fall better on my body. They’re also not as trendy as womenswear. Even when menswear designers get experimental, men’s clothing remains essentially the same. Maybe it’s because menswear is built on tradition. Tailors make bespoke suits based on classic design principles, and there’s really no point in changing what already works so well. Quality is also a hallmark of menswear’s appeal, the careful consideration of fabric and execution of stitches that are intended to last for decades. While womenswear is exciting in how it pushes the envelope, there’s something refreshing and tasteful about going back to the structure of a well-made men’s shirt. When something is made with precision and attention to detail, it hardly matters anymore for whom it was made. If it looks good on him, then why shouldn’t it also look good on her, right?
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ART
THREAD ROOM Reveling in Aiko Tezuka’s unraveled art WORDS MEG MANZANO PHOTOGRAPHY MARI PEÑA
There are several strands that populate Aiko Tezuka’s attention. A bunch of them she had just addressed quietly, tucking them behind her ear, the others, across the room unable to be addressed just yet, strewn across a marbled surface. “I’m afraid he might step on it,” says Tezuka of a curious bystander admiring her piece all too close for her comfort. Seconds after the interview, the artist rushes to her threaded brainchild to investigate. The strands remain immaculate—subtly contrived in such a manner only revealed by an image of the artist hunching over to attend to an imagined displacement of threads. While textiles and tapestries have long enjoyed their residence in the avenue of storytelling, with ancient embroideries depicting the wealth of various reigns and the storied falls from grace of political houses, Tezuka’s pieces aim to tell a tale most modern. In an effort to remain relevant, and perhaps document the era’s societal forces, the
“TWO HUNDRED OR 300 YEARS LATER, WHEN I’M GONE, SOMEONE MIGHT FIND IT AND IMAGINE HOW THE WORLD WAS.”
Japanese artist unsurprisingly decrees the Internet as her primary source of references. “Two hundred or 300 years later, when I’m gone, someone might find it and imagine how the world was,” offers Tezuka. Apart from the depicted daily commerce that thrives on online activity, the artist also adds traces of Fukushima’s tragedy onto the fabric. Biohazards, peace signs, and DNA present the crowd a tapestry or two to illustrate fragments of present times. “The disaster took place years ago but we still encounter the effects until today,” explains the artist. “I have friends who gave up on having babies just because of radiation.” It is perhaps from this similar lasting effect that Tezuka draws inspiration when weaving and unraveling various symbols to create compelling narratives. Initially resigned to a career in painting (“My grade school teacher and classmates praised my works so I felt good and thought I would do art,”), the artist abandoned the craft upon realizing there was nothing new that could be done with it. Today, the artist, fresh from an afternoon visit to the local museums and a stroll that allowed her an encounter with ube, seems more than content contemplating man’s many curious constructs. Residing in a world governed by symbols, brands, and images, Tezuka’s tapestries promise to unravel the littlest signs that are so intertwined with daily life, only to create pieces that withstand the clichéd threads of time. •
Top: “Certainty/Entropy (India 1);” Bottom: The artist minutes before the opening of her recent exhibit in Ayala Museum titled Unraveling, Restoring.
ATTIRED
MAID FOR MEASURE An affair with menswear ensues PHOTOGRAPHY PATRICK SEGOVIA STY LING MEG MA NZ A NO
Coat, Tommy Hilfiger, Greenbelt 5; fedora, Firma, Greenbelt 3
This page: Trousers, Jaspal, Adora, Greenbelt 5; blazer, Balenciaga, Univers, One Rockwell; collared shirt, Paul Smith, Greenbelt 5; cane, AC+632, Greenbelt 5 Opposite page: Suit and trousers, Hugo Boss, Greenbelt 5; knit top, Dr. Denim Jeansmaker, Adora, Greenbelt 5
Top hat, AC+362, Greenbelt 5; blazer, waistcoat, and pants, Dolce & Gabanna, Adora, Greenbelt 5; polkadot heels, Paul Smith, Greenbelt 5. Creative Direction Nimu Muallam. Hair and Make Up Nicole Ceballos. Styling Assistants Angela Manuel Go, Katya Roxas, and Angela Natividad. Model Dryka of Ideal People.
