Southern Living: 2017 August

August 2017 Volume 11 | Issue 12

HABITAT

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10 COVER STORY At home with artist Jinggoy Buensuceso

FEATURE

Neil Daza brings us behind the scenes

Cover photo by Miguel Nacianceno 16 STYLE The rules of cool, according to seniors

AUGUST 2017 04 FIXTURE Dissecting our national language

26 RECIPE Adobo as we should know it

24 EATS A French-trained chef in Salcedo

28 THE GET Bespoke shoes for dapper men

EDITOR’S NOTE Unconventional strokes Pablo Picasso, when he co-founded Cubism, would take an object apart and analyze it in terms of the shapes its components’ form.

“Every act of creation is first of all an act of destruction.”

This month, we take a look at the mavericks among Filipino creatives: those reverting back to the basics whether in their lifestyles or in their respective fields. Welcomed into the home of visual artist Jinggoy Buensuceso, we discover his design process and how it had been translated into the creation of “The Black House,” a living artwork that also serves as his family’s personal abode. He illustrates his own theory of striking a balance between

contrasts and finding inspiration in the natural, vwhich resonates in his own works and even in his life.

We also meet with cinematographer Neil Daza who discusses his penchant for film photography. The industry veteran reveals how he finds solitude in still life, a passion that led to his photography exhibit at the Cultural Center of the Philippines.

And in celebration of August as the buwan ng wika, we consult an expert in Filipino studies on how Tagalog was declared our national language and, in the process, how English had wriggled its way to becoming the secondary form of speech in the country.

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Southern Living is published by Hinge Inquirer Publications. 4F Media Resource Plaza, Mola corner Pasong Tirad Streets, Barangay La Paz, Makati City. Visit www.facebook.com/ nolisoli.ph now. Follow us on Instagram at @nolisoli.ph and Twitter at @nolisoliph.

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ONLINE

SOUTHERN living

GOING PLACES

Finding noteworthy venues within the city and beyond

SPACE

GROUP PUBLISHER BEA J. LEDESMA ASSOCIATE MANAGING EDITOR BEA CELDRAN ASSOCIATE EDITOR ALYOSHA J. ROBILLOS ONLINE ASSOCIATE EDITOR PAULINE MIRANDA EDITORIAL ASSISTANTS OLIVER EMOCLING, BEA LLAGAS, YAZHMIN MALAJITO, ANTHEA REYES CREATIVE DIRECTOR NIMU MUALLAM ASSOCIATE ART DIRECTOR DANICA CONDEZ STAFF PHOTOGRAPHER AND VIDEOGRAPHER PATRICK SEGOVIA, NICCOLLO SANTOS INTERNS JOHN CHESLEIGH NOFIEL, MICKEY PAPERA, VIANCA UY CONTRIBUTORS WRITERS MIKO CALO, GARY DEVILLES, PH.D PHOTOGRAPHERS NEIL DAZA, SHAIRA LUNA, MIGUEL NACIANCENO STYLIST MIKO CALO HAIR AND MAKEUP PAM ROBES COPY EDITOR SEPTEMBER GRACE MAHINO PROOFREADER PAM BROOKE CASIN EDITORIAL CONSULTANT RIA FRANCISCO-PRIETO BOARD CHAIRPERSON ALEXANDRA PRIETO-ROMUALDEZ FINANCE ADVISOR AND TREASURER J. FERDINAND DE LUZURIAGA LEGAL ADVISOR ATTY. RUDYARD ARBOLADO HR STRATEGY HEAD RAYMUND SOBERANO VP AND CHIEF STRATEGY OFFICER IMELDA ALCANTARA SVP AND GROUP SALES HEAD FELIPE R. OLARTE AVP FOR SALES MA. KATRINA MAE GARCIA-DALUSONG HEAD OF OPERATIONS AND BUSINESS DEVELOPMENT LURISA VILLANUEVA KEY ACCOUNTS SUPERVISOR ANGELITA TAN-IBAÑEZ SENIOR ACCOUNT EXECUTIVES CHARM BANZUELO, ABBY GINAGA, LIZA JISON, THEA ORDIALES ACCOUNT EXECUTIVE ANDIE ZUÑIGA SALES SUPPORT ASSISTANTS RECHELLE ENDOZO, MANILYN ILUMIN MANAGING EDITOR ANGELA VELASCO ASSOCIATE MANAGING EDITOR PAM BROOKE CASIN EDITORIAL ASSISTANTS SHARM DE SAN JOSE, KRYZETTE PAPAGAYO, ZAE PLANA, CHRISTELLE TOLISORA SENIOR ACCOUNT EXECUTIVES SHANNA MALING, SARAH CABALATUNGAN ACCOUNT EXECUTIVE INA MATEO SENIOR GRAPHIC ARTIST JAYCELINE SORIANO GRAPHIC ARTISTS CHEE FLORES, NICO ORTIGOZA, KRISTINE PAZ

