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The Art of Reminiscence Joey Samson

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EDITOR’S NOTE

CONTENTS

With RED, I have always felt that our “September issue” actually happens in October. I say this because it’s when we partner with the Red Cross Charity Gala and feature their designer of the year. This year’s edition is extra special to me because we are collaborating with one of my favorite designers, Joey Samson. Creative, inspiring, yet low-key, Joey’s talent and genius make me proud to be part of this industry.

I’ve been bugging supermodel Paolo Roldan to do a shoot with us, and luckily, we were able to schedule one with him while he was here in the country. Having him and Joey’s muse Jo Ann Bitagcol in a shoot together will remain one of my favorite cover moments.

When I was in New York for Fashion Week, I got to chat with artist and feminist Nikki Luna on why feminism is misunderstood and why we should all be feminists. Here in Manila, we also got to visit and shoot the beautiful home of an art collector and creative director.

I’m honestly happy with how this issue came out. Hope you all enjoy it, too!

ON THE RADAR 4

Home bibles for your entertainment

ATTIRED 8

Infallible picks for every stylish man’s shoe closet

ADMIRED 12

Joey Samson’s Red Charity Gala collection is a journey to the past and back

BARED 19

Beauty essentials to magnify every woman’s mystique

EXPLORED 20

Tours of a new scenic route on the rooftops of Saint Petersburg

ART 22

@riarecommends

Potter Aleth Ocampo’s experimentation with form

EMPOWERED 26

Artist Nikki Luna debunks misconceptions about feminism

INSPIRED 28

An art collection with a liberal dose of wit and humor On the cover: Jo Ann Bitagcol and Paolo Roldan in Joey Samson’s PilgrimAge collection for the Red Charity Gala.

Photography Patrick Diokno Styling Ria Prieto Creative Direction Nimu Muallam Makeup Cats Del Rosario of Artists and Company Manila Hair Dorothy Mamalio

Burt’s Bees Complete Nourishment Facial Oil uses evening primrose oil, a key ingredient that rejuvenates dehydrated skin. Available at Beauty Bar, SM Beauty Department Stores, and select Watsons branches.

Also available online via Zalora, Lazada, and Sephora.

Group Publisher Bea J. Ledesma Editor in Chief Ria Prieto Creative Director Nimu Muallam Associate Editor Alyosha J. Robillos Copy Editor September Grace Mahino Editorial Assistant Belle O. Mapa Staff Photographers Patrick Segovia and Nicco Santos Account Executive Liza Jison

FOLLOW US ON

Contributing Writers Honeylette Bautista and Marina

Koreneva/AFP

Contributing Photographers Patrick Diokno, Jilson Tiu, Jinggo Montenejo, RG Medestomas, Olga Maltseva/AFP Contributing Hair and Makeup Cats Del Rosario of Artists and Company Manila and Dorothy Mamalio

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

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Want to see the other issues of Inquirer RED Magazine? Check out inquirer.net/red Inquirer RED Magazine is a monthly luxury magazine published by Hinge Inquirer Publications.

RED is available at Fully Booked for free. For subscription inquiries, please contact 0917-5854870 or visit go.hip.ph/subscribe.

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MINO

ON THE RADAR

Designing Life’s Celebrations, DeJuan Stroud An authority on chic weddings, celebrity events, and movie premieres, event designer DeJuan Stroud has event hosting, planning, and styling down to a T. Now, he extends his expertise to athome celebrations, with careful attention given to tabletop and floral designs. With Stroud’s first book, you can master the art of making statement centerpieces and have fun experimenting with a wide array of party themes—from a Venetian-inspired birthday party to an unforgettable Christmas gathering.

Available at Fully Booked

Veranda Entertaining, Clinton Smith The book series Veranda, which celebrates “the well-lived life,” has come out with an inspirational guide dedicated to all things entertaining. Whether you’re planning for an intimate get-together or an all-out bash, Veranda Entertaining gives you tips and tricks for a soirée of any size and theme. Setting the right ambiance and selecting the cuisine and drinks to suit each occasion have never been this easy.

Available at Fully Booked

Be Our Guest

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How to throw a party that’s one for the books WORDS ALYOSHA J. ROBILLOS

Everyday Chic: My Secrets for Entertaining, Organizing, and Decorating at Home, Molly Sims Supermodel, actress, and New York Times bestselling author Molly Sims uncomplicates entertaining at home with easyto-follow exercises and checklists in her latest book. With her guidance, you too can juggle being an exemplary hostess, a home chef, a career woman, a party planner, a design guru, and an overall supermom.