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This page: Jumpsuit, Tommy Hilfiger, Greenbelt 5; fur jacket; Tamed Fashion, 26 Olympic Heights Tower 1, Eastwood Opposite page: Knit top, Zara, Greenbelt 5; navy blue skirt, Jaspal, Adora, Greenbelt 5
SQUARED
COLONIAL MENTALITY A glimpse into the making of campaign furniture W ORD S MEG MA NZ A NO P HOTOGRA P HY A RTU NEP OMUCENO
To the uninitiated, a cautionary stroll inside P&B Valises Et Compagnie Inc. (or Prizmic & Brill)’s design house reveals what seems like a museum of artifacts: campaign furniture preserved and restored for present day decorating, travel trunks intended for use in some far-off colony. The myth, however, is grandly dispelled in a huge warehouse in San Fernando, Pampanga where dedicated folk meticulously craft these pieces from scratch.
Rows upon rows of leathered luxury decorate an otherwise rustic factory, all created in a matter of days or weeks compared to the commonly mistaken decade or so. A more investigative jaunt in the second floor of Prizmic & Brill’s provincial space instantly transports its visitors to a scene from Out of Africa. Weathered wood provides a perfect backdrop to its cast of characters: a handsome desk with leather
finishes, a worn-out map almost chronicling a certain expedition, and several drawers in various hues of mahogany. “Once upon a time, that was our theme,” starts Matthew Brill, 58, Prizmic & Brill’s founder and designer. “We wanted a classic Spanish colonial gentleman as a face, and we figured General Luna would be a good fit.” The warehouse’s resolute lack of modern fixtures serves another reason to draw guests in.
Left: A scene where Philippine craftsmanship and world-class design constantly meet; Below: Matthew Brill, the company’s CEO and designer; still in its infancy, leather is handstitched onto wooden drawers and partitions.
JOHN RAY: IAN DERRY FOR STANDARD.COM.UK
“If you look around, all our furniture is from the company,” mentions Gia Delos Santos, Prizmic’s merchandise manager, providing additional testament to the pieces of furniture’s functionality. Asked whether a full-fledged team did the designs, Delos Santos almost violently shakes her head. “They’re all done by Mr. Brill himself,” she corrects. For about three decades, Prizmic & Brill has maintained a flourishing business of exporting. The last leg of the warehouse tour reveals a packing area with several identical closet designs meant for a hotel in Dubai, coffee tables bearing a map of Kenya to be sent to a lodge in Nairobi, and impressive trunks for a private customer. Despite the grand-
scale manufacturing intended for export, the pieces remain stamped with local tradecraft. Raw materials are sourced locally: gorgeous mahogany, formidable rattan, and swathes of leather populate the line of campaign pieces. “You could say I was surrounded by design,” says Brill of his upbringing in New York that for some time involved an interior decorator. Who’s Prizmic though? we ask. “He’s a good friend who happens to be a novelist,” responds Brill. Ironically, in the business of creating visual narratives that pay homage to furniture found in British India or French Algeria, P&B remains a haven of rustic design and masterful craftsmanship fit for a travelling author. •
THE NEW GENTLEMAN Dunhill’s new creative director John Ray is at it again. From the British brand’s return to London’s menswear shows to a newly released ad campaign shot by Peter Lindbergh (in which we spy the exceptionally well-dressed Max Irons, Andrew Cooper, and Jack Guinness), the tailoring house now introduces its new Chassis Bright Colour Collection. In a likely nod to the brand’s motoring past, the pieces feature a carbon fiber design rendered in pop hues. Crafted with chrome-tanned cowhide and tailored silhouettes, the collection presents a gentlemanly style with prep school roots.