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PRODUCTION MANAGER JAN CARIQUITAN PRODUCTION ASSISTANT MARICEL GAVINO FINAL ART SUPERVISOR DENNIS CRUZ FA ARTIST ARGYL LEONES MARKETING AND EVENTS MANAGER JELLIC TAPIA TRADE MARKETING SUPERVISOR BIANCA DALUMPINES BRAND MARKETING SUPERVISOR MA. INA RODRIGUEZ BRAND MARKETING ASSISTANT NICOLE USON EVENTS ASSISTANT MERJORIE YOUNG SENIOR GRAPHIC ARTIST ROI DE CASTRO FIND SOUTHERN LIVING AT STARBUCKS COFFEE, THE MANILA PENINSULA, ALABANG COUNTRY CLUB, HEIMA, DUSIT THANI HOTEL, AYALA MUSEUM, AND FULLY BOOKED.

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AS WE SPEAK

Why our national language is Tagalog-centric TEXT GARY DEVILLES, PH.D. ILLUSTRATION JOHN CHESLEIGH NOFIEL

It is easy to blame Manila for all of the country’s woes, from an uneven economy to problematic cultural representations. Manila has been called imperial, centralist, and hegemonic by the neglected peripheral cities or regions—and it is not without fault. The fact that our president hails from Davao could be a manifestation of a general desire to decentralize Manila, given that until the current administration, the government has been run by Manileños without much difference or progress felt in the provinces.

It is not far-fetched to think that even the formation of a national language based on Tagalog can be a symptom of this internal colonialism. However, accusing Manila is simplistic.

If we’d read the manuscript of speeches and proclamation of the national language which led to Manuel L. Quezon’s Executive Order no. 134 in

1937, we’d find that there is more to the issue than Manila-centrism.

First, there is no truth that there was misrepresentation of or even a lack of representation from the regions who would have advocated for the adoption of their local languages to be the national language or lingua franca. A closer look at the composition of the National Language Institute (NLI) tells us that Cecilio Lopez was the lone advocate of Tagalog, while the rest—Filemon Sotto, Jaime de Veyra, Felix Salas Rodriguez, and Hadji Buta—were all from the south and were expected to advocate for Bisaya.

Second, the intention of looking for that local language was more practical than political: They were looking for the most widely circulated language, not only as spoken but also as written and produced in

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“We should neither be hampered by parochialism nor constantly engaged in this petty bickering between Bisaya and Tagalog.”

various media. In their mindset, a national language is practically disseminated all over, widely understood not only in the capital but also in other regions, and capable of incorporating other languages. Even though Sotto believed that Visayan speakers outnumbered Tagalog speakers, in the end, the NLI accepted Tagalog as the most popular and the most capable in that function.

Reasonable Choice Incredibly, English, the congress then believed, would also qualify. However, they also knew that it would take some time for English to take root among locals. They then decided to make English one of the official languages—a language that would be used in the government, at least until a national language has been sought and developed. The vision behind the proclamation has always been inclusive and reflective of the heteroglossic nature and plurality of our lives.

We cannot fault Tagalog solely for its early development. Most likely, the lawmakers and the institute verified what had already been observed about Tagalog language. Fr. Pedro Chirino for instance, noted in Relacion de las Islas Filipinas Tagalog’s adaptability and affinity with the Spanish language in terms of the markers used to indicate positionality or formality— something that he failed to see in other languages. He compared the Tagalog and Bisayan translations of the Hail Mary prayer, and pointed out that Tagalog has words for exaltation and for addressing superiors. In fact, even as he lauded Tagalog for such capability, he insisted as well that certain words in Spanish like Espiritu Santo, or Dios should remain as they were.