Available at Fully Booked

Feast with Me, Stephanie Zubiri Crespi Thanks to writer, travel junkie, and foodie Stephanie Zubiri Crespi, we now have a local guide to creating delightful table settings and preparing delectable spreads for every occasion. Feast with Me is Zubiri Crespi’s colorful compendium of culinary knowhow and at-home entertaining tips. It covers everything a host should know about entertaining guests at home, from the basics of food styling to choosing the right kind of wine.

Available at National Book Store

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MINOTTI RED (RP)_OTTOBRE 2017_Layout 1 25/07/17 15:44 Pagina 1

M A N I L A

BY LIVING INNOVATIONS CORP. GF UNITS 106 AND 107 FORT VICTORIA 5TH AV., CORNER 23RD STREET, FORT BONIFACIO, GLOBAL CITY, TAGUIG, METRO MANILA, PHILIPPINES T. +632 830 2230 - INFO@LIVINGINNOVATIONS.PH CUSTOMISED INTERIOR DESIGN SERVICE

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JACQUES COLLECTION RODOLFO DORDONI DESIGN

MINOTTI.COM

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SPECIAL FEATURE

Yuletide Treasures Casa de Memoria breathes memory into the holidays WORDS BELLE O. MAPA PHOTOGRAPHY RG MEDESTOMAS

A table setting with sterling silverware from Great Britain dated 1913, porcelain teapots and jars from 19th century France, and porcelain plates with bird motifs from 20th century Portugal, all from Casa de Memoria’s Auction .0009 collection.

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Fine china with landscape motifs from the Qing dynasty, dated early to mid-19th century and Portuguese decorative plates with religious-themed illustrations from the 20th century

Walking into a room decked in luxe décor and rich antiques set for an intimate holiday dinner can feel like entering a Charles Dickens novel.

There’s a resonance of the classical, as if an elegant holiday carol were playing as one takes in the sight. Nothing feels as festive quite like the musky scent of wood and spices or a tablescape of brilliantly colored platters and sterling cutlery.

Such is the feeling evoked by Casa de Memoria’s upcoming holiday auction.

There’s something romantic, too, about giving a gift that has seen its fair share of history. Take, for example, a hardbound tome of illustrations and painting techniques, a wonderful keepsake to bestow upon a friend with an extensive library of art books. Or a brooch inlaid with precious gems, for a sweetheart to cherish you by. The presents we give, after all, are our reflections of those who receive them. Gift-giving lets our loved ones know that we see them as equally enduring treasures.

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The Casa de Memoria selection is a recollection of the traditions of holidays past: bounteous feasts laid upon fine painted china; a family sitting by the Christmas tree, a gold-rimmed teacup full of thick hot chocolate in hand; the velvety petals of poinsettia in a vase on the mantel. As always, treasures and trinkets abound within the house of memories, lying in wait for a curious eye to reveal their tender stories to.

Casa de Memoria’s Auction .0009 will be available for viewing at the Casa de Memoria showroom from Nov. 8 to 15. The cocktail preview will be held on Nov. 9, Thursday, at 6 p.m. The Holiday Auction will be held on Nov. 18, Saturday, at 2 p.m.

Casa de Memoria, 156 Jupiter St. cor.

Comet St., Barangay Bel-Air, Makati City. casadememoria.com

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ATTIRED

Classic Reboot

Upstyled staples for the steadfast soul ART NIMU MUALLAM

Fashion

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Left, clockwise from top: Sneakers, Common Projects; Climacool 2017 in triple white, Adidas; Ace sneaker with removable patches, Gucci; Raf Simons x Adidas Oweego Bunny Cream. Artwork: Jan Steen’s The Dancing Couple (1663)

Right: Triple S sneaker, Balenciaga. Artwork: Bernardo Strozzi’s Bishop Alvise Grimani (1633 or after)

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IMAGES FROM NATIONAL GALLERY OR ART

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Above: Espadrille penny loafers, Loewe; suede espadrilles, Bottega Veneta; striped espadrille, Paul Smith, Greenbelt 5. Artwork: Cornelis van Poelenburch’s The Prophet Elijah and the Widow of Zarephath (1630). Below: Brogues, Thom Browne; patent brogues, Prada; leather boots, Dries Van Noten. Artwork: Cariani’s A Concert (c. 1518-1520)

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SPECIAL FEATURE

Higher Ground An office tower poised to change the way work spaces are designed WORDS HONEY BAUTISTA

Soft gray glass, charcoal-gray aluminum mullions, natural charcoal-gray slate juxtaposed with vertical wooden fins—the Menarco Tower’s façade is about restraint and elegance.