ADMIRED
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A THEORY OF FIT Donnie Tantoco navigates the retail world’s changing landscape of taste PHOTOGRAPHY RALPH MENDOZA W ORD S P RISTINE D E LEON
Opposite page: Knit cardigan, Missoni, Adora, Greenbelt 5; white sweater, Neil Barrett, Adora, Greenbelt 5; This page: Navy sweater, Ralph Lauren, Greenbelt 3; denim shirt, Dr. Denim Jeansmaker, Adora, Greenbelt 5
Donnie Tantoco sits on a stool
without a hint of unease,
like your veteran model
knowing exactly how to act, or—let’s stretch the
image a little further—
like royalty composedly seated on his throne. Belonging to the third generation of the Tantoco clan, he has always fit the portrait: the man who has the looks, the smarts, and the power, all to set the trends. “That’s very, very affirming,” Tantoco tells me. “But I don’t agree with that.” “Were you really your lolo’s favorite?” I ask. “I think so,” he says, half-jokingly. “I don’t know. He makes me feel that way.” The Rustan’s patriarch Bennie Tantoco has always made him work to earn his stripes, even as far back in his schoolboy days, in the family store on summer breaks. “[My lolo] says he only supports people who are hungry and pursue ambitious goals,” he recounts, and those attracted to the theory that retail royalties aren’t simply born but shaped over the years would find support in the story of this selfmade retail mogul. “Fit is super important to me,” he says, and for now let’s presume he’s pertaining to both the wearer’s clothing and physique. Known for his obsessive jogging routine, Tantoco likewise equates retail to a “sprint at a moving finish line.” Now the president of Rustan’s Commercial Corporation, he’s made Adora the company’s latest venture. A brainchild of his cousin Eman Pineda in 2008, the luxe retail store has finally attached itself to the legacy of Rustan’s. “We like what Adora stands for,” Tantoco says. “We love the ethos, the identity of the brand. It’s a bit of a maverick within the fashion market.” Addressing our query if the prized boutique is now set for reinvention, Tantoco disagrees, promising only “to keep Adora pure,” to preserve it and to grow it, with the resources of Rustan’s. Talk to Tantoco about the imagery of fit and he might say it’s not always about having the greatest force of influence in the field. Note, then, that with Adora, Tantoco isn’t out to change the landscape— he’s done that several years ago, pioneering the idea of the hypermart. Now, the aim is to make the brand evolve with a rapidly changing market. Consider these: At the time Rustan’s was
beginning in the ’50s, the idea of people purchasing items off a screen was virtually unimaginable. At the rising influence of e-commerce, people wondered if we’re approaching the demise of brick and mortar. Foreign brands, moreover, 250 to be exact, have charged to our shores in the last six years, and a staggering 50 just this year. “It’s a very exciting dynamic,” Tantoco smiles at me, unfazed. Against the fast-paced conveniences of an online shore, Adora celebrates the sensorial revelry experienced when one shops. Pineda has created Adora in a way that makes shopping feel like visiting a private
collection of great brands, a privileged excursion in a gallery of style. As Tantoco’s ’90s breakthrough idea of the hypermart proves, space is virtually as essential as a store’s array of brands. Trust Tantoco, then, to deliver spatial novelty through and through. With the matter of new brands surging in, Tantoco explains that while the industry is getting crowded and competition growing increasingly cutthroat, “there are [still] a lot of segments being underserved.” Take for instance the mother who’s a junior executive, still in search for something between