As a Tagalog speaker myself, I remember how we were taught by our parents and teachers to use po and opo and the third person plural pronoun like sila or nila in addressing the elderly and authority figures. It was considered disrespectful to address even a stranger as ka or ikaw. In other words, there could be truth in the early observation of Tagalog as having affinity with the formal and informal accents of Romance languages.

And if we look at our ladino poetry, from Fernando Bagongbanta to Gaspar Aquino de Belen’s Pasyon, it is difficult to ignore Tagalog’s wide circulation and translatability. National artist for literature Bienvenido Lumbera even noted how the development of Tagalog poetry culminated in Francisco Baltazar’s Florante at Laura.

Therefore, the adoption of Tagalog is not whimsical.

The lawmakers and the NLI found simply that Tagalog can be tapped to develop a national language and identity.

But of course, intention is one thing; implementation is another. As Tagalog was adopted to be the national language, the incorporation of other Filipino languages into Tagalog took a backseat to the detriment of other languages like Ilocano and Bisaya. Tagalog tended to adopt more English words in the long run, which seemingly made it exclusive and divisive. The development of Tagalog became aggressive enough that linguists and writers invented a lot of words: salumpuwit for chair, salimpapaw for airplane, and portmanteau words like bantayog or bantay-tayog for monument and sipnayan or isip-hanayan for mathematics. It was only recently when this move was corrected and a greater awareness for the inclusion of local languages was fostered to truly transform Tagalog into “Filipino”—a lingua franca that bridges other languages. The recent publication of translated and researched works of Komisyon ng Wikang Filipino is a step in fulfilling this vision of an all-inclusive national language.

Calling Manila imperialistic is not only anachronistic but also retards thinking in general, simply because there is just so much work to be done in terms of translation and the production of literary works as well as other media projects in all these other languages.

We should neither be hampered by parochialism nor constantly engaged in this petty bickering between Bisaya and Tagalog. Ultimately, we should work for a language that encapsulates our thoughts and experiences. Only then can we truly transcend not just our physical or geographical boundaries but also the

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FEAT URE

SCENE SETTER

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Tracking Neil Daza’s 25-year journey with light and cameras TEXT OLIVER EMOCLING PHOTOGRAPHY NEIL DAZA

A film or TV drama set is often chaotic. The one for this afternoon drama, however, is unbelievably calm: Actor Carlo Aquino can walk in and out of the set without fans halting him for an autograph or a picture; crew members patiently wait for the director’s instructions; and the director placidly watches the rushes or videos taped earlier in the day inside his air-conditioned tent.

Any emotional or mental whirlwind is suppressed by every person on set. There are still a few day scenes left to shoot, but daylight is fading fast and gray clouds hover over this side of the city. This doesn’t bother cinematographer Neil Daza, however; he has been capturing both moving and still images for 25 years under myriad conditions. He sits quietly in one corner of the tent, observing the director watch the rushes.

Natural path “Since I was 13 years old, I’ve always had a camera with me,” Daza reveals. Yet cinematography wasn’t what he had initially wanted to do. In college, he majored in fine arts, with the intention to become a painter one day. However, after graduation, he took up his camera again and became a photojournalist for the broadsheet Malaya.

Daza stumbled upon cinematography (quite literally) by accident. “I had an accident, so I had to stop working and shooting for a year.” The hiatus from photojournalism led him to a filmmaking workshop at the Mowelfund Film Institute in 1991.

Daza then began shooting films with a 16mm camera, doing alternative and experimental short films with his colleagues. “There’s more thrill in working with film. Nobody really knows what images will show up whenever you go into the viewing room,” he says. “That’s what’s missing today,

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the different kind of excitement from shooting on film. Cinematographers get to have more control over what will be shown on screen because they alone know what will show up.”

The era of music video ushered in new opportunities for Daza as a professional cinematographer. He shot music videos for OPM hits Kung Ayaw Mo, Huwag Mo and Nerbyoso by Rivermaya, and Harana by Parokya ni Edgar. “Sometimes, in order to shoot on film, we take on a whole project and cut down our talent fees so we can buy negatives and shoot the music video.”

He recalls having the comedians Jun Sabayton and the late Tado Jimenez as production assistants and bit players in music videos he had shot in the past.

Full frame Director Chito S. Roño, also the manager of Rivermaya, was about to make his comeback film in 2000, Laro sa Baga, after a short hiatus. He was looking for a new production designer and a cinematographer to work with, and since Daza had already worked with Rivermaya, Roño got him to shoot the film. Although he had shot scenes for Mike de Leon’s Bayaning Third World before this project, Daza considers Laro sa Baga as his first fulllength film.

