The Phantom of the Bridal Show

Agrand fashion show under the stars beside illuminated pools of water was the piece de resistance of the two-day All About Weddings exposition organized by InterContinental Manila and the ABS-CBN Publishing Group’s Metro Weddings I Do Magazine. This year’s first major fashion presentation had 18 of the Philippines’ top designers presenting a 37-piece wedding collection in honor of recently departed haute couture master Joe Salazar. Painfully missed, Salazar was a perennial participant in this much-awaited bridal event for the past two years. Strangely even from the afterlife, my gentle and dear friend helped us in putting exposition events together.

Starting off with the celebrity bridal gown exhibit, one thing simply led to another without much effort on my part. Last May 2003, I was with Salazar when he was dressing up Maria Victoria "Kakai" Manotok for her wedding to presidential son Dato Macapagal-Arroyo. Right there I asked Kakai to lend me her gown for this year’s exhibit. She not only kept her promise but even went out of her way to relay a similar request to her sister-in-law Angela Montenegro, another Salazar bride, who likewise graciously acceded. I tried to borrow Salazar’s last wedding masterpiece from Michelle Santos’ mom Therese. The latter said she will ring me back later that day. When she didn’t, I presumed that the answer would be negative. To my surprise, ABS-CBN Publishing general manager Thelma San Juan called to say that she met Therese by chance at a restaurant and before she could open her mouth, the latter told her that Michelle agreed to lend us her gown! And who should drop by unexpectedly at my office a day after but Ramon Bilbao with his cousin-in-law’s 1994 Salazar wedding gown, a beautiful adaptation of a 1950s Balenciaga design with handmade flowers by Salazar himself! "I owe Joe this," he said. "He asked me if my cousin Christina Hagedorn-Davila could lend it for your exhibit two years ago. Unfortunately, I had to leave for Paris and was unable to attend to his request."

During a production meeting for the Bridal Couture Show, we all agreed that the wedding gown of Peggy Ty-Cham by Salazar would be shown. What was the late designer’s favorite music? Thelma, show director Jackie Aquino and I were clueless. Jackie and I agreed to look into our respective CD collections for the most suitable music. For two nights I slept late searching for the "right music." "Joe, what music would you like?" I whispered before finally falling asleep. The following morning as I pulled out a file in the office, a bunch of old newspapers fell. They were press articles on Salazar that I set aside and forgot to give to him. As I examined them, I came across an article by Philippine Star columnist Edu Jarque on Salazar. Jarque asked him what his favorite musicale was. He replied that music from the Phantom of the Opera made him high. At home that evening, I found my Phantom CD right on top of the big box where I stored my collection when I had the house repainted. Taking a cab to the hotel a day after, All I Ask of You from Phantom started playing on the radio. Relaying all these to Thelma and Jackie, we all agreed that Joe had made his choice.

On the night of the show, I invited Salazar’s family and sent a van for his loyal 21 atelier staffers to witness the industry tribute to him. The show consisted of two parts. The first part featured the collection of young designer talents Vittorio, Patrice Ramos-Diaz, Rhett Eala, Katrina Goulbourn, Rajo Laurel, Jojie Lloren, Dennis Lustico, Tonichi Nocom, Randy Ortiz and Frederick Peralta. The creations of Auggie Cordero, Mike de la Rosa, Ben Farrales, Nolie Hans, J. Moreno, Efren Ocampo, Loretto, Inno Sotto and Joe Salazar formed the second part.

"Bridal gowns are made to be used again" is Vittorio’s belief. The two gowns were studies in simplicity. The first gown modelled by Rissa Samson was a fitted ivory and beige duchess satin number with architectural flaps in front. His second gown also of the same fabric but in antique beige had wispy feathers and ruffles on the upper bodice. Sans veil and the customary bouquet, a bride could wear them to a party.

Patrice Ramos-Diaz presented two equally simple princess-cut gowns with bared shoulders. Light beadwork on both gowns give off a dash of glitter. Rhett Eala further bared shoulders with his silk chiffon and chantilly lace confection paired off with a shawl of tulle. His princess-cut strapless gown in Thai silk had a side bow of tulle and horse hair clasped by a crystal brooch as accent.

Deviating from tradition, Katrina Goulbourn designed a tailored jacket of handwoven pale grey silk, then softened the look by pairing this with a layered white tulle skirt. She then went avant-garde with an asymmetrical mini dress with distressed strips of piña (pineapple fiber) silk and a draped overskirt in striped abaca silk material.

Eliciting surprise and amused chuckles from the audience was Rajo Laurel’s wedding tableau. Two male models in well-cut suits sauntered on stage. One of the models carried a bouquet of red roses. The two guys then held hands and kissed each other. It was their wedding!

Paris-trained Jojie Lloren executed a most intriguing bridal gown with a fitted double-breasted bodice and a bubble skirt. The "bubble" effect was achieved "by tucking a 200-inch long fabric at certain places." Another gown in duchess satin had big bows around the neckline. The tail of the bow was sewn on to the neckline for a "wavy effect."