fast fashion and high-end brands. The peacocking male who cares much about being as stylish as feminine set is still equally parched for his own line. “If the market is all about price and brands, Adora is all about lifestyle.” Tantoco—whose wardrobe staples consist of white shirts and made-to-measure suits by Ascot Chang, with matching ties, pocket squares, sunglasses, and coat—understands how one’s life can set the standard of good style. “I can go from day to night, travel to cold places, attend events with dress codes from smart casual, to business formal with essentially the same pieces,” he explains. Being in the business, then, involves more than bringing in tasteful brands, but serving emerging markets awaiting representation in retail trends. “We want to be their advocate,” says Tantoco. “When you have a customer that’s that passionate...you are equally passionate to develop a relationship with them.” More than importing brands that would woo the local crowd, finding a fit for their audience also means curating pieces that are tailorfit to their lifestyle, or constructing a space of luxe that gives form to the market’s tastes. “It’s less about influencing but more about understanding,”says Tantoco. For this retail royalty, setting the standard can also mean being fit enough to chase the changing trends. “[In retail], you need to have the endurance of a marathon runner, but you also need the speed to market, the decisiveness of a sprinter,” he remarks. The retail tycoon has always been sprinting across the industry’s shifting landscape, proving that though modes of living quickly diversify, anyone’s life is always best expressed through style. •
Opposite page: White button down, Jaspal Man, Adora, Greenbelt 5; sweater, Missoni, Adora, Greenbelt 5, pants, Dr. Denim Jeansmaker, Adora, Greenbelt 5; leather stool, Prizmic & Brill, Greenbelt 5; This page: Plaid shirt, Dr. Denim Jeansmaker, Adora, Greenbelt 5; pants, Seven For All Mankind, Greenbelt 5; shoes, Florentino, Adora, Greenbelt 5 Creative direction Nimu Muallam Styling Ria Prieto Grooming Amanda Padilla
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DEVOURED
SETTING THE BAR An altar of wines set in Manila WORD S MEG MA NZ A NO P HOTOGRA P HY TA KESHI SHINOHA RA
Clockwise from top: “You won’t find our wines anywhere else,” boasts Madrid; A flurry of cheeses set to accompany wine from comté to goat cheese.
Beware that ordering vino at this wine bar might mean having to withstand low temperatures. “The wine must come first,” quip the folks at Monopole as we downplay the shivers. And by first, they mean absolutely all aspects were designed in similar reverence. Among the crowd of conversation pieces is an impressive wall of Zalto glasses, considered an artful vessel as it allows for clarity and depth. “We’re probably the only commercialized establishment on this side of the world that’s crazy enough to use this,” admits owner Jojo Madrid of the glasses that range around P3500 per hand-blown and delicately handcrafted piece. Aside from the cavalry of crystal, Madrid’s little altar interestingly offers a premium selection of wines independent of the Premium Wine Exchange that he owns along Pasong Tamo. The rather masculine yet cozy setting,
which seats 17, houses armchairs from MDF Italia, curious bar stools from Fredericia in Denmark, and lighting fixtures from British brand Tom Dixon to further illustrate the bar’s pursuit of an elevated wine experience. “A lot of people might not understand what we’re doing here and why we’re pricing this much,” muses Madrid of Monopole’s discerning audience. “But some fail to understand just how large our pours are and how special these wines are.” Offhand, the bar’s opening seems incredibly indicative of the local market’s growth. “People used to regard champagne as something you’d only open during an anniversary or even a wedding; I drink champagne every day.” As tastes start to grow and storied bottles readily become available, Monopole bears the possibility of educating those who choose to brave its threshold, one Zalto glass at a time. •
Monopole is located at Greenbelt Excelsior Building, Carlos Palanca St., Legaspi Village, Makati
INSPIRED
CURIOUS CASE
A magazine editor’s home finds refinement in overabundance WORD S A NGELA MA NUEL GO P HOTOGRA P HY PATRICK SEGOVIA
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Above: A massive painting by Ranelle Dial hangs on the wall of the foyer. On the chest of drawers, a piece of Eugenia Alcaide stitchery. Right: “This piece has ivory detailing on it. I got this in a gallery in Hong Kong in 1999. Two years after I bought it, the gallery owner called me and said they wanted to buy it back!”