Roño became a constant collaborator. In fact, they just recently shot a new independent film that’s ambitious enough to incorporate computer graphics.

Aside from Roño, Daza has also worked with the late director Francis Xavier Pasion in Sampaguita and Bwaya, which he considers one of the most difficult films to shoot.

Entirely shot in Agusan, Bwaya is a docu-drama about a woman who lost her daughter to a crocodile.

Daza cites logistics as the source of difficulty, since there was no electricity in the location and most of the scenes were shot on a boat. “I improvised with Chinese lanterns. Our only source of power was a car battery. Every morning, we’d bring a portable generator. Of course, one by one, the [sources of ] light would disappear, so, we’d hope to finish everything before the power runs out,” he recalls.

“Cinematography is not just painting [a scene].

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FEAT URE

One of Neil Daza’s favorite images from the exhibit is this photograph of Mystica’s hand.

It has to connect with the characters and the whole narrative. That’s the hardest part,” Daza says. While it’s good to have a breathtaking shot, a film cannot live on one specific scene or shot alone. “You have to see it as a whole film. The challenge in feature film cinematography is consistency: You have this idea, you have this visual treatment. Does it show from the start to the very end?”

Rule of singularity A film or TV set is chaotic, Daza admits. Here, the director is god. And when he says, “Let there be light,” no matter what it takes, there should be light. In between takes, Daza finds his much-needed peace. Those brief moments amid the pandemonium are when he returns to his roots. “I always bring my still camera even when I’m shooting films,” he says.

With his still camera, whether film or digital, he captures the most interesting scenes that never make it to the final product: actors in their most unguarded moments, crew members who hadn’t slept for days, and the environment in its most natural state. Forty images from probably hundreds or thousands of photographs he has taken in the past 25 years will be shown in the exhibition “25 Times: Images From Behind the Camera” at the Cultural Center of the Philippines from Aug. 3 to Sept. 10.

“One of my favorite pictures is of Mystica’s hand.

She was on bed and we were talking during setup time. I noticed her hand because she had really long

nails,” he recalls. The image doesn’t show much, but it’s poetic.

“Still photography has a different kind of magic when you freeze the moment; motion picture doesn’t have that. Also, with photography, you can work alone.” he explains. “I think that’s the reason why I never left it behind. Filmmaking is a chaotic and collaborative medium with creative people and producers.”

If he has learned anything from the latter, more complicated medium, it’s compromise. “Filmmaking has a business side to it, it’s not just art. If you want to pursue simply art, then go paint at home,” he says. “But there’s a thin line between compromise and sellouts. You have to know where to stand. It doesn’t matter whether [what you’re filming is a] mainstream or indie [film].”

While taking photographs in between scenes provides him solitude, Daza still intends to return to his first love. “I’ve started drawing again. I bought a canvas, but it’s still a canvas,” he says. “I just need to find the time [to actually paint].” Working in film for 25 years inevitably gave him hellish times, which he acknowledges, yet it seems he’s in it for an even longer haul. If there is anything that keeps him going, it’s his love for his craft.

The sun has finally set. Daza looks out the window and sees a whole new setup. “Why is there a butterfly?” he wonders. A white sheet has been put up on set; in the approaching darkness, his team finally found a way to create light.

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Jacket, Vetements x Reebok, Univers, One Rockwell East Tower

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The organic and the geometric create a unique symmetry in this family home TEXT BEA CELDRAN PHOTOGRAPHY MIGUEL NACIANCENO

In the space he calls home, Jinggoy Buensuceso’s personal abode is the stuff of dreams.

Covered in bulrushes and bamboo shoots, the expanse of a black wall is broken at the center by a rusted metal gate that towers over onlookers; a cacophony of barks and howls greets visitors whenever it opens. Concrete black boxes are given life with vast glass windows and organic elements here and there: foliage on one side, wooden details on another. This is the Buensuceso house, home to visual artist and designer Jinggoy Buensuceso, his wife and Luxasia country manager Mutya, their two children, 25 dogs, 16 cats, three civets, a few piglets, two bunnies, a rescued owl, and during the day, a full team of carpenters and personnel. We’re sure this list goes on.