Dennis Lustico’s bridal fashion consisted of an ivory white silk satin gown cut on bias with twin back panels and a Watteau-inspired single seam gown with a swag at the back.

Instead of bridal wear, Tonichi Nocom presented clothes for the dashing groom – a dark blue tailored suit ensemble and a blue jacket paired with a pair of pin-striped grey trousers.

"Resort brides" were Randy Ortiz’s muses. Silk chiffon with lace and hand pleats, chantilly lace with pleats and feathers and wispy flowing skirts were skillfully used to advantage to achieve the desired look.

Eye-catching were Frederick Peralta’s creations – a gown of pleated organdy in shades of gold with a leaf-shaped bustle embellished with cascading beaded laces and a Chinese empress A-line gown in silk brocade accented with black beaded frog buttons and a reversible black and beige obi sash and circular wiring cord at the back.

Seasoned mannequins Tweetie de Leon-Gonzalez and Apples Aberin-Sadhwani incarnated romantic designer Auggie Cordero’s muses Audrey Hepburn and Grace Kelly. Inspired by the Audrey character in the movie Funny Face, Cordero created a sabrina-necked bodice with a multi-layered tulle skirt of re-embroidered chantilly lace, the bodice twinkled with caviar sequins, cut beads and crystals. Silk lace with different-sized rosettes and rhinestones and a billowy silk gazar skirt evoked the regal Princess Grace look. Lila Almario made shoes to match the gowns while Tony Rodriguez designed the bouquets.

Simple yet romantic was Mike de la Rosa’s message to brides. A salmon pink spaghetti-strapped gown had a rose accent at the back and a flowing train while another had layers of soft ruffles to accent its haltered neckline.

Ben Farrales presented three Filipiniana gowns: Muslim gown in white satin with a Japanese obi sarong and a veil of handwoven Mindanao silk; a kimona with a hand callado bouffant skirt and manton de Manila wrap; and a "sleeveless terno" in silk organza touched up with flowers in pastel colors evocative of Flores de Mayo celebrations. The gowns reiterated Farrales’ preference for Philippine-inspired couture.

Nolie Hans’ bride was drop-dead gorgeous in pure silk chiffon ruched and draped over the female form with Swarovski beadwork on skin-toned tulle. His other bride wore a gown with a plunging V-neckline and a faille silk bouffant skirt over taffeta. A garland of white roses cascaded from her head to the back of her skirt.

Loretto’s bride wore a gown of pale pink. The top had a transparent sequinned callado bodice sewn with caviar sequins of the same color. The piña skirt had monochromatic pink callado embroidery sprinkled with jet, cut and sugar beads and Swarovski crystals. A tiara of monochromatic pink stones held the shoulder-length veil. His other gown ecru duchess satin had a beaded haltered neckline and a skirt with a bustle with layered leaf-like embroidery in silk tulle.

J. Moreno’s bride was an eye-catching sight in his tall antique Chinese bridal headdress of hammered silver which the designer found in a shop in China. The headdress was the only traditional component of the ensemble for the Chinese collar gown had a haltered top and a back that dared plunge down to the waist. For good fortune, the gown’s satin fabric had circular weave patterns. These were matched with circular nacre sewn on the illusion veil.

Silver and lilac sunburst beadwork starting from the shoulder provided the drama for the other Moreno gown. One of the sleeves opened up into a panel that finished into a train while the other sleeve had a dangling bracelet effect.

Efren Ocampo’s bridal creations were cut along princess lines in re-embroidered organza fabric accented with cut-out organza flowers. Very romantic. Very feminine.

Inno Sotto’s opening number worn by Raya Mananquil was simplicity and lines at their best. Fashioned out of Mikado silk, the empire-cut gown’s accent was a clever play of cords and ribbons. His second gown in duchess vanilla modelled by Joanne Bitagcol had an A-line silhouette and an empire-cut bodice. Swirls of silk organza fabric encrusted with big silk cabbage roses were draped over the top like a stole.

The lights dimmed and as they were turned on again, a hundred white butterflies fluttered in circular motion towards the sky. As Salazar’s favorite song All I Ask of You played, model Orange Aberin walked down the ramp radiant in a Maria Clara-inspired off-the-shoulder wedding gown of piña cloth lined with pure silk organza, partially hand-embroidered and accented with seed pearls and Swarovski crystals, with a four-meter train. Handmade flowers in ecru, pale pink and beige painstakingly put together by the designer were the principal accents at the back waistline. The gown was exquisite. A warm applause filled the air. Many were teary-eyed. Salazar is a great loss to Philippine fashion, they lamented.

The stars were shining brightly. His industry colleagues received their well-deserved accolade, too, that night. It was a successful show. Earlier that day, I placed a bouquet of red roses at Salazar’s resting place. "You better be there tonight, Joe," I whispered as I ran my hands on the smooth marble. "And please don’t let it rain on our parade!" Looking at the crowd that night, deep in my heart I knew he was with us.