“I am the oldest first-time designer in Fashion Week,” declares Marlon Rivera unashamedly, if not cheekily, after debuting his very first ready-to-wear collection on the very first day of Philippine Fashion Week (PFW). This initial foray into RTW all the more defines the prolific proclivities of the man who is, correspondingly, the chief creative officer of and president of the ad agency Publicis, a makeup artist, fashion stylist, UP professor and a film producer (Rivera produced the bucket-list, indie film 100 which was released last year).
Though he also occasionally dabbles in costume design (his last project was for a Tanghalang Ateneo play) and has done capsule collections for Folded & Hung, it took quite some time for Rivera to greenlight his own ready-to-wear. The decision was, fitting enough, primarily molded in Fashion Week last September. And what he has to show for this eight-month project is something that actually befits the jumpstart of PFW 09’s design showcase.
Describing Marlon Rivera’s first ready-to-wear collection as a mix of basic wearables updated with “tweaked proportions, details and fabrication” would be underachieving and rather oversimplifies his entire concept. Because, really, this debut collection is a lot more interesting than what anyone would call basic. Despite having what he refers to as “limited technical knowledge,” Rivera has come up with a style set that figures in intricate detail and subtle fluidity in pieces that can look very uncomplicated, especially done in somber blacks and even graver variations of gray. Actually, these details work all the more with the color monotony. (When he does burst out with color on bags, neckpieces and the occasional embellishment, it feels a bit unnecessary and strained, save for his brilliant use of indigo tights and footwear.)
Rivera’s collection is not RTW as Filipinos deem it. There are no blazer-pants corporate ensembles and certainly no ruffled summer dresses that can double as elaborate table mantels. The collection is decidedly Japanese-inspired, with loads of Parisian panache and effortlessness thrown in, influences gleaned from his travels to Paris, Osaka and Tokyo when he was filming 100. Kimono-style tops are stripped of the embroidered silk detailing of the traditional Oriental piece and, seen in classic gray tones, are instead given slitted sleeves and multiple overlap details. These are then cinched with obi belts that are more ninja than geisha. The uwagi, the kimono-style jacket used as upper half of a martial arts uniform, also bears influence on his coats and cardigans, only his are updated versions in textured or tie-dyed fabric and left open for more style showing. These are paired with slouchy pants with twisted seams and parachute-style bottoms that narrow down in the leg.
Though his strong points would be his haphazardly-tailored separates, Rivera’s one-piece creations are no slouches. Or rather, they are. The Fashion Week rookie has a couple of loose, drapey jumpsuits inspired by Moroccan zoab or harem pants, as well as sinuous T-shirt dresses made of jersey. There are also dresses with sculpted flutter sleeves that echo Givenchy’s fall collection and thin shift dresses begging for layered styling.
Some, at first glance, may deduce a futuristic feel to Rivera’s debut ready-to-wear collection, given the sleek-and-slouch silhouettes, flighty sleeves, unconventional lapels, easy-wear concept and over-all utilitarian feel (perhaps for the future that Aldous Huxley imagined). Dissected deeply, however, and taking into account the concerns of the global-warmed, trend-rebuffing recessionista, Rivera’s collection is, actually, very now.
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