Rajo Laurel looks at foreign trends, Inno Sotto stays true to himself

There seems to be so much happening in Manila lately. The who’s who in Manila occupied every seat at the latest fashion shows in town. I am sure it was a nightmare to arrange the placement for the limited front row seats. How do you please everyone? The past events were a good excuse to dress up and be seen.

Inspired by Hollywood and its awards nights, Inno Sotto presented his latest collection, "Inno Sotto: On the Red Carpet," last Sunday, Oct. 7, at the Edsa Shangri-La Hotel ballroom. "The Oscars is the biggest fashion runway in the world," says Inno. Millions of people all over the world watch the Academy Awards every year. The coverage of a dress worn by a star on the red carpet is more than any paid advertisement or fashion editorial. That is why designers clamor to dress the hottest Hollywood celebrities for the much-coveted publicity it involves. The Hollywood set would have enough choice with Inno’s collection from the day affair when they announce the year’s nominees to cocktails to celebrate their nominations to the awards night itself and endless parties after from the Governor’s Ball to the Miramax party and Vanity Fair party, among others.

He will be the first to admit that vintage Sotto influenced most of the collections’ silhouettes. For instance, a yellow chiffon bias gown with butterflies was based on a chartreuse number during his early Nineties’ Anno collection. He also took reference from a fitted jacket which was part of his Second Asean Design Show collection for the black lace Edwardian-inspired top in the show. It started with silk linen dress suits in red, taupe, turquoise, yellow and black with deconstructed bows, butterflies, flowers and origami-inspired accents for day. For the rock stars, he presented sexy Edwardian-influenced taffeta tops with pleats instead of the usual ruffles. Ribbons on the arms, sashes, vintage brooches and long strands of diamante completed the look. Tight pants and hot pants were paired with long boots.

His frayed collection from 1998’s Made to Dream Show evolved into what he now calls the "lettuce" collection. Each piece in organza or chiffon is cut on the bias and frayed by hand creating a bed of lettuce. Inno is still at his best when he creates for evening. His signature, understated elegance was evident in these pieces. Two favorites of mine were based on the past’s experimentation. One was the close-to-the-body black number, frayed on the sides revealing the thighs of model Apples Aberin. The other was also a black gown worn by Marjorie Maristela, but this time the frays were on the bodice, which was sensual yet elegant. Each thread is frayed carefully one at a time following a pattern. Another editorial piece was the pearl gray bias-cut gown on Joan Bitagcol. There was also a white organza blouse worn inside out. "The construction was reversed. Allowances were outside," says Inno. They looked like pleats. The Edwardian influence was also apparent in his men’s collection in the manner the ties were worn. It was about reinventing the men’s suit.

"It’s the downtown look for day and femme fatale for night," make-up artist Patrick Rosas says backstage. His color palette included pinks to berries and browns with natural coral lips. The hair was kept sleek and tied back for day, then let down for night. Inno just wanted the girls to look beautiful. It was all about Hollywood glamour.

I often worked for Inno during my modeling career that spanned 10 years. During my time, all his shows were memorable. I remember how hard we all worked to make the show great. Rehearsals would end in the wee hours of the morning to perfect our choreography. His shows, from the production to the collection, were very much anticipated by the industry. It was always thrilling to be part of his shows. In my time, you never made it as a model unless you modeled for him. His past much-preferred creations have become ingrained in local fashion. These familiar and established designs are still what we see now. "I just want to be true to myself," he points out.

If Inno’s experience showed in his collections, Rajo Laurel seemed still trying to discover himself. He was striving to be hip and current. Armed with a creative team, he presented a total show last Sept. 28 at the NBC Tent. The production carried his collection. Director Ariel Lozada played with the letter R to conceptualize the stage. "If you look at the entire stage and look at it from the side, it’s a letter R," says Ariel. With his expertise, Ariel created depth by experimenting with multimedia. "Modernity has nothing to do with time. It has something to do with manner," he takes a quote from Baudelaire and lives it. He has an incredible talent for music. He mixes and layers the music, which he started three years ago. "Seventy percent of the pieces are old music rehashed with new tunes," he says. Some significant music he used were a song by Judy Garland, the theme for Lovingly Yours, Helen, and aerobics workout music. He also conceptualized the video based on his personal experiences. Here are some striking lines from the video: "Sometimes the sky clears up. I seek a point of view, a frame of mind to contain all these things, to begin to understand your methods. But they move on, move away like patterns of rain on the window."

The words were very moody and poetic. The scene started with a staircase to symbolize "getting somewhere ... getting to the top." "Contrast, tension and unpredictability are the qualities I want to incorporate in my shows," says Ariel.

Styling was also well studied. "We divided the girls into four sections: dark skinned, mestiza, Filipina and Chinese looking," says stylist Michael Salientes. Patrick Rosas and his team created colorful smudgy eyes depending on the models’ looks while the lips were in red or fuchsia. The hair was close to the head with modern asymmetrical buns in front. For short hair, it was ironed out flat and spiky. Headpieces and other accessories were custom-made by cutting-edge designers. Ignacio Loyola created some feather skullcaps and deconstructed tulle while Doro Barandino used antenna wire, rubber and metal for his designs. The stockings were also key to the collection. Michael styled each outfit with different patterns and colored stockings. The strongest pieces of the collection were his vintage brocade fabrics reinterpreted and modernized. My personal favorite was the reinvented cheongsam modeled by Joan Bitagcol with a bustle at the back in a Fifties brocade paired with caramel pants. He also thought of using his thumbprint as one of the graphic patterns for his Op Art-inspired numbers. The Victorian period was also a significant influence in his collection. The season’s latest trends in Milan, Paris and New York from corsets to puffed sleeves, ruffles, and ruches were apparent in the collection. Rajo still has so much time. With time and experience, perhaps he will find himself and be true to it.

What ails this industry? Despite the accessibility of the latest collection in Milan, Paris and New York, it seems we are still very narrow-minded with our views on fashion. We, as an audience and fashion designers, still rely on an expected formula for shows. Some designers still create collections based on sets. They still make a design variation by changing a few details of the design from the sleeves or the length or the fabric and its color instead of treating each piece individually. This results in monotony and lack of creativity. What’s the point of showing each piece on its own if they all look the same anyway? Gone are the Eighties when we used to strut the runway in groups of 10s and wear versions and more versions of one design. And for some, instead of making their mark and creating their own stamp in the industry, they fearlessly copy international designs. Instead of mastering their craft, they rely on hype to create a name. If only they would realize that popularity is flitting but true talent is lasting.

I also don’t understand why we still expect a bride to end the shows. It is no longer necessary. Or, we still expect the clothes to be wearable from head to toe. The key is to look at each piece and take ideas from it. For instance, an exaggerated puffed-sleeved top may be subdued by reducing the sleeve size to make it more wearable. One should look beyond what is presented and not take everything literally. If this is our attitude, we can never move forward. In fashion as in life, there are different planes of reality.

So much is happening in Manila lately. This can only be nothing but good for the business. In this cutthroat industry, competition is fierce. But competition is good. It keeps everyone on his toes. "It stimulates me. I am forced to be creative," says Inno, when asked about doing shows.

There is so much to look forward to. Today is the launch of Patrick Rosas’ new beauty book and in a few days, Rhett Eala will present his first independent collection after years of designing for Rustan’s. Just remember: "When you come to a show, always keep an open mind," stresses Ariel.

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