But apart from its striking exteriors, this office development is set to introduce a new method to how work spaces are built.

Created and conceptualized around the idea of putting people first, the Menarco Tower is the first and only office in the Philippines to register for a WELL certification by the International WELL Building Institute.

WELL measures and montiors seven different areas that could greatly affect an employee's health and wellness: air, water, nourishment, light, fitness, comfort, and the mind. To comply

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with WELL’s standards, Menarco will undergo an on-site assesment and performance testing.

This development came with newly improved air-conditioning units and a wellness floor to promote an active lifestyle among its tenants.

Menarco Tower is also a certified Leadership in Energy and Environmental Design (LEED) Gold Tower. LEED uses an international and independent green building rating system to ensure that every structure does not only cater to the concerns of people but benefits the environment as well.

With its dedication to providing a space that is conducive to work, is safe, and contributes to its residents’ overall well-being, the Menarco Tower sets a class of its own.

Menardo R. Jimenez, chairman of the Menarco Development Corporation and the artist's perspective of Menarco Tower's main reception

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ADMIRED

A Twist of Faith Joey Samson’s latest collection is a revival of histories both personal and universal WORDS BELLE O. MAPA PHOTOGRAPHY PATRICK DIOKNO

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“That’s why I take a part of the old me with me always.

The journey is my pilgrimage, and vice-versa.”

When one journeys to the past as a way of restitution for the present, images and souvenirs that were once shrouded by the raw emotions of memory are unveiled. Sometimes there’s an undertone of grief when people look back, when they talk about nostalgia and relics. But for introspective designer Joey Samson, his pilgrimage is tinged instead with serenity. His garments speak for themselves, depicting “one man’s journey to nostalgia” and evoking a feeling of devotion.

Samson recollects his childhood attire: set ensembles at school and a wardrobe that almost completely matched with his father’s. He speaks of a past dream to become a doctor—a surgeon to be exact. The precision and techniques he had learned still manifest in his designs. In a way, there is also a uniformity to his designs, yet his collective work is an homage to wardrobe favorites of old. Back then, the term used to describe his signature minimalist and unisex collections was “avant-garde.” Today, the word has been refined after a global flux around the concept of gender and fluidity; it’s now androgynous.

In PilgrimAge, Samson reconciles his past with his present, with a reverence toward traditions that he now sees from the perspective of a more mature artist. The collection plays with rediscovery.

PilgrimAge, in itself, reveals of the designer’s past and character: a singular idea, the word halved to bring about a double meaning, then put together to redefine “a time for coming home.”

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There’s an undertone of grief when people talk about the past, which you’ve mentioned in your write-up for the collection. Is this also the mood in the creative journey you took for this collection?

[It’s] serenity more than grief. Being able to put everything in its own proper perspective is key. One can’t really move forward without honoring the past.

Does your past training in pre-med still influence your journey as a designer? What techniques or disciplines still manifest in your creative process?

Yes, it does in a lot of ways, through hard work and perseverance, restraint, and artisanal work.

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How would you describe your Catholic upbringing? Does it relate to your collection?

I went to a Catholic or parochial school from preschool to high school. I grew up hearing mass every Sunday and first Friday of the month, and all the other holidays of obligation. Growing up, I would also tag along with an aunt, my mom’s sister, to church festivities and activities: processions, fiestas, the Misa de Gallo, to name a few.

I grew up in a town where Holy Week rituals are still being practiced and a Christmas Eve festivity called “Maytinis,” the reenactment of different biblical scenes, is still something everybody looks forward to. Remembering these things never fails to tug a string [in me].

So in a way, yes, [my Catholic upbringing influenced this new collection], though in the beginning, it was not the intention. I realized during the process that what I wanted to convey­­—but not in a very literal way, I hope—had something to do with my faith and the things that continue to inspire me up to this day.

Tell us more about your journey toward becoming a designer. What moments and interactions do you feel have stood out and shaped who you are today?

I took up pre-med in college, but towards my senior year, I realized my interest had shifted to the arts and design. After college, I enrolled at Slims Fashion and Arts School and stayed there for a year, studying fashion design and other related classes. I worked as an apprentice to Mang Ben Farrales and then the late Danilo Franco, first as an apprentice then eventually as his assistant. I stayed with him for seven years and learned a lot, learned everything.

