MANILA, Philippines - Poignant, heartwarming, timeless, and distinctly Filipino — these are words that describe both the retrospective and the clothes of Ben Farrales, dubbed the Dean of Philippine Fashion.
The show began in the dark with a sweeping orchestral overture, as if to bathe the crowd first in the preferred mood, after which appeared the first set: a series of black and white patterned gowns arranged in drapes and ruffles, worn by the supermodels of then and now. From stripes to Aztec prints, from plaid to graphic florals and fringes, it was a timeless set that connected with the graphic black and white trend of late. It was as if Mang Ben, as he is fondly called, is talking to the new generation of designers and fashion lovers to inform that all this has been done before and quite well.
The next transition were the different permutations of white pants and the black top, accented by metallic accessories, which then evolved into heavier (but still minimal) gowns with patterned lace.
And then it becomes even more interesting, as the true colors of Farrales were unearthed with the oriental obi collection, characterized by richly embroidered sashes worn diagonally over a tunic — an interpretation that is uniquely his. Each thick sash tells its own story, whether it takes after a vast landscape or floral emblems. Further, his choice of textures covered not only the richly embroidered gold gowns but also those finished in intricate lace, silk and feathers.
He then showed some of his iconic pieces from the Maranaw series (heavily beaded and draped pieces in a rainbow of colors) and the series of metal accessories (belts and neck pieces, and among others) worn with black gowns to highlight their versatility. The Mindanao-inspired pieces are some of his very best, as he tempers the colorful fabrics and prints by adhering to the traditional silhouette of the indigenous people but still showcasing his modern cuts. He cherished the use of styles, from the malong to the vest, and showed his keen sensitivity to culture and his ardent wish to elevate what is traditional into the language of fashion.
He ended the show with the Maria Clara set that played up the terno and Barong Tagalog, with Muslim touches and shapes. These visions in white and ecru come across as a Filipino alternative to Western wedding regalia — and one cannot help but admire the intricate detailing and craftsmanship in his works. As he takes inspiration from base culture and seeks to expand it through fashion, his works will never be dated, and instead will be able to transcend all the trends and revolutions that we will see in our lifetime.