plus magazine issue 2

INSIDEISSUE TWO

27NEXT GENERATION’S

INFLUENCERSA list of young creative

individuals who have been shaping the industries of fashion, arts and design.

04 ISSUE TWO | www.plusmagonline.com

Photographed & Styling by BENJO BILLONESStyling Associate KEREN KEZIAH GREJALESHair and Makeup by LESLEY JANE PASCUALSittings Editor ELENA MARIE DOMINGO

96Fashion editorial

featuring top model Chanel Thomas of IM Agency, styled

by one of our Next Generation’s

Influencers Xie Antonio

18Chef Denny of Your Local shares his struggles and learning on

putting up a restaurant

32Qurator’s Head Fashion Stylists

Maita Baello & Cath Sobrevega

www.plusmagonline.com | ISSUE TWO 05

TOC

INSIDEISSUE TWO

Carl Jan Cruz shares his story and tells us his experiences that honed him to be one of the young fashion designers to watch out for. Shot in London by Federico Ferrari and styled by top stylist Pam Quinones, CJ (as most close friends call him), gives us a glimpse of his creative process and let us understand his

unique aesthetics.

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BENJO BILLONESEditorial and Creative Director

ELENA MARIE DOMINGOManaging Editor

MARK FRANCIS CARANDANGContributing Features Editor

KEREN KEZIAH GREJALESContributing Fashion Stylist

BYRON HENRY SANTIAGOContributing Art Director

CONTRIBUTORSFederico Ferrari, Ana Isip, Irish Degala, Justina Lopez, Katchie Mejias, Lesley Jane Pascual, GP Plamenco, Sergio Pirrone, Pam Quinones, RJ Santos, Althea Siapno, Chanel

Olive Thomas

PLUS Magazine is a quarterly digital magazine of PLUS Interactive; bearing a commitment in promoting the world of fashion, arts, and design to our readers–individuals of creative minds who aspire to be in this industry of visual culture–PLUS Magazine has a team of experienced media practitioners and staple list of contributors

who deliver valuable content about established ways on how to get into the business of craftsmanship.

PLUS is conceived for an audience in the passion for developing of skills and open sensibility towards anything that is ‘NEW’. The key role is to inspire and educate the readers with our epigrammatic opinion columns, intelligent reportage and exclusively produced thematic pages inserted in a minimalist but extremely refined

context with a great attention to detail to set benchmark for integrated ideas.

www.plusmagonline.com

TheEditor’sLetter

When we launched PLUS a few months back with covers BJ Pascual and Edlene Cabral, the main goal of the magazine was to inspire young creatives to push themselves to be the very best that they can be. And that objective still remains the same.

In this issue, we have gathered a pool of young and talented individuals who have been shaping the industries they are in through their own crafts. They are the Next Generation’s Influencers. From stylists Maita Baello and Cath Sobrevega to Move Manila CEO JB Estrada, this list is composed of different personalities from various creative worlds, whose stories will surely move readers and drive them to do the things that they are really passionate about.

This issue is also extra special because we have produced a 3-cover feature with blogger/entrepreneur/design activist Arriane Serafico, YSTYLE editor Regina Belmonte and designer Carl Jan Cruz whose cover was shot in London by Federico Ferrari and styled by renowned stylist Pam Quinones. The three shared their creative process, the challenges they have encountered, and their advice on the youth next to them.

Contributing features editor Francis Carandang also talks about fast fashion and questions the ethical, economic and ecological implications of this growing business.

Our Archives section also features a short conversation with Chef Denny of Makati’s rising bistro Your Local, and a few interesting things from taxidermist cum furtniture store cum art gallery Xbesitzer and pieces from home interior shop Urban Abode.

I hope you enjoy reading this issue as we did making it. Enjoy!

BENJO BILLONESEditorial and Creative Director


TheEditor’sLetter

ARCHIVES

This list consists of beautifully curated pieces from Xbesitzer’s stuffed animals to Urban Abode’s

rustic chic home decors.

We have also talked with Chef Denny of Your Local about their restaurant, the food, and how it is different from other neigboring food bistro

in Makati.

ANYTHING BEAUTIFUL


ISSUETWO


HEADGEARPHOTOS BY BENJO BILLONES

EDITOR: ELENA DOMINGO

It’s hard to tell what really Xbezitzer is - a furniture store, taxidermist or an art gallery. When you passed by Mabini St. in San Juan City, the shop will surely catch your attention with its collection of stuffed animals in various sizes - some even bigger than an actual human being. Aside from those, they also sell some vintage items -- boots, books, jewelries -- and some replicas of famous designer chairs like

Eames, Verner Panton, and Arne Jacobson.

Artist Gary Ross-Pastrana and businessman/ art enthusiast Jeremy Guiab are the two men behind this unique concept store. Hence, it is not surprising that they also use the space to serve as a venue for

both young and renowned artists to feature their works.

Recently the shop launched it’s new Jun Sabayton toys, their second release after the launch of Louie Cordero’s Nardong Tae toys in

December 2013.

As it grows, Xbesitzer continues to collect and feature one-of-a-kind pieces from different parts of the world, while supporting

young artists who are uniquely talented.

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urbanabodePHOTO BY BENJO BILLONES | EDITOR: ELENA DOMINGO

Home to some antiques and hard-to-find customized pieces, Urban Abode transports you to a different dimension away from the industrial feel of Ortigas Home Depot. This quaint little store offers a rustic chic aura. Each nook provides interesting items, allowing you to have colors of India, Thailand and some other neighboring countries. A good take for a furniture and decor store, a sui generis, of its own kind.

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MANILA IN FRAGMENTSWTA ARCHITECTURE AND DESIGN STUDIO IN LA BIENNALE 2014

EDITOR IRISH DEGALA | PHOTOGRAPHS BY SERGIO PIRRONE

Metro Manila continues to witness major transformations on its landscape. What were once barren districts are now thriving with structures that host multinational companies and iconic commercial and residential developments.

Long-standing buildings from old avenues are being preserved through furthering its purpose and role in the growth of its provenance. The number of city centers, or at least those that are aspiring to serve as one, is on the rise—bringing together the live-work-play aspects in a single dense area to fulfil the promise of convenience and modern living.

Despite such renovations, the paths that identify the richness of Manila’s history are still visible— how the metropolis sprung from cohesion of small

communities in the form of barangays, as well as the influence of the colonial era. Picturing these elements, when combined, the city has an immense contrast of edifices that help strengthen the character and diversity of its entirety.