Ushering visitors into this residence is a commanding but endearing passage, its charm somehow indicating a certain unawareness of the bustling business district that neighbors the address a few streets down: an entryway crafted from thick, black wood, light panels of glass, and highlighted by angular and annular wrought iron patterns that layer the surface. “I was very adamant about this [style] ‘cause I spent like half of my life in New York,” shares owner Alicia Sy. “I always wanted a townhouse and this is as close to a townhouse as I’ll get!” When Sy and her husband first acquired the property, they enlisted the services of architectslash-interior designer Jonathan Matti to turn the house into a home. “He was definitely the right guy for us to work with. He really understands what I like. Actually, everything from my old house, he was able to use. We just need to buy more for the larger space.” It’s inherent that Sy knows a thing or two about seamlessly blending structure and sensibility, and if the front door is any indication, the home is an environment based around the equilibrium of opposites. A simple case of East meets West, perhaps, is what is seen throughout this not-sohumble abode. “I’m very modern-traditionalist, if
you needed a catch statement—I’ve always liked old1 things. But, I also want things to be fresh,” she explains. A few steps down the foyer’s checkerboard floors, I get a hint of what’s to be an expected: an eclectic mix, well decorated and delicately put together, but still easily considered comfortable and functional enough for the whole family. “I like things!” declares Sy, who I can now surmise is a dauntless decorator. “I’m a maximalist—but I don’t think I’m that maximalist cause I’ve seen people who are much more maximalist.” To the right of the entrance hall, in stark contrast to the retro-esque walkway, is the heart of the house: a living area that sits on elegantly European herringbone floors. It is a feast for the senses, in every corner a plethora of textures, colors, and materials in various sizes, shapes, and forms. A grand, vintage aparador with a see-through glass door instantly captures my gaze, the shelves— surprisingly still empty—hidden by a curtain inside. In the corner of the room is an antique marble table purchased from an Ayala Museum exhibit. “It’s the canal [of a round table] that gives this piece its character and value.” In others, it’s bits of animal print in rugs and upholstery. Some gold knickknacks and design books sit on the room’s various surfaces. There’s an impressive collection of Chinese lacquerware and old Filipino artifacts, including some by Isabelo Tampinco, strewn throughout the space. “Too many, too few—it’s all about personal taste. You just look at it whether it fits. When I’m done with this space, it will have a lot of layers.” Strolling back through the foyer, I’m met by
walls lined with paintings and art of all sorts, some by young artists she enjoys: Anton Mallari and Zean Cabangis, among others. The rest, by more established ones: the musicians by Luz in the ’60s— one of her first purchases—and a Manansala rooster, in line with her husband’s zodiac sign, being some of the standouts. “We just buy what we like,” she says. “When there are holes and gaps in the wall, I just always try to cover them up.” We walk into the dining room aglow with sunlight; large gold knockers nobly adorned with the face of a lion—a gift from her mom’s trip to Italy, over 20 years ago—greet us at the door. She opens an old China cabinet, its exquisite wooden form adorned with intricate patterns. “You know, I always find there’s a lot of detail in the liquor!” she says with a laugh, gesturing to the mass of bottles that fill the space. “Which one’s your favorite?” I ask. There’s a brief pause. “Everything.” •
Top: A painting by Marina Cruz hangs on one of the living room walls. On the table, a collection of antique wine decanters, inspired by a hotel room in Antwerp. In the background is a group of terrariums in elegant vases. “They said they wouldn’t die, but they keep dying! I think they look interesting that way, though.” An instant conversation piece is an encased 18th century ivory fan with intricate imagery that sits on a set of design books; Above: The walls of the downstairs powder room hand-painted by surface designer Tats Manahan; Left: “If you were to ask me if I had a favorite part of the house, it would be outside. I have my coffee here every morning.”
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POINT OF VIEW
EXPLORED
Awe-inspiring sights of nature’s finest
WORD S A NGELA MA NUEL GO P HOTOGRA P HY A A RON PA LA BYA B
“When was the last time you had nine hours with no plans, no obligations to worry about, and a giant swathe of beautiful wilderness spread out before you?” asks lensman Aaron Palabyab, who describes himself as “starstruck” after spending just an afternoon relishing the wonder of Yosemite. “You could have the most ‘boring’ day, and it would still be the most memorable experience,” he says. “It’s not hard to believe this is a place where old gods and spirits still dwell.” Storybooks may decree that it takes deep-sea voyages and dwelling through caves to unearth the most valuable of treasures. But the valleys rich with
magnificence and charisma indicate otherwise: that the most precious things simply hide in plain sight. There are miles and miles of lush greenery thriving with flora and fauna, waterfalls and streams that flow with vitality and purity, cradled gently but securely
Opposite page: Bridalveil falls: Cascading down 188 meters, Bridalveil Falls is one of the most prominent waterfalls in the Yosemite Valley. In local folklore, it is believed that inhaling the mist of the falls would “increase one’s chances of marriage.” This page: Tunnel View: A scenic overlook that offers seamless sights of the area’s endless ridges and foliage: a panoramic view of Yosemite Valley.