In between, I’d enroll or take special fashion-related courses or classes.

One has to work really hard to continually better himself and continue to O Y K O T • O L U AP O Ã S • K R O Y W E N • E N R U O B L E M love his work.

• A LINAM • GNOK GNOH • IABUD

moc.remlewej

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D U B A I • H O N G K O N G • M A N I L A • M E L B O U R N E • N E W Y O R K • S Ã O PA U L O • T O K Y O jewelmer.com

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“One can’t really move forward without honoring the past.”

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What’s your creative process like?

I try not to stick to or be conscious about a specific design process. Inspired or not, I just let things happen naturally. Sometimes, I don’t even sketch. I just write things down.

Reading a book, watching old films, traveling, talking to people, walking, and spending time alone are proven to be good take-off points for me. Every time I make a collection, I always say each piece is special because it leads me to make the next piece or even the next or future collection.

Any favorite forms or styles when it comes to garments? Is there a style period you always go back to?

The Renaissance. Tuxedo shirts and tuxedo trousers. Anything formless and blank. The ’20s to the ’40s.

Tradition is often black and white when it comes to gender, yet your designs are androgynous. Likewise, your designs are very minimalist, but you design patterned and textured pieces. How do you reconcile these polarities?

For this particular collection, I made a very conscious effort to veer away from my usual black, white, and gray palette. But the genderless flavor of my garments, I dare say, is a trademark.

When you are given a bigger stage, you have to step up. It is the first time that a designer will be doing both menswear and womenswear for the Red Charity Gala. It will be my first time to do a solo show for this type of market, so I had to take into consideration what this market wants, what they have in mind and, hopefully, what they will appreciate, but still within the context of my own design language, hence the color, fabrication, and texture that I have employed for this collection.

The distinctiveness of my menswear pieces, the way I deconstruct and reconstruct garments, and the tuxedo and the sportswear elements coexist with the more luxurious pieces [in the rest of the collection], their feminine fabrication, and the texturization by way of beadwork, by the garments being fashioned from chains, etc.

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You went on a pilgrimage yourself earlier this year. Where did you go and what did you take home with you?

My family and I visited Montserrat in Barcelona, Santiago de Compostela, Our Lady of Fatima, Our Lady of Lourdes, and the churches in Paris and Rome. [I brought home] renewed faith and memories with family and loved ones. PilgrimAge is partly inspired by memories from that trip.

How do you see the old Joey Samson, given how far you've come today? Which fragments of your past are you honoring in this collection?

I miss the old me. When I was just starting, I was very unaffected. Everything was pure and genuine. It was hard and I was struggling and I’d always doubt if I was doing the right thing, but I didn’t care because I loved what I was doing and doing the it was just the right thing to do. Fast forward to today; I always have to live up to something, like certain expectations.

That’s why I take a part of the old me with me always. The journey is my pilgrimage, and vice-versa.

•

PilgrimAge by Joey Samson worn by Jo Ann Bitagcol and Paolo Roldan Styling Ria Prieto Creative Direction Nimu Muallam Makeup Cats Del Rosario of Artists and Company Manila Hair Dorothy Mamalio

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EXPLORED

Legal Highs Rooftop tours offer a fresh look at Saint Petersburg WORDS MARINA KORENEVA/AFP PHOTOS OLGA MALTSEVA/AFP

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Standing on a roof in central Saint Petersburg, Marta Granadeiro gasped as she watched the statues on the Hermitage Museum’s façade gleam in the sunset.

“We wanted to see something extraordinary in Saint Petersburg and now we have,” said Granadeiro, a 23-year-old Spanish tourist who climbed onto the roof of an apartment building on a tour organised by a local tourism agency.

The rusty rooftops of Russia’s tsarist-era capital, with its romantic skyline of elegant onion domes and pre-revolutionary buildings, have long been a coveted destination for illegal excursions.

To convince officials to let tourists admire the city from above, the agency Panoramic Roof spent four years navigating bureaucratic hoops to get the necessary permits.

“I had this idea after getting my wedding photos taken on Saint Petersburg’s roofs,” said Anastasiya Krasitskaya, the agency’s coordinator. “It was fantastic but dangerous and uncomfortable, the roof was slippery, and all in all it was stressful.”

Top: Young Russian thrill-seekers find new ways of exploring their city. Bottom: the best way to see the country’s imperial capital is by hopping roof to roof.