These are just some of the ideas that make up WTA Architect and Design Studio’s installation for the Global Art Affairs Foundation Architecture Exhibition, a collateral event for the 2014 Venice Architecture Biennale. Carrying the theme Fragments: Uncertainties and Characters, WTA will be presenting the various cultural, social, and political influences that mould the urban character of cities in the Philippines, particularly that of Metro Manila. Dissecting Manila’s Urban Fabric “Our exhibit seeks to elaborate how uncertainty and informality allow

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for a greater growth and creativity,” shares Founder of WTA Architect William T. Ti.

WTA Architecture and Design Studio is the first Philippine-based firm to take part in the Biennale. The firm’s participation aims to show the international community what is going on in the Philippine architecture scene.

“Fragments: Uncertainties and Characters” will show the city of Metro Manila as seen through the lens of the firm’s experiences, highlighted by a selection of WTA’s projects that are envisioned to create the biggest positive impact in the landscape.

To date, the Venice Architecture Biennale is one of the most prestigious cultural institutions in the world that showcases architecture installations and large-scale contemporary art crafted by different artists and designers across the globe. The exhibition is held once every two years in Venice, Italy, and for this year, the show will run from June 7 to November 23, 2014.


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FEATURED ARTIST

FITZ HERRERAPHOTOGRAPHED BY BENJO BILLONES


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It surely is that not everyone can immediately relate to non-representational works of art as compared to most other art forms. Most critics question the artist’s skills and ability to paint or even draw. Fitz Herrera shared the same struggle as he slowly built a name of his own in the local fare of abstract art in the last decade.

For 10 years, Fitz worked in Universal Records as a graphic artist making event posters, album covers and the likes. On the side, he of course still managed to do his first love creating beautiful pieces, exhibited in local art galleries.

He first explored other art forms painting realistic figures but eventually discovered his love for abstract - its process, the mixing and layering of colors. Driven by his passion, he then decided to quit the corporate world and go full time as an abstract painter.

Recently, he launched his 8th solo exhibition called My Imaginary Self in Art Galileia. The exhibition features his usual gestural style, producing raw art pieces that took months to create. In this show, Fitz explored more in colors mixing at least 5 to 10 shades in one, with thick layers and application, showing some nuanced changes in his familiar style.

As an artist, Fitz advises young creatives who want to be in the art industry to actually explore and learn from the corporate world. He of course did not last in Universal Records for 10 years for nothing. It was a great learning experience for him and he believes the youth can develop the discipline of art and business in this side of the world.

Special thanks to Art Galileia, 28th St., The Fort Strip, BGC

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your local

A conversation with Chef Denny of Makati’s rising neighborhood bistro Your Local. We talked about the concept of the restaurant,

challenges of putting it up, and of course, his advice on the young creatives who want to get

into the food industry.


Photographs by Benjo BillonesSittings Editor Elena Marie Domingo


You named your restaurant Your Local, what’s the reason behind it?One of my partners Nikko came up with the name. The whole idea behind that came from these places that you’d find in US or even in UK. It’s like the neighbourhood joint that you always go to, that is normally called as your local, like your local place. So that kind of feel is what we wanted. Even in our table reservations we have wooden planks. We really want that comfortable feeling in our place and so far, I think we have achieved that, because people here dress up like fresh from the gym, basketball or whatever at one table, and guys in suits in another. What we really wanted is a place like you’d be comfortable going as you are.

The restaurant is quite new since it only started operating February this year. What are the challenges that you have encountered so far? How did you handle it?Well, right now our biggest challenge is storage space. I mean it’s an awesome problem to have. So now we’re looking for a space that we could use for a dry storage, some extra chillers, and preferably not 5 minutes away walking. We’re actually trying to see if we can rent part of the second floor.

How is Your Local different from other restos?The food and partly the ambiance of the place set Your Local apart from others. We don’t try to be pretentious. We don’t try to really upsell anything. When you look at our menu, everything is plainly described. We let things speak for themselves.

How about the pricing?We try to keep our prices very reasonable. We’d want it to be like a neighbourhood place where people could come. If you’re having an appetizer, a meal and a drink, you’d spend like 500 to 600 bucks. So far, based from the regulars that come in, they’d spend around that much , and you’d see them come in twice or thrice a week. So we wanted something that wasn’t so upscale that people can come back like once a month.

In your location, there are a lot of restaurants especially on the other side of the street, how do you see yourself competing with them?

Burnt onion and chorizo sandwich in squid ink buns; Steeped chicken with ginger rice

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With us, we don’t really see competition. Quite honestly, it helps to have a lot of restaurants in the area because it’ll draw more people even from outside the area.

In my experience in restaurants and F&B, people wouldn’t come in the same restaurant everyday. They want variety. I don’t see any competition. We have our own little niche.

If you were to give any advice to the young creatives out there who wants to be in the F&B business, what would it be? Would you advise young graduates to immediately start a restaurant after school?Honestly, I would say, don’t start a restaurant fresh out of the culinary school. Either work for other people, work abroad or travel. There’s two routes that you can go. You can go abroad and work, or travel to places and experience different kinds of food. Expose yourself.

The restaurant business is tough. Like most restaurants, in the first few months you will either do okay or not. You need something that will set you apart.

Clearly you have been in the industry for a long time now and Your Local has been a success. What do you think is the secret formula of having a successful restaurant?You have to put thought into the restaurant, the food, and even little things matter.

You have to love what you are doing because the restaurant business is tiring, abusive. You have to work in long hours. I am at work for about 13 hours a day.

Any more advice to the young minds who are planning to go into this kind of business?One reason I got into culinary and took cooking was because I got sick of the corporate life. And the kitchen is an instant gratification. When you send out a dish and someone likes it, that’s really something. I mean the business area is a very tough part of it, but it’s actually just putting out food for people to enjoy. You’d love it.

Also, get ready for the pain. the heartache. Get ready to be injured.

You havE To LovE whaT

You arE doing bEcausE ThE rEsTauranT

businEss is Tiring,

abusivE. You havE To work in Long hours.

gET rEadY for ThE pain, ThE hEarTachE.

gET rEadY To bE injurEd.

VIEWSINSIGHTS AND IDEAS

20F e a t u r e s e d i t o r

F r a n c i s c a r a n d a n g t a l k s a b o u t F a s t

F a s h i o n a n d i t s e F F e c t s t o t h e

i n d u s t r y a n d i t s c o n s u m e r s .