by the massive fortress-like glacial walls that run throughout the vast expanse. The towering ridges are almost mystical in being, like heavily armed protectors that guard what is within its estate. The park stretches out over 3,000 square kilometers—that’s five Metro Manilas’ worth of unadulterated scenery. It comes as no surprise that the wonder of Yosemite elicits a similar reaction from all who have the pleasure of witnessing it: one that is emotional, raw, and symbolic of the aura that comes with the whistling winds. Even Theodore Roosevelt was quoted as saying, “There can be nothing in the world more beautiful than
EXPLORED
the Yosemite,” and it was this particular trip of his, together with famed naturalist John Muir, that proved pivotal in the protection and conservation of the area in order to keep “[its] majestic beauty all unmarred.” Yosemite is indeed an anachronism of what the earth once was: honest, languid smoothness that remains undeterred and untouched by modern development. Palabyab further explains, “It’s a viscerally spiritual experience that hits you before you can think about it; this feeling of awe and of being dwarfed by nature. I understood right away why they call Yosemite ‘America’s Cathedral.’” The park authority provides comprehensive
Yosemite Falls: The highest waterfall in the Yosemite Valley, Yosemite Falls drops a total of 2,245 meters. It is divided into three parts: the Upper Yosemite Fall, the Middle Cascades, and the Lower Yosemite Fall. The main village of Yosemite’s native people, the Ahwahneechee, was once located at the falls’ base.
guides to those interested in witnessing firsthand the spectacle that is Yosemite, perhaps to walk on its paths leading to the glorious Yosemite Falls, or to experience the immensity of El Capitan in person, aglow with a radiant sunrise. Although basic beaten tourist paths are built for convenience, one must keep an open mind to experience Yosemite as it is
revealed firsthand. The expansive sight at the Tunnel View overlook is a reminder of this. “It ranks right up there with the most breathtaking first sights I’ve ever experienced,” remembers Palabyab. Appreciate the candidness, venture into the unknown, and let nature overcome all senses; not to be limited by signs and landmarks, but to savor the solitude of silence in the air, the calm in the glistening waters, and the spontaneity in the rocks on the roads less travelled. Art comes in many forms, and when it comes to nature, Yosemite is already recognized as testament to this notion. Here lies a portrait of a beautiful subject, one that stands alone, raw, and vulnerable in all its perpetual grandeur. •
“PICTURES REALLY DON'T DO JUSTICE TO THE SCALE OF IT AND THE EMOTIONS IT CAN ELICIT.”