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Previously, tourists could only surreptitiously access the building’s roof. Those living in the flats below sometimes called the police when they spotted visitors clambering up the stairwell.

Eventually, the agency decided to strike a deal with the residents, offering to repair the stairwell in exchange for access to the roof.

Only for foreigners?

The city of 5.3 million annually draws in throngs of visitors—6.9 million in 2016—eager to see sights associated with the rule of the Russian monarchs and gape at its museum collections.

But some tourists are also drawn to go off the beaten path for a more adventurous experience.

Rooftops offer the best view of the city’s skyline, which has remained low-rise in the historic centre. The city’s 18th-century founder Tsar Peter the Great ordered architects not to build anything higher than the Peter and Paul Fortress: 122.5 m. (402 ft.).

Alexander Semyonov, the head of Panoramic Roof, took five tourists through the building’s attic, heading toward the roof. Before going out to the open air, he repeated safety instructions: don’t walk too fast and carefully follow the guide.

He distributed hard hats and binoculars. “Safety is paramount,” Semyonov told the tourists, who were busy snapping photos.

They proceeded carefully along the crest of the roof, gripping a meter-high metal barrier to avoid slipping down the slope.

For Andrei Stepanov, who takes groups on more clandestine outings, Panoramic Roof ’s trip is too tame and “mostly for the elderly and for foreigners.” For him, going the official route is a waste of time: residents rarely make a fuss and even when they do, the fine is only 500 rubles (around PHP450).

He said the agency charges too much (500 to 700 rubles) and only skims the surface of the city’s world of rooftops. “For that price, we can arrange a visit to several roofs, and even walk along from one to another, to take in more views,” he said.

“That’s what’s extraordinary, not any officially sanctioned visit.”

•

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PRESENT

EAT, DRINK & GIVE BACK

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ART

Bound to Earth How culinary pursuits shaped Aleth Ocampo’s pottery WORDS ALYOSHA J. ROBILLOS PHOTOGRAPHY JILSON TIU

The moment we step inside a small corner of Aleth Ocampo’s workspace is the same moment we realize that Ocampo—a potter, painter, and chef—is a master maker, someone who creates no matter the space, no matter the medium, no matter the circumstance.

We find Ocampo by a bespoke molave table.

A few steps away is another wooden piece: a ladder she had used in the ’80s to paint murals.

Strewn across the table’s hardwood surface are a couple of rolling pins, a cake turner, and some cooking spoons. Here and there are a few cakedecorating supplies. These are tools Ocampo has

reassigned from kitchen duty to pottery projects.

And while the objective of our visit is to spotlight her stoneware, she cannot help but align the claycentric craft with her culinary pursuits.

“I’m inspired by food when it comes to the form of my pottery. [They] really [go] hand in hand,” says Ocampo, explaining that her approach to designing stoneware will always be geared towards the dining experience.

After all, the main reason she got into pottery was to create hollowware by hand for the recipes that she prepares; she used to run Sari-Sari Cafeteria in Eastwood. “My goal was always to

make vessels for my food,” she explains.

While her delving into pottery began as a personal desire to heighten a meal’s multisensory appeal by including handsome dinnerware into the mix, she eventually had to unveil her craft to the public when friends began inquiring about the clay works she would post online.

The same thing had happened with her cooking: She would usually throw dinner parties for friends and loved ones, who joked that they should be paying for such a gastronomic experience—and from a formally trained chef at that. This eventually led to Ocampo hosting

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private dinners in her Magallanes home, but that is another story.

Her methods, although unconventional, are crafty in the best sense. This is perhaps one of the most endearing characteristics of Ocampo’s pieces: They are molded by hands that make do with what is available, and they bear the painterturned-chef-turned-potter’s imprint.

Most of Ocampo’s pieces are hand-painted with doodles and patterns inspired by everyday things. An upcoming solo exhibition in functional art hub Aphro Living, which will open on Oct. 21, is set to reveal the potter’s recent experimentation with form. While the pieces will still feature Ocampo’s hand-painted designs, you might just see a koi fish-shaped dish, or a platter that takes the shape of bok choy or Chinese cabbage, instead of conventional plates, mugs, cups, and bowls.

“What I like about pottery is the process. It’s so unpredictable. I always say it’s much like life.