ISSUETWO


fashionautomation

BY MARK FRANCIS CARANDANG


In response to the fast-paced culture of the internet and technological advancements, the fashion industry has been turned upside down and adapted in the form of fast fashion. Justifiably so as its stores, such as Zara, Uniqlo, Forever 21, and Mango, can literally churn out impeccable replicates of the latest looks straight off the runway in a span of a month at very affordable prices. With its boutiques becoming more ubiquitous than ever, fast fashion has truly become an inextricable and integral player in fashion and society.

It is truly seizing the moment and changing the landscape by allowing everyone to take part in an industry that’s noted for being abstruse. The possibilities offered satiate the desire of à la mode denizens to be calculatedly transformed into a juxtaposition of trends. In a sense, it feeds the consumer the experience of a curated walk-in closet with its accessible prices and accurate plethora of trend-based looks. There’s not one cut, silhouette, style, or digital print that is impossible. It’s really up to the consumer’s behest to choose what or who she buys into.

Fast fashion has surpassed all expectations. What used to be an inconceivable utopia for fashion has become reality. With the impact of recession still being felt, it makes sense that consumers would flock in malls to buy low-cost and aspirational fashion pieces. Behind these sheened fabrications, however, are the questionable ethical, economic, and ecological implications of this rapidly growing business.

Part of the reason why fast fashion has surged through is that these companies actually resort to low-cost factories in developing countries. It is an easy bypass from all the labor law red tape that is usually involved in the retailers’ respective countries. While globalization has been key to the success of other fashion houses as well, it has exponentially worsened with the onslaught of fast fashion retail. Fashion labels used to work on their collections into two seasonal intervals, Spring/ Summer and Autumn/ Winter. Fast fashion threw a wrench into the mix as it paced things up with new collections being delivered in a matter of weeks to address the demand of its consumers. This completely changed the dynamics between fast fashion retailers, high fashion labels, and the factories at the mercy of both. Not only is fast fashion slowly overtaking high fashion, but it actually changed the way they approach collections. Rather than the usual two season collections, labels now have Resort/ Cruise and Pre-Fall interspersed between the main seasons. What it does is create an unwavering buzz on the labels at the same time as fast fashion retailers pander to the attention-deficit of their consumers weekly.

With the rise of supply and demand on both sides, factories actually have to adjust their production and supply chains to these circumstances. Now, workers are pressured to deliver low-cost high volume items in shorter time intervals with complete disregard for working conditions and risks. The effects of these have been amplified with the collapse of Rana building and the Dhaka fire incident, both of which implicated fashion factories that are deemed

inappropriate to house heavy machinery and workers. This is made worse by the fact that a significant number of young women actually work in these factories. Beyond these ethical concerns, because of the aggressive expansion of retailers, local garment and textile industry all over the world are being destabilized. There has been an effort to make the salaries in countries, like Vietnam and Bangladesh, that provide the lowest wages competitive when compared to the norm, but they still are significantly cheaper. Despite the deplorable conditions and the unfair labor injustices in these low-wage countries, retailers would still opt to source in these countries because at the end of the day, they’re running a business. The effect of which is drastic on domestic apparel industries that continue to dwindle with most losing their craft along the way.

Perhaps the biggest draw of fast fashion to consumers is that it has sold statement and trendy pieces at staggering cheap prices. This is made possible at the cost of clothes’ quality - flimsier, thinner, and ultimately, disposable. Consumers have unfortunately acclimated to this culture of disposability. At present, people are actually buying more clothes than ever because of the rise in demand and production, but at the same disposing them as soon as they’ve worn out and outlived the season’s trends. Meanwhile, pesticide-use from textile cotton production and water pollution from textile dyeing have intensified as a result of the increased volume brought on by fast fashion. This unsustainable culture has effects as far-reaching as affecting human health and the ecological system. These issues that should take precedence have been sidelined in favor of fast fashion’s alluring materialistic cycle.

If anything, fast fashion has opened up the once-esoteric industry to people. This democratization allowed them to indulge in the dialogue of fashion and further expand the discussion. Potentially, fast fashion can actually bridge the gap between prosaic consumers and the different facets of fashion. Instead, it has diminished the business model to an automaton that merely echo designs from designers, devoid of the integrity and flou of the original. Its byproducts are sold as “designs,” when in reality those are merely fabricated marketing constructs to draw in consumers into their illusive idea of fashion. To put it simply, fast fashion


is a mere pastiche. Unfortunately, in this day and age where everything instant is valued, fast fashion is actually winning consumers with their vision of fashion, however limited it is. While fast fashion has forced its way into expanding the conversation in the industry, it has also debased it to a point where intellection, design, and craft are disregarded for blind consumerism. Now, clothing is valued on mere price value rather than its aesthetic verve.

In contrast, despite the dominance of fast fashion, intelligent design has become a more important part of high fashion labels these days, with influential designers, the likes of Raf Simons for Dior and Phobe Philo for Céline, elevating fashion to a perspective valuing the essence of femininity and their identity. Hand in hand with this, rooted in the codes of the house, they actually embrace the history, culture, and craft of fashion with each piece continuing the narrative and dialogue of fashion houses. While Edun, another label, actually practices sustainable and ethical outlooks. The label looks into its artisans and craftsmen and believes that the clothes carry their stories. All of these designers and labels have become successful in the industry precisely because they value the consumers holistically. Their design philosophy and passion become a tangible aspect of their clothes.

In recent years, the position of high fashion has been put into question with fast fashion becoming more relevant. Recent efforts by fashion labels might be turning things around for the better. The focus on clothes is now all about transparency and a return to a humanistic perspective. Fast fashion addresses this to a certain extent, but very limited to its narrow view of fashion. At the moment, it is a mere regurgitation of trends and a byproduct of veiled marketing. Self- expression goes as far as consumers becoming the embodiment of vacant superficiality. There’s also the case with the issues brought on by fast fashion’s dubious unsustainable practices. All of these have been exposed to the world. It’s only a matter of time before people turn its back on what fast fashion stands for at present.

With fast fashion diluting the conversation in fashion, it might be actually beneficial to return its roots. It has been heralded as the democratization of fashion, but what it truly does is stifle the voice of its consumers


with apathetic and obscured motives. It’s high time for fast fashion to become an influential force in society and change its business model to one that actually encourages genuine discourse with its consumers and workers. It is through shaping their lifestyles that fast fashion can fulfill its integrative promise and, in the long run, keep the business sustainable and significant


PROFILESPEOPLE YOU NEED TO KNOW

We have gathered the young and talented from different creative industries who are greatly influencing the youth by sharing their passion for their own crafts. We have asked them the same questions, sharing their creative

process, their struggles and solutions.