Filled with contradicting elements, each work is a paradox, like the silver clock made of molten aluminum that indicates a coarse texture despite the sheen of metal. This contrast applies to the house as well, where most of his artworks find sanctuary.

“A lot of my pieces are composed of two things: the push and pull, the organic and contemporary.”

Buensuceso admits that he is the happiest at home. And why not? It seems to exist within the fine line between the interiors and the exteriors: verdant plants indoors complement the view of the forest outside, vibrant insects fly in and out, and the family’s motley crew of Great Danes and Chihuahuas lounge around on faux fur carpets. “The house is composed of lines. Different boxes are put together for different spaces.”

Lines into layers The massive 1,000-sq.m. lot comes in tiers­ —an intelligent layout among the hillside homes that line Tagaytay’s cliffs. “We respect the contour of the terrain,” Buensuceso says as he tours us through the different levels of the compound. Having lived right beside the Singapore Botanic Gardens before, the couple was spoiled by the lush greenery and abundant fauna of a tropical garden and aimed to live the same way in the Philippines, away from the toxicities of city life. Their desire was translated into this respite amid nature, hidden from the rest of the world.

“This house is not going to finish soon. It’s still evolving.” Whirrs of drilling and the clatter of hammering is heard along with the chirping of birds and the clucking of fowl; it all creates an unfamiliar yet harmonious composition. The home itself has its own metaphor, as imagined by Buensuceso: built piece by piece, “like a giant block of stone, [and] then plants started to grow.” As straight, manmade lines of the rigid structure coincide with the organic shapes of the natural landscape, harmony is evident in the balance of variant geometries.

Infinite canvas “The look of the black house [and] this natural environment always gives me inspiration,” Buensuceso says. With so much room to breathe in his personal space, he “always sees the beauty in the organic.”

Surrounded by nature, the artist reverts to the basics.

“I see the organic form of nature and translate them into lines. Everything is made of lines.”

The surrounding homes feature wooden or neutral-colored walls to blend in with the forests.

A stark contrast to the rustic abodes in the area, the Buensuceso home is painted black. “Black is an infinite canvas for inspiration.” In the midst of the absence of color, the Buensucesos add their own palette of creativity. Jinggoy adds that the family is very relaxed with the color black as he describes it as “very peaceful.”

On this canvas of a home they are continually growing, Jinggoy and Mutya are raising their children among the trees and the animals. “It takes a lot from parents,” Mutya explains the home dynamics. “They expect attention. They always have activities but the good things outweigh [everything else].” Retrogressing to the basics with their own Opposing forces children, the latter are exposed to more of the Buensuceso’s art form is distinctive. “I combine the outdoors, storytelling, and the fundamentals of fun. simplest form of art and design, which is [the] line.” It is a simple concept that proves essential in every In his workshop out back, he showcases his creations. human—getting back in touch with your roots.

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“PXXXX.”

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COV ER STORY Jinggoy looks to his son as he tours us around his workshop. He takes inspiration from nature and plays with contrast.

“A lot of my pieces are composed of two things: the push and pull, the organic and contemporary.�

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The Buensucesos’ anteroom featuring his own photograph of shifting sand and a chair he designed

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ST YLE

BACK TRACK When old meets new streetwear

STYLING NIMU MUALLAM AND EDRIC DELA ROSA PHOTOGRAPHY SHAIRA LUNA

On Pepito: Jacket and shorts, Wood Wood, Assembly, SM Aura Premier On Teresa: Tracksuit, Wood Wood, Assembly, SM Aura Premier

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HAIR AND MAKEUP PAM ROBES MODELS PEPITO OLARTE AND TERESA GUTIERREZ

Jacket and trousers, Vetements x Reebok, Univers, One Rockwell East Tower Slides, Adidas, Power Plant Mall

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White hoodie and trench, Proudrace, Proudrace.com Dress and slides, Adidas, Power Plant Mall

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EATS

GOURMET COMFORTS

Common Table, a gastropub brings the fine dining experience closer to home TEXT VIANCA UY PHOTOGRAPHY NEIL PATRICK VALERO

USDA ribeye steak with roasted vegetables and kimchi compound butter; fried mahi-mahi slider

There are healthier ways to relax after a stressful day at work, but none takes the edge off quite as well as a good bottle of beer and a nicer-than-usual meal. For that, Common Table is just the place to hit up.