Actually, I was going through so much when I decided to go back to pottery,” says Ocampo, who had initially tried her hand in pottery in the ’80s but ended up sticking to painting and cooking after deciding that the wheel wasn’t for her. “I used to be such a control freak; You can ask my daughters. Pottery taught me to let go. You cannot make clay follow 100 percent of what you want because it behaves differently. Even when you bake it, you don’t know what’s going to happen—if it’s going to warp or not. Even the colors change.”

Ocampo, who used to be a mural painter, has a home filled with pieces made by fellow artists and potters. Her solo exhbition at art hub Aphro Living features pottery works still dedicated to uplifting the dining experience, but this time through different forms.

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Years later, she finds herself waking up every day, adamant still that the pottery wheel isn’t for her, but with a newfound urge to get her hands dirty with clay. All of Ocampo’s pieces come alive through hand-building pottery techniques such as slab, pinch, and coil. “I have tools that help me, but I want to have a direct interaction with the clay without a mechanical gadget interfering with what I want to do.”

This decision to do without the wheel has challenged her to work on her pottery daily, since she gets to store clay at home and work where it is most convenient for her: in her living room with Chowee, a chow chow she refers to as her “youngest child.”

But even when she works in the comfort of home, Ocampo doesn’t deny that there are still challenges to her craft. “For me, the most challenging aspect of anything is starting. Even with pottery, in any form, I think, you just show up and work. That’s the most challenging: to drag yourself to start. But if you’re passionate about something, each day you look forward to working. It’s different.”

She shows a deep admiration for friends in the pottery community. “Of course, I also draw inspiration from fellow potters. They’re very generous in sharing techniques and ideas,” Ocampo says, noting that pottery is very much a communal act.

Firing pieces takes days—sometimes weeks—at a time, and several stoneware artists often commune

through the process. A single piece is fired twice, and potters often share a kiln, too. Much like the culinary experience, it is an interactive process, where human connection is key to getting desired results.

“For me, with what I do, I think what’s most rewarding is that I have both worlds. Pottery is delayed gratification; the process takes eight weeks, right? You have to wait. When I cook, though, it’s instant gratification. When you’re done cooking and then you feed your family, your loved ones, and see their appreciation, then you get validation. And I always believe that I’m only as good as my last show or my last dinner, so I strive to make things better next time.”

•

Clockwise from top: Customers seated inside Insects in the Backyard; A classic margarita garnished with flies; Topping a fish fillet with edible winged ants

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The artist and her makeshift pottery studio, which she fondly refers to as “a small corner in my living room.”

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A show built upon the intertwine of Philippine culture and design excellence, Manila FAME returns with an even bigger show featuring the best in the Philippine lifestyle and design industry.

WORLD TRADE CENTER METRO MANILA PHILIPPINE TRADE TRAINING CENTER Roxas Blvd., Pasay City, Philippines

www.manilafame.com

Considered as a dying art in the turn of the century, the "pagbabatok" now rests on the shoulders of Whang-Od Oggay, the last "mambabatok" of her generation in Kalinga and the Philippines’ oldest tattoo artist, and her successors, Grace Palicas and Ilyang Wigan.

Renascence of a 1000-Year-Old Tradition For many generations, the people of Buscalan, Kalinga held onto their prized art of traditional tattooing or "pagbabatok." Their tattoos were a symbol of pride earned by betrothed women and men for their valor and strength, their skins a living canvas embellished with the cultural heritage of their tribe.

NEW GENERATION WEAVES 2 Transitional and evolutionary. Parisbased design specialist Nelson Sepulveda invokes harmony and balance in his second phase of New Generation Weaves 2, a look into the beauty of natural raw materials and Philippine craftsmanship. With nature as the main theme, Sepulveda curates a selection of items meant to awaken the inborn link with nature and form a harmonious display.

DESIGN COMMUNE: PATTERNS & PALETTES Under the thematic guidance of multiawarded and internationally acclaimed designer Tony Gonzales, Design Commune: Patterns and Palettes marry the strengths of each Manila FAME participant to present a versatile collection made to match a variety of material requirements, techniques, and price points. The setting is framed in four themes in a super store style showcase of different colors and textures: Blues and Whites, Ethnic Nomads, Green Tinted, and Natural Black and White.

CHAMBERS: THE CEBU PROJECT Curated by designer Tes Pasola, Chambers : The Cebu Project will feature the convergence of Cebu’s varying lifestyle and culture which will serve as a product showcase for Cebu’s top manufacturers. The Cebu project was launched in partnership with the Cebu government and DTI-Cebu and supported by Cebu FAME, Cebu Furniture Industries Foundation, Inc., and the Cebu-GTH Foundation, Inc.