From stylists, writers to even dancers, this list of influencers is here to inspire the next generation to hone their art, uplift their standards and push themselves to

be the best that they can be.

NEXTGENERATION’SINFLUENCERS

PHOTOGRAPHS AND STYLING BY BENJO BILLONESCO-STYLED WITH KEREN KEZIAH GREJALES | SITTINGS EDITOR: ELENA MARIE DOMINGO

C A R L J A N C R U Z | A R R I A N E S E R A F I C O | R E G I N A B E L M O N T ECARL JAN CRUZ | ARRIANE SERAFICO | REGINA BELMONTE

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“A good photographer needs to have good, fast eyes, and very strong faith in his gut. I’ve done re-shoots for portraits without the editorial team, just because I felt it had to be done. Good photos paradoxically happen in an instant, but

take time.”

JOSEPH PAS C U A LPhotographer

Known for his “moody and quiet” images, Joseph Pascual has been shooting professionaly since 2008, earlier than most people think. Contributing to the Philippines’ finest magazines (Rogue, Esquire, Preview, etc.), he has become one of the most in-demand photographers taking photos

for one publication to another.

How young are you? I’m 26!

Give us a little background, where did you study and what course did you take? I took up BA Film and AudioVisual Communication in UP Diliman.

Did you ever have a corporate job after graduating? I never did. It didn’t ever appeal to me, and I found the prospect of going to work at the same desk terrifying.

How did you get into photography?Back in high school, my grandfather gave me my first camera. It was a Canon Digital IXUS camera, and I just accepted it out of politeness after hearing that other relatives had declined it. Soon, I was bringing it to school to take photos of random things, and after awhile, I got better cameras, better photos, and an actual career out of it.

What are your current projects? Publications where you contribute? I just finished contributing to Yes! Magazine’s 100 Most Beautiful 2014 where I shot a number of portraits. I’m finishing up a cover shoot for a men’s magazine, and I get occasional private commissions, mostly from word of mouth. I regularly contribute to Esquire, Preview, and Chalk, and do work for Rogue and Northern and Southern Living as well.

How would you describe your photos? Is there a signature style that is remarkable in your photos? I’d describe my photos as moody and quiet, regardless of what’s going on.

What is your creative process? I keep folders of pictures I’ve found from all over the internet. Whenever I’m bored, or given a specific assignment, I look through them until something comes to me.

How do you keep yourself inspired? Photography is my first love, and the idea that a first love can love you back has kept me pretty motivated and inspired on its own!

Your favorite photo of all time? I don’t have one. I’m always looking for it.

Dream project/client? I don’t have one either! Possibly something challenging, with a client that chose me specifically for my visual style.

Favorite photographers? I really like Helmut Newton and Paolo Roversi. Local photographers, my favorites would have to be Steve Tirona and Mark Nicdao. Also Juan Caguicla, on good days.

You probably have the most entertaining and witty Facebook status posts or tweets. What is that one post that gained the most likes/favorites?I talk about whatever happens to me, or around me. One thing I enjoy doing is posting conversations I overhear. People seem to enjoy those, because like me, they’re listening in when they shouldn’t. Generally though, my posts might entertain people because they go from current events to pop culture to love, to whatever comes to mind. Maybe people find my complete lack of filter entertaining!


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Esquire March 2014 featuring

Maimai Cojuangco was

Joseph’s first Magazine cover

Nowadays, there are lot of young people who can easily claim that they are photographers. How does one become “legit”? This is one of those questions people always ask, and I don’t think anyone has the right to answer, or even the right answer. I’ve been working as a photographer since 2008- that’s 6 years ago- earlier than people think I started. All I did was work, take projects, and shoot what came to me. “Legit”ness is a label other people give you.

What do you think is the anatomy of a good photographer? A good photographer needs to have good, fast eyes, and very strong faith in his gut. I’ve done re-shoots for portraits without the editorial team, just because I felt it had to be done. Good photos paradoxically happen in an instant, but take time.

You are a freelancer. What are the challenges that you have encountered? And how did you deal with them?Freelancing means that I am never sure of what or when the next project will come.


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While I have the chance to make more in a month than a regular desk job, some months I make less. Uncertainty really is the biggest challenge for all freelancers, but on my end, I’ve made sure to invest my savings in different plans.

In this age of personal branding, how do you market yourself? Gosh I don’t think about that. I just say what I want, and feel what people aren’t talking about, or noticing, and then talk about it. Maybe my branding is that I’m a weird, relatable mess?

What advice can you give to the young creatives out there who want to be a successful photographer? You need to start from the bottom. Learn how to use your own camera. Intern for a photographer if you can. Take photos of your friends. Immerse yourself in images you love, and always keep looking for the next shot.

What’s next for Joseph?More work. Please.

“Immerse yourself In Images you love, and

always keep lookIng for the next shot.”

“Photography is my first love, and the idea that a first love can love you back has kept me pretty motivated and

inspired on its own!”

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Started as assistant stylists of Pam

Quinones, this duo is now making names

for themselves as head stylists of Qurator Studio.

Doing the looks of the most sought-

after celebrities of today (Anne Curtis, Toni Gonzaga, and Sarah Geronimo to name a few), Cath and Maita are now two of the most in-demand stylists of

this generation.

Can you give us a little background? Where did you study and what did you take?M: Integrated Marketing Communications in UAAP. So it’s kinda far from fashion.C: I took up International Studies Major in American Studies in DLSU.

If you don’t mind me asking, how young are you?M: 26 C: 25

You guys are the senior fashion stylists of Pam Quinones. How did you land the job?

M: She tweeted that she was looking for fashion assistants and we just emailed our resumes and then after 1 month, she texted us. We sent it out with no folio at all!

C: Mine was the normal resume with the usual photo, the serious one. And then I sent an email again saying “I think I sent the wrong photo. It wasn’t appropriate for the job. Here’s my Facebook link.” So I made my Facebook profile public for a while. Pero parang after two weeks, parang wala, so I thought parang wala nang chance.

M: Me naman, parang I forgot na nga that I sent the resume. I thought “ah wala na ‘to. I think they got somebody else na.”

C: And then one day, she texted “Are you free today? I need you to pick up a gown and bring it to Marriot Hotel. Bring your styling kit. Consider this your interview.” We haven’t met her at that time. So she gave us a task agad, parang reality show!