Its industrial-inspired interiors evoke a laid-back and rustic ambiance that is hard not to relax into. The minimal design theme was an idea sparked by a bar that Common Table owner and chef Ian Padilla and his wife had stumbled upon in Vietnam: There’s an abundance of iron beams and fixtures, coupled with wooden booths and exposed Edison bulbs.

Padilla and his partners had seen the need for a gastropub in Salcedo Village, a place that would serve high-quality restaurant food at affordable prices and within a casual dining setting. Common Table serves upscale comfort food and boasts of a bar with “awesome cocktails, craft beers, and a great wine list.”

Padilla emphasizes that it was particularly made with the Salcedo business crowd and residents in mind.

Trained in classical French cuisine, Padilla wanted to explore and showcase his cooking beyond what he has learned. That’s why despite the emphasis on bar food that’s typical among gastropubs, Common Table also has lunch and dinner menus that elevate comfort food to a gourmet tier.

For appetizers, there are the beef sliders and oyster tempura. The bite-size trio of beef sliders are made

with 100 percent USDA beef that is ground in-house, served with aged cheddar and caramelized onions.

For those who’ve never mustered the courage to try the classic pairing of raw oysters and beer, the oyster tempura is your best bet. Each shell is topped with deep fried oysters, radish, soy, and flying fish roe, and it goes down well with a beer (or two).

For something more substantial, try the beerbattered fish and chips or the fried fish slider. While sole is the usual go-to ingredient for this dish, Padilla opted for the locally and sustainably sourced mahi-mahi, which is then coated with India Pale Ale batter and served with tartar sauce and crispy fries on the side.

Among the already exceptional lineup of dishes, the USDA ribeye steak with roasted vegetables, kimchi compound butter, and a provolone cheese dip easily stands out. Inspired by the Korean BBQ staple combination of galbi and mozzarella cheese, the combination of the ribeye steak’s tender texture, glazed with kimchi butter, and the provolone dip is a bed of familiar comfort for the palate.

Though the gastropub aims to cater to the local community, outsiders shouldn’t be discouraged.

Much like what its name implies, Common Table provides a welcoming glimpse into the local neighborhood culture.

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EATS Common Table’s rustic interiors and big windows allow natural light to stream in during the day; oyster tempura

Common Table. 162 Valero St., Salcedo Village, Makati City. 541-0185.

Facebook.com/CommonTableSalcedo

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RECIPE

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RECIPE

FILIPINO FLAIR

The quintessential adobo gets a tropical upgrade TEXT AND STYLING MIKO CALO PHOTOGRAPHY PATRICK SEGOVIA

WHITE ADOBO INGREDIENTS

1 whole chicken (pre-cut) 1 cup buko juice 3/4 cups coconut vinegar 2 bulbs of garlic 2 pcs. bay leaves 1 tsp. peppercorn 4 tbsp. toasted garlic chips

PREPARATION

1. Slice the first garlic bulb crosswise.

2. Pound the other garlic bulb with a mortar and pestle.

3. Place the chicken, buko juice, vinegar, salt, peppercorn, sliced garlic, and bay leaves in a Dutch oven.

4. Bring to a boil and simmer until the chicken is cooked. Separate the chicken from the liquid.

5. In a sauté pan, shallow fry the chicken until golden.

Add pounded garlic and sauté until golden brown.

6. Add sauce and reduce.

Watch the recipe video on Nolisoli.ph.

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T HE GET

LEATHER GOODS, WEATHERED CRAFT These dress shoes are customized for your needs TEXT YAZHMIN MALAJITO

Behind the exquisite pairs of shoes that men match with their suits are the weathered hands of craftsmen. Their meticulous artisanship is what distinguishes each pair from the rest, as they make every shoe by hand based on a client’s preferences in style and materials.

This is what Sapatero Manila does, a company “[borne] out of a passion for shoes, the craftsmanship required in making them, and a common goal of revitalizing the industry of Philippine shoemaking.”

The team of seasoned shoemakers from Marikina offers not only ready-to-wear leather footwear but also bespoke ones. For the latter, manufacturing takes a month, with at least two fitting sessions to ensure that prime materials are handled carefully and the customers’ choices are taken into full consideration all throughout the process. With its aim to preserve the traditional craft of shoemaking, Sapatero Manila also highlights the heritage of the local shoemaking industry.

Sapatero Manila. Mezzanine A, LPL Mansions, San Agustin Street, Salcedo Village, Makati City. 0919-5248259. Sapatero.com

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