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The unsung heroes of our generation, the "mambabatoks" will join the best craftsmen in the country in the 66th edition of Manila FAME to show the world the Philippine culture as it continues to move forward without forgetting its past.

LUCENT OBJECTS

BAMBOO + PROGRAM

BAMBOO EXTREME

Now on its third edition, Lucent Objects explores themes of Material Spotlight, Sublime Archetype, and Topography, as it continues to feature lamps and lighting pieces showcasing the application of manipulated and processed agricultural wastes.

The Bamboo + Program further explores bamboo as a material for furniture, furnishings, gifts, decor and houseware. The agency, in collaboration with 26 manufacturers nationwide, developed modern, more commercially driven, and trend-now products that evoke playfulness and personal healing in its two launching themes of Play and Modern Artisan.

Taking after the youthful energy of today’s millennial generation, the Bamboo Extreme program pushes bamboo beyond the norm. Often seen as the main material component of furniture and home furnishings, the program seeks to provoke and renew interest in bamboo in product application, veering away from the usual, and the traditional.

The product collection highlights rice hull, peanut shell, corn husk, twined corn husk, water hyacinth, pandan leaves, bakong scrunch and tikog as materials, resulting from Design Center’s Materials Research and Development Program.

These materials are expressed anew in product designs developed by product specialist Stanley Ruiz.

THE ARTISANS VILLAGE A staple of Manila FAME, the Artisans Village stands as an avenue for local micro, small and medium enterprises to introduce their regional crafts to the global market while promoting their region’s trade, investment and tourism.

In this edition, the program will feature contemporary furniture, home décor, and fashion pieces with hints of tradition from across Bulacan, Central Luzon, and Bohol.

INTERNATIONAL PAVILION Featuring exhibitors from neighboring Asian countries, the International Hall highlights home, fashion, gifts and decor, and lifestyle pieces from leading lifestyle manufacturers.

GREAT WOMEN 2 MANILA WEAR A branding initiative under Fashion Philippines, Manila Wear looks to develop the fashion industry to become globally competitive and position the Philippines as an advocate of ingenious designs that combine artisanal crafts with contemporary design sensibilities.

RIPPLES PLUS The Regional Interactive Platform for Philippine Exporters Plus initiative will feature a selection of artisanal products from 12 of its leading enrollees under the Home and Houseware sectors. The program has worked towards increasing the number of internationally competitive local product and services exporters with the Export Marketing Bureau (EMB) at the helm.

MAJOR SPONSORS

Natural. Textured. Vibrant. Experience the country’s rich cultural heritage as the Gender Responsive Economic Actions for the Transformation of (GREAT) Women Project 2 accentuates the convergence of regional creative traditions and material kinship under the direction of globally renowned lifestyle designer PJ Arañador. With a highlight on natural fiber, the project features a variety of exquisite handcrafted products from nearly 50 women-led enterprises from across the country.

HEALTH AND WELLNESS PAVILION CITEM, in partnership with the Department of Agriculture, through its agency, the Agribusiness Marketing Assistance Service (AMAS), will relaunch Health and Wellness as a sectoral category in Manila FAME starting this edition. Featured are local companies that carry food as gifts (natural, healthy, and organic), handcrafted soaps, natural personal care, and spa products and services.

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EMPOWERED

Woman Rising Lessons on feminism with artist Nikki Luna WORDS RIA PRIETO

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It is the artist’s duty to remind. And Nikki Luna has been diligent about it, from pulping confidential material into blank pages to painting her resin installation blood-red. Female victory, oppression, and social phantoms that haunt women take new form in her hands.

Provoking vivid recollection isn’t simply the aftermath; it’s the point every time.

After a series of local and international exhibitions, Luna is now taking part in the recall through her research-based artist fellowship granted by the Asian Cultural Council.

The RED March 2017 cover woman is currently based in New York, from where she dispatched her thoughts on feminism and the society back here at home.

What are five common myths about feminists?

That feminists hate men. Feminism is not against men, but we are against the patriarchy.

Another one is that feminists can’t be mothers or housewives. There is also the problem of society equating womanhood to motherhood.

We must remember that motherhood is not every woman’s destiny.

It’s also a myth that feminists don’t like makeup or practicing self-care. Taking care

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ages, genders, etc. If you believe in respecting and valuing girls and women [by giving them] equal footing in society, then you can be a feminist.