How did you feel when you got the job?M: I was vert excited and nervous!C: I felt so lucky and privileged because there were a lot of applicants - a lot of people want to be in our shoes.

Was it really the plan, to work in the fashion industry? Growing up what did you want to do?


M: When I was younger, I didn’t know that you can actually get a job out of fashion, but yes I liked clothes, shopping. I was interested in magazines. I thought before that the closest thing that you could do to be in fashion is to be an editor or a magazine writer. But then I realized, oh may stylist pala! You can actually do this for a living.

C: No, I had no plans at all. I wanted to be in Africa, to be a part of an NGO. But I know that I had eyes for details. I like beautiful things and all those stuff. I like to dress up. It was in me lang talaga. M: Since, I took up marketing, I was also thinking of going to an ad agency or yeah, magazine.

What is a day like for a stylist?M: We start the day by checking our emails – from Pam, or clients. We checked the pegs. And then if there’s a shoot, we go to the studio and prep. And then in between, there’s gonna be meetings, pre-prod, feasibilities, pullouts for another shoot. Everyday is different.

C: It’s very unpredictable. Like one day you’re in the mall sourcing for clothes. The next day you shoot the outfit that you bought or just pulled out.

How do you prepare for a shoot? What is your creative process?M: For advertising shoots, it’s different. Usually we collaborate with what the director or the agency wants – kung ano yung bagay sa celebrity. Like with Judy Ann, you can’t make her wear super skimpy clothes, so you just have to balance it out with the requirements of the celebrity. But with editorial, iba talaga, all out creative. You research, watch films, magazines.

How do you get yourself inspired?C: Travel. We recently went to London for Vogue Festival. And oh, old films!

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Do you follow trends? What’s your signature style?C: Well, for me, I don’t believe in trends. Whatever I feel like wearing, I’d wear it, depending on my mood. Or usually I’m just in a uniform of black and white.

M: For me, I usually dress up according to my mood. Or usually I start with one piece, and then I’ll just work my way around it.

A lot of people may say that styling is easy and quite subjective. What can you say about that?M: Completely wrong. It’s such a cliché to say that being a fashion stylist is not a glamorous job, but it’s really true. You have to tape shoes, you have to pullout, all the extra things that you do, ‘cause it’s servicing eh, so you have to serve your clients, the celebrities especially.

Let’s talk about fashion in general. A lot of people thinks that fashion is shallow and superficial, what’s your take on that?M: It’s serious ‘cause it’s my job, but you don’t have to take it too seriously. It has to be fun and enjoyable.C: I also like how Filipinos are very into fashion na din, that we’re not behind especially all the international brands coming in.

What does it take to be a stylist?M: It’s really not easy, especially when we were starting out. We didn’ have anyone. Of course aside from Pam, we didn’t have anyone to teach us like kung pano ba magliquidate, etc – the technicalities of the business. And actually what’s good with Pam is she trained us by talagang sinalang niya kami. Although with guidance naman, but she’d really allow us to make mistakes, kasi sabi niya you learn through experience. You can’t go to school and learn how to style.



And there is personal styling. Personal styling is like when the celebrities go to an event. Or you fix their closet and you shop for them, or sometimes TV guestings like ASAP, or like a professional shoppers.

Next would be pre-nup, debut, but we don’t do that. There are some who asks but we don’t have time. That’s usually 10 to 15k. And then, commercial na. Advertising talaga is our bread and butter.

How is Pam like to you? Is she the strict type? Or very caring and sweet?M: She doesn’t get mad kasi you’d like to please her na lang. Parang magi-guilty ka. Parang kapag ikaw yung nagkamali, ikaw pa yung mahihiya. C: She has never stopped pushing us. She sent us to London to study. She really wants us to grow. Always pushing us to do editorials, kasi we’re always in advertising.

C: It takes a lot of confidence and skin to show! *laughs It takes a lot of hard work cause sometimes you really have to give up those small things that matter like dinners or family gatherings – a lot of sacrifices. We really love this job. I’ve already been here for four years.

There are a lot of young aspirants out there who has the eye for style and want to be stylists like you. But the problem is they don’t know the basic rates in styling, can you share how does one charge a client? On what basis? Price range?

C: For us kasi, we’re under an agency. Pam built an agency for us – that’s Qurator, and the stylists under it is me and Maita. Pam is our Creative Director and we have our standard rates talaga. M: But for young stylists - those who are just starting, personal styling is the cheapest, like you can rate it for 5 to 8k. C: No, editorial, is usually free! M: But good exposure, kasi portfolio.

you learn thruexperIenCe.

you Can’t go to sChool and learn

how to style.

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Editorial(usually)

FREE*good exposure

PersonalStyling

P5k - P8k

Pre-nup, Debut, Events

P10 to P15k

STARTING STYLISTS’

RATE CARD

AD Campaigns

What is the greatest lesson that you have learned from her?C: In styling, she used to always say “God is in the detail.” Little details matter talaga. M: Like during shoots, pag may isang thread lang na nakaganyan, mapapansin nya talaga yun. And Pam kasi is always super nice. You have to be always nice to all the people, like respect from the photographer’s assistants, the yayas, etc. to those with big names like celebrities.

Who are your fashion icons?C: Olsen Twins, Carine RoitfeldM: Nicole RicciC: Sarah Jessica Parker (SJP)

How was it like working with SJP?M: That shoot was the best, as in we had to buy stuff from HongKong. C: It was the best! We flew for 24 hours just to shop. M: ‘Cause she’s a Blahnik girl and we don’t have Blahnik here so we had to get it. But she was super nice. Not diva at all, as in ayaw niyang magpashoe, she was like “I can do it, I can do it myself!”

Your dream client?M: She’s my dream client. C: I wanna shoot the Olsen Twins. But SJP was a dream client already.

Do you have any plans on going solo? What’s next for Cath and Maita?M: Now, that Pam has put us in a good position, that she has an agency - she gave us freedom, we’re actually going solo now. She’s just the creative director. So all our shoots now, is on our own. Perfect timing lang, like we never demanded for it or ask for anything.

Any advice to the young aspirants out there who want to be like you - to be in the fashion industry? M: It’s best to really experience it. So intern, assist, because that’s really how you’ll see how it’s really like. You can style, like you have the eye for it, pero iba kasi pag you’re styling with different groups of people, like not your friends. Usually, pag starting ka, you shoot and style with your friends, but in reality, you work with different people like the photographer, make up artist, so it’s nice that you really experience it first hand. C: And I think, that if you really want it, you have to work hard for it. Make time.

36 ISSUE TWO| www.plusmagonline.com

Special thanks toArt Galileia for the location

of this photoshoot

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“Be brave and never stop doing what you love. Be open for collaborations and learn from other creatives. Just practice your craft and surround

yourself with people as passionate as you.”

Judd fi g u er r es24, Fashion Videographer and DJ

PHOTOGRAPHS BY RJ SANTOS

It was only these recent years that the Philippine fashion industry began producing fashion films, a bit later than most international brands started doing theirs. And one of the pioneering videographers to do this locally is the young and talented Judd Figuerres.

How young are you?I’m 24!

You’re film major back in college, was this the plan ever since? How did you get into videography and why did you decide to pursue it?I had no plans. All I knew was that I wanted to practice my craft after graduation. Mike Lavarez and Proudrace were the first to ask me to do their fashion videos. I enjoyed it mainly because I’m also a big fan of fashion.

When you were starting what was the biggest challenge that you have encountered? Aside from putting my name out there, the biggest challenge was educating people about fashion films. When I was starting, fashion films were not an integral part of any fashion presentation. I kept on approaching designers asking them if I can make their fashion videos and eventually people sought for me to do their fashion films.

What do you enjoy doing more, fashion videos or actual films?I haven’t done an actual film in a while. However, I would say that they both satisfy me in different ways but both are avenues for story telling.

What keeps you inspired?Collaborations keep me inspired. The most integral part of doing fashion films is that people work together to achieve one vision.

How would you describe your aesthetics?My aesthetic is very feminine. I like the softness of the opposite sex. I enjoy exploring the sensuality of a woman.



What is your creative process?It all starts with the story of the clothes I’m shooting. I get creative cues from there. It’s all about understanding what the clothes are saying and that is where I get my creative pulse. After shooting, I think about the music. Music is very important cause it gives the video a breath of life. It’s either I pick a track that is complementary or contrasting. Once the music is picked, I start my editing and that is when everything comes together.

Who is your greatest mentor and what is the greatest lesson you learned from him?My greatest mentor is Charles Buenconsejo. The most important lesson I learned from him is to trust my creative instinct. Learning to compromise is important but it’s always a feat when you follow what your heart is telling you.

What is that one project that you are most proud of?I made a three-part video series for a jewellery line, shot on location around Subic. Subic is my hometown and there is something magical about shooting in a very familiar and personal place. It was a struggle cause we only had one day to shoot all the three videos. Amidst the limitations, it was planned well and the videos turned out great.

Dream project/client?I have no dream project and client although it would be nice to shoot mainstream local brands.

You are a videographer and a DJ. What do you enjoy doing most?I like doing both. Videography is my first love while DJ-ing is something that’s always fun to do.

In this age of personal branding, how do you market yourself?I keep my aesthetic and the quality of my work as consistent as possible so that when clients approach me they can envision my style with their own work.

What’s next for Judd?I’d like to pursue more collaborations with bigger clients that contribute to the local industry.

What advice can you give our young creatives who want to be like you?Be brave and never stop doing what you love. Be open for collaborations and learn from other creatives. Just practice your craft and surround yourself with people as passionate as you.

Lea r n i n g to co m pro m i s e i s i m po rta nt b ut

it's a lways a feat w h en yo u fo llow w h at yo u r h ea rt

i s t elli n g yo u.

“For me, education is the best thing you can give yourself. I went to FIT to further hone my craft, and learn as much as I can. It’s important that you never stop learning and pushing your comfort zone. Fashion styling is an art unto itself, no different from painting or film, that needs to be developed and mastered. If you’re fortunate enough, take advantage of institutions

like FIT that can deepen your knowledge and skill.”

X I E ANTONIO Fashion Stylist


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From business management to the techinicalities of fashion design, stylist Xie Antonio surely knows the ins and outs of this industry. Now studying Fashion Styling in the prestigious Fashion Institute of

Technology in New York, Xie is set to master her craft and show the world the art of styling.

You took up Business Management in college? Was the plan different back then?Yes. Although fashion was always the plan and my primary passion, but my dad wanted me to have a degree, a fall back, which turned out to be very helpful in regards to dealing with the business aspect of fashion.

You studied fashion design/haute couture techiniques/pattern making in FIP after college. Did you want to be a designer? Tell us more about it. I wanted to be a designer for as long as I can remember. And along the way, I fell into and in love with styling.

How did you become a fashion stylist? Where and how did it start?

My friend, Iah Isip, who was then an L.A. based fashion photographer, wanted to update his portfolio and asked me to style his shoot. It was kind of taboo (it was new to me and not a lot of people knew what styling was) back then, I remember even asking him “What do you mean?”. He said I’ll give you the concepts and you dress them up how you’d dress yourself. The rest was history.

Nowadays, being a fashion stylist is an actual job. But back then it was not really a “thing.” How was it like starting?Back then there were no styling classes. I basically had to trust my intuition and just learn and figure out everything else along the way. I was fortunate enough to have plenty of local designer friends who made my clothes and trusted me with their pieces. I was also always diligent about keeping an open eye whenever I travel because you never know what you’ll stumble across. I get most of my accessories and best pieces from my travels.


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Describe your “I made it” moment.Hmmm. That’s something I have never really thought of. I just do what I love to do and when people recognize and appreciate it that makes me fulfilled.

Celebrities that you have worked with?Ornusa Cadness, Sanya Smith, Liz Almoro, Bryanboy, Daphne Osena- Paez, Claudine Trillo, James and Phil Younghusband, Cheska Kramer (all the Kramers), Audrey Zubiri, Amanda Griffin, etc.

What is you signature look?Personally, all my friends know me for bringing on the bling.

Whose closet would you like to raid?Anna Delo Russo. Miroslava Duma. Viviana Volpicella.

Your fashion icon?Bianca Jagger, Jerry Hall, Lauren Hutton, Rihanna (2014)

Favorite brands? Designers (local and international)?Local : Jerome Salaya Ang and Norman Noriega. International : The Row, Victoria Beckham, Dion Lee, Giambatistta Valli , Oliver Roustieng

Your style philosophy? Follow your gut. Don’t overthink the rules.

What is your “styling process”? I pick a piece that strikes me, whether it be a shoe, a necklace or a top then I build from there.

What’s inside your “styling kit”? What are the must-haves of a good stylist?Metal clamps, lint remover, double-sided tape, scissors, pins, steamer.

How would you describe the difference between an editorial shoot and commercial project? Pros and cons? Which do you prefer?Editorial, has shorter prep time. You are given the story/concept and you pick items that fit that theme to feature. Commercial takes longer, and is very very specific. I don’t mind doing both. But more often than not you are given more creative freedom with editorial shoots. Actually, whenever I’m given the freedom to have Creative Direction in a editorial/look book/commercial, that’s my favourite. It’s never work, just pure passion.

You’re in New York studying Fashion Styling in FIT. Some might raise their eyebrows and wonder, do you really need to study Fashion Styling? Is it an actual course? For me, education is the best thing you can give yourself. I went to FIT to further hone my craft, and learn as much as I can. It’s important that you never stop learning and pushing your comfort zone. Fashion styling is an art unto itself, no different from painting or film, that needs to be developed and mastered. If you’re fortunate enough, take advantage of institutions like FIT that can deepen your knowledge and skill.

FIT is FIT. How was the experience like? Can you share us some things that you learned from it?FIT definitely taught me how fashion works in an international market. And they are very technique specific, which is something one may not learn on her own.

There are a lot of young aspirants out there and one of the most common questions we get is can you really make a living out of styling?Like anything in fashion, as cliché as it sounds, you have to be passionate about it. If you work hard and continue to be passionate and persevere, everything else will follow.

What is next for Xie?Expansion. I’d hopefully love to open a Styling House, and do more Creative Directing. And I’m not my closing my doors to designing. Expect a lot from me.

What is you dream project?To work with Calryn Cerf Dudzeele, Grace Coddington, Patricia Field and Edward Enninful.


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iT is imporTanT

ThaT You nEvEr sTop LEarning &

pushing Your comforT

zonE. fashion styling

is an art unTo iTsELf,

no diffErEnT from painTing

or fiLm, ThaT nEEds To bE

dEvELopEd & masTErEd.


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“Be brave to take the leap of faith, be ready to accept failure and rejection many times but never forget to believe in the gifts God has given you. Pray a lot. I’m on my 2nd year of freelance life yet

God has always pulled through.”

J B ESTRAdA25, MOVEMNL CEO


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Driven by his passion for dancing and talent for video-making, JB Estrada founded

Move MNL, an events and videography studio for the

local dance community. Read as he shares his

learnings as he decided to leave the corporate world

and go freelance for his true love, dancing.

First, I hope you don’t mind, but may I ask, how young are you?When I don’t have facial hair, people mistake me as a highschool student but I’m 25. Or maybe it’s because of the height. *laughs

You’re a dancer and a videographer? How do you live in both worlds? Which do you prefer doing more?It would be hard to choose one over the other, so I prefer doing both. I think the struggle comes when the team is invited to shoot at a dance event and I’d rather dance— a little sacrifice is not that bad, I think it’s still manageable.

You are the CEO and Founder of Move MNL. Can you tell us more about it? What we do right now is we produce videos and events on a project basis. I co-founded Move MNL with my bestfriend, James Wong, who took me to jams and dance battles in 2012-2013. It was when I fell in love with the community. In one of our many car conversations about the dance scene; we figured that we never had an avenue where this culture was given much buzz online. We felt that it’s time that people discover dancers as artists and how they also flourish in this profession—that the public would become exposed and educated about what’s really happening in the dance community. This love for the culture was just abundant that eventually we had to do something. We got our cameras, tapped some friends, we found Move MNL.

Do you believe in the saying jack of all trades, master of none?No—because learning and adventure is a choice, you can be a lawyer during the day and a fire breather at night. You’ll never know the possibilities of the human ability.

I think if we stuck to getting good at only one thing, that’s okay, but with two or more, that’s extraordinary.

In this era of self branding and promotion, how do you market yourself as videographer and dancer at the same time? What are the challenges and how do you overcome them?Referrals is still the best marketing tool. Planting seeds in relationships will always help you reap well in the future. Most people think it’s taxing and a waste of time, but nope, if it weren’t for my friends, I wouldn’t be where I am now. Sometimes, the challenging part is finding balance to invest on both at the same time. You will really have to choose projects that will help you take your skills and experience on another level.

Let’s talk about freelancing. You actually had a job in an ad agency, and after a while, you worked for your family business. And then you decided to go freelance and pursue dancing and being a videographer instead. Why so? What made you decide to go freelance?Calling. After the first two jobs, the experiences made me realize that I wasn’t living the life I was meant to live. I would regret years and years of my life if I didn’t do what I love to do. It took months of waiting and praying to be able to really jump into the freelance world but all I can say is that pursuing my passion was a risk worth taking.

What are the perks of freelancing?A lot. And that is an understatement: New friends, self-discovery, adventure, independence, you can actually dictate your own salary, travel at your own timeline, make more friends etc. but most of all, time for family.


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What are the challenges on going freelance?Myself. if I don’t push myself hard enough, I won’t achieve my goals. (Also, no money for me haha!) The bed weather is definitely at fault sometimes.

I’m sure there are a lot of young creatives out there who want to go out of the corporate world and pursue their real passion. How does one go freelancing? What were the preparations that you did?

1.Look for your niche. When you do find it, practice and find ways to improve. If you know you have it in you all along, look for volunteer work or small projects to test out your skills so the big ones you didn’t prepare for won’t swallow you up. I remember not getting that preparation stage when I told Papa that I was planning on resigning; He gave me 1 day to adjust. Haha!

2.Don’t leave out the networking part. Helping others will make people around you know what you do and the quality of work that you can give. Produce good work and the word will spread like wildfire.

3.Legalize yourself. After quite a few successful projects, paying taxes isn’t so bad. It’s also one way of protecting yourself as an entrepreneur. Plus companies these days prefer freelancers to have receipts before they can even pitch for a project.

How do you see Move MNL in five years?A growing baby to become a hub for dancers or artists where they can create, perform and educate people. The dream client will just come.

What’s your dream project? The Move MNL building.

What’s next for JB Estrada?Creating more video and dance projects and perhaps film school.


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"ASPIRE TO BE MENTORS ANDcAPTURE THE

YOUNG BEcAUSE YOUR ADVOcAcY

WILL FEED YOUR PURPOSE. IT'S

WHAT'S GOING TO FUEL YOUTO KEEP ON

GOING. "

Any advice for our readers who want to go on the same path and start their own company aka go freelancing?It took me four months to decide before I left the corporate world, it was scary but you just got to follow your heart (Haha) or else you die…inside with regret. You don’t want to waste years of your life. So, here’s a few random thoughts: Be brave to take the leap of faith, be ready to accept failure and rejection many times but never forget to believe in the gifts God has given you. Pray a lot. I’m on my 2nd year of freelance life yet God has always pulled through. Dream big and expect adventure. Aspire to be mentors and capture the young because your advocacy will feed your purpose, it’s what’s going to fuel you to keep on going. So go for it, adventure is out there!


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kat

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DRESS BY TOMATOshop.tomato.ph

You have probably read, or even shared, at least

one of her articles. Katrina Tamondong is one of the

writers for the hit online publications Elite Daily and Thought Catalog. Read as

you learn how she landed the job, from a heartbroken

girl to an inspiring writer.

How young are you? I’m definitely twenty-something… Can we just leave it at that?

Is writing your first love? I grew up in the awesome 90s era. While we didn’t have iPads back then, we had the playground, endless books and a lot of imagination. More than writing, reading was probably my first love. I enjoyed reading almost every spare time I had (which I had a lot of, as a kid). The transition from the love of reading to the love of writing came naturally from there.

You have worked with some of the biggest corporations – Nestle, Avon, and now Shell. Please tell us how was your experience like and how do you balance your corporate life with your true passion – writing? Corporate life, in my experience, is sometimes a little bit overwhelming. Each company was a different experience altogether, but I definitely learned something new every time. I actually wrote some of the important bits I took away: http://elitedaily.com/money/surviving-the-corporate-jungle-8-unwritten-rules-to-guide-your-success/ In spite of the stress, however, I learned that the key to staying sane, regardless of all the elements you’re trying to balance, is to make a conscious effort to keep that work-life balance. You learn to make time for the things that are important to you: things you’re passionate about, the people you love and time for yourself.

You write for Thought Catalog and Elite Daily. How did you land the job? It’s actually a pretty funny story: I was heartbroken and therefore quite inspired to write pieces on being the jilted party. In a moment of “girl power,” I clicked on “Submissions” on the Thought Catalog website and sent them my article.

The website says they need about two weeks or so to review all submissions, and to check back every now and then to see if you got published. Surprisingly, when I checked the next day, my article came out on the website. So I tried submitting another one, thinking the first might have been a fluke. Imagine how ecstatic I was when I got an email the next day from one of the producers, giving me a direct way to submit my articles. After Thought Catalog, I thought of creating my own blog, and it kind of snowballed from there. I got some reader mail from producers of different blogs, like Elite Daily, among others, asking me if I’d like to write for them as well. Early this year I tried my hand at freelance writing on ODesk, which also helped me gain some exposure.

Favorite article that you have ever written and why? My favorite article might be the first one I published on Thought Catalog, not because it’s the best one I’ve written, but because it’s the most memorable. That piece made me realize how much I still loved to write, for one. It kind of paved the way to my online stints. That article also gave me a lot of reader mail, from which I actually gained new friends. That was published late last year, and to date, the article still gets new comments every so often. I think it’s at over a hundred from the last time I checked.

Favorite author? Favorite book? This is a pretty hard question for me. I grew up quite the bookworm so I definitely have a ton of favorites. But I think it’s safe to say that would be JK Rowling and the Harry Potter series. She created a whole new world and a priceless storyline.

It says in your Elite Daily profile that you took a 3-year hiatus in writing.


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What happened? I graduated Journalism, but it was also Journalism that opened my eyes to the world of writing. Writers don’t get paid much, and those who work for newspapers have absolutely strict deadlines. I was never interested in writing solely about current events or similar pieces, which is why I thought I didn’t deserve to pursue it as a career, and that I wouldn’t enjoy it down the road. I then immersed myself in the corporate world, which I found that I actually liked. But it never gave me a sense of personal fulfilment the way that writing used to. You can imagine how happy I am now that I found a balance between my old love, writing, and my new love, corporate roboticism (that’s a new word, I swear).

It says in one of your articles called “In Defense of Thought Catalog (and Blogging),” “Thought Catalog isn’t a Bible or an award-winning entity like Time, and I highly discourage anyone to date someone who thrives on and lives their lives by what they read on here.” Why did you choose to write for them or other online media like Elite Daily? The entire article actually gives you both sides of the story. While I don’t believe in the all articles that Thought Catalog publishes, I appreciate the website for its diversity. It’s also a way for people from all over the world, no matter which culture they grew up in, to write about things that are important to them or to connect with other writers. I chose to write for them because they gave me the courage to go back into writing. I chose to write for them for all the support I’ve gotten from their readers. I chose to write for them, because they let me write.

To quote you again in the same article, “I’m tired of not writing because I’m not a ‘real writer’ if I’m not a journalist. Or a novelist. Or a highly successful blogger.” What is your definition of a real writer? My definition of a real writer used to be published individuals with bylines in famous newspapers or with a book or two to their name. Now I believe with all my heart that a real writer is anyone who wants to write and who keeps writing. Not for the money, the fame or any other potential byproduct of being published, but because they believe they can write. Even when no other eyes but your own can see what you write, even if you only write in your ratty journal, you write because you want to.

How would you describe your writing? Your voice. I have no idea, I’ve never really thought about it before. Let’s just say I write like I talk. It’s not entirely formal, but it helps me get my point across in what I think is the most relatable way I can manage.

How do you keep yourself inspired? I keep looking around. There is always something to write about. It’s just a matter of keeping your eyes open.

What is your creative process? How do you pick your topic when writing? I don’t think I have a creative process. I think it’s more of that my mind is all over the place and I get struck with new ideas even during the oddest times. When that happens, I whip out my phone or my laptop if it’s nearby, and I write. And I don’t stop until my mind has exhausted whatever topic I’m writing about.

How do you see yourself in the next 10 years? I don’t know, I haven’t thought that far in advance yet. All I know is that in ten years, regardless of what I’m doing, I hope that I am happy, that I am still surrounded by the kind of love I’m blessed with now, that I can still write and know that I am as in love with the craft as I was fifteen years or so ago.

What’s next for Katrina? You never know! I enjoy trying new things and there is so much that I want to do. I just hope that wherever life takes me, I will be happy.

Advice to our young creatives who want to be a writer like you? Just one: do your thing and never let anyone tell you that you can’t.

PATRICK D I O K N O

PHOTOGRAPHER & ART DIRECTOR,

ROGUE MAGAZINE


Started as Status Magazine’s graphic designer, now Rogue’s Art Director, Patrick Diokno shares his experience