EMPOWERED
THE GOOD LIFE
The spirit of benevolence according to Alexandra Eduque
HAIR AND MAKE UP RYAN DIGNADICE
WORD S A NGELA MA NUEL GO P HOTOGRA P HY PATRICK SEGOVIA
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“I will never forget the struggle that came with making my first hollow block! But at the same time, I will never forget the fulfillment that came with knowing that block would forever be a part of someone’s life,” recalls philanthrophist Alexandra Eduque who, at the tender age of 24, finds herself at the helm of not one but two internationally recognized humanitarian efforts: the Habitat for Humanity Youth Council and MovEd, or Molding Optimism and Values through Education. The opening of school is fast approaching, which means it’s the busiest time of the year for this wonder woman. It’s the first week of June; books and supplies are stacked endlessly, construction is on its last legs, and preparations
are in full swing. From building houses to building lives, nine years into the journey on a road less travelled, this Good Samaritan shows no signs of burning out. “I keep the golden rule at heart; time and time again, I remember what my mom always tells me: with privilege comes responsibility.” You started your philanthropic efforts barely into your teen years. How do you think this played a part in your life growing up? It was a continuous journey; the more I immersed myself in what I was doing, the more I re-affirmed to myself that it’s what I want to do. I was never estranged from the world of philanthropy and giving because my family always exposed me to it, but I think I was born wanting to help others, and
I wanted to do it in my own capacity, in whatever way I could, given my age. [Life as a volunteer] has made me learn to really count my blessings. In a way I think it also forced me to mature faster, in the choices and decisions I make, and most importantly in standing by those decisions and choices because it is what I set myself out to do. Ultimately, starting early taught me how to strike a balance—it’s an art I continue to master on a daily basis. Shortly after, you moved to New York to study. It is actually because I chose to study in New York for college that I conceptualized and came up with the Habitat Youth Council. In my years of volunteering, I’ve realized that so many young
people my age want to help out; they just need to be shown a worthy platform and avenue. The Habitat Youth Council was how I kept in touch back home and made sure that the initiatives I had planned were being followed through and that the momentum was sustained, even with me halfway across the world. While New York will always be my second home, after four years of studying in the vibrant Big Apple, I realized that I still left my heart back in the Philippines and that my calling was to go back and strengthen the initiatives I had started. I know I made the right decision because the two years I've been back have yielded me an incomparable sense of fulfillment in what I do.
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How did you find the transition from building houses with Habitat to being an advocate for education? The organization MovEd is the offshoot of my undergraduate thesis, which examined the working relationship of a non-government actor and a local government unit in addressing a national issue in the Philippines. The transition from housing to education, I felt, was a natural one, in the sense that my passion for both causes grew organically and the link wasn’t forced. Given my soft spot for children, as well as my background in educational psychology, I chose to address early childhood education and development in underserved communities. It’s amazing how much you’ve been able to achieve. You’ve literally helped hundreds of thousands—if not millions–of people. What keeps you going? To this day, I get many comments about my chosen path, my age, etcetera. But at the end of the day, I’ve come to live with knowing that everyone will always have an opinion and that no matter what you do, you cannot please everyone. As long as I know I am not stepping on anyone along the way, and that I am pleasing those who matter most to me, and that every morning I can wake up looking forward to doing more of what I do, then I know I can only be grateful that God showed me where my heart really belongs this early. In addition, I do have my family and a group of mentors to thank for taking me under their wing and bringing me to where I am today. From theoretical write-ups on 250 pages of paper, seeing the pilot school of MovEd open its
doors stands out in my book because it was the fruition of two years of planning and is something I could call my own. It became a reality that has since been arming kids with hope and promise. What would you consider your greatest achievement so far? I think it has to be known that one does not enter into the world of philanthropy hoping to be recognized or to be awarded; just being given the opportunity to help others out and to be a part of their lives is already the biggest of blessings and I am so grateful to be able to tread on that path everyday. Besides opening more doors for our next generation—in terms of helping out with providing them shelter and an education as well as giving them an avenue to help out—I think my greatest personal achievement thus far is bagging the Most Outstanding Volunteer Award in 2013, which was given by a UK-based NGO Resource Alliance and awarded to me in Amsterdam. In addition, and what actually meant more, was during that International Fundraising Congress, my fellow nominees and peers voted for me to be the first recipient of the IFC Choice Award. Knowing that they all know how competitive the field is and the difficulties that come with fundraising because they go through it themselves really motivated me to the highest of heights. •
Right: The gates of Barnard College New York; Bottom: A family photo taken in Kyoto
Above: Alex’s first independent jewelry investment: a personalized filigree pendant made by JJ Hemedes; Left: A portrait of Alex by Mia Herbosa.
Left: “Here I am with Congresswoman Leni Robredo, representative of the third district of Camarines Sur, as well as some teachers and students of MovEd in Bicol. Majority of our schools are in her district, thanks to her wholehearted support;” Bottom: MovEd’s pilot school in Barangay Tanza, Navotas.
To donate to MovEd, visit MovEd.org.ph
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