What three things do you wish the Philippines had?

First, that reproductive health care is actually properly implemented.

It will make a huge difference to have accessible, safe, and reliable healthcare services, from pre-natal to birth to post-natal maternal and infant care, especially for the marginalized. Second, a higher degree of equality for women. Third, peace talks. This is crucial, since in the Philippines, there are more people living in poverty. There’s a need to develop our rural economy and look into how policies and laws continue to oppress the poor. of her appearance is a choice a woman should have. It only becomes a problem when society demands unattainable “beauty standards” and makes choices for women regarding what they can and cannot wear.

Fourth, that feminists are lesbians—as if there is anything wrong with being one.

Finally, that feminism is only for women. A feminist can be anyone, from different nationalities,

Who are the women you look up to?

My University of the Philippines professors in women and development studies: Sylvia Claudio, Judy Taguiwalo, and Nathalie Verceles. The tres marias: Glenda Gloria, Lilibeth Fondroso, and Maria Ressa. Patti Smith for her music and her art, and how grounded she is. Judy Chicago’s passion for feminist art is truly inspiring.

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Post-war abstractions reinforce the curves and textures of northern ritual figures, a French chrome and frosted crystal lamp, Art Deco bronzes, and an acid-etched Daum bowl.

INSPIRED

Modern Cheek

A distinctly eclectic art collection in the time of post-materialism

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WORDS BELLE O. MAPA PHOTOGRAPHY JINGGO MONTENEJO

Top: A centerpiece that once belonged in the living room of Yves Saint Laurent’s Chateau Gabriel.

Left: Upon the solid narra foyer table, a rare Rocha sculpture, a 1920s dinaderie dish by Claudius Linoissier, and within, works by Francesco Vezzoli and Mideo Cruz.

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A wide flat archway splits the townhouse ground floor into a tripartite space: the foyer beyond, and the living and dining rooms within. Even at the threshold, one can feel the foundations of a happy home. Here is a haven in which art and décor are memories made tangible. Balance is struck between the walls and its inanimate occupants, bound by the soundless conversation the pieces are having with each other.

A rhythm resonates throughout the house. A 20th century Japanese tansu next to the dining table echoes the hardware and proportions of an 18th century Ilocano sakang table in the sala, which likewise relates to the legs of a ’50s narra table. The spontaneity of post-war abstract expressionism is countered by the sculptural quality of bululs from northern tribes.

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Every piece comes with a story or a striking memory; every piece means something. Their placement says more than the homeowner’s cultivated understanding of the syntax of modern design—it’s an almost playful interpretation of lines, proportion, and symmetry. Much of the furniture was done by close friends: the white sculpturesque display table by Kenneth Cobonpue, a lusong-inspired rattan dining table

by Obra Cebuana, and vintage dining chairs by pioneering exporters Mehitabel. A mirror in the foyer is framed by artworks from the homeowner’s dear friend Annie Cabigting and etches reminiscent of sheet music and cityscapes by musician and new artist Datu Arellano. There’s a tinge of humor to the placement of a Seletti monkey lamp, as if the sculpted primate were

both examining and illuminating the painting hanging beside it: a rare piece from Arturo Luz’s bottle series. Ronald Ventura’s contemporary rendition of the pre-colonial bulul makes the sign of the horns and raises its hands. Upon the Japanese tansu is a visual pun: carved hands taken from antique statues of saints are displayed next to a vase shaped like paintbrushes.

There’s an element of fun and, in some ways, irreverence to the combination of periods, movements, and mediums all in a single space.

Perhaps it’s to deviate from two extremes that often linger in many Filipino homes: on one end, a suffocating horror vacui, and on the other, stark empty spaces.

Negative space becomes a foil or a frame for powerful pieces. A striking black and white

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photograph of coiled snakes, taken by Jed Escueta, hangs in the living room. Directly opposite this, a layering of artworks on the dining room wall revolves around an expressive Florencio Concepcion painting from the ’60s. Balance, rather than creating perfect mirror images on both sides, creates equilibrium among the visual weight.

While there’s room left for breathing, there is also room for convergence.

In a space designed in a manner that is both deliberate and organic, the pieces do not merely fit together. They belong. •

Top: Ronald Ventura’s subversion of the bulul stands

watch over a grouping of trinkets, including opera glasses and art deco boxes. Bottom: The dining room, crowned by a 1960s Italian chandelier, is a space to eat and drink with great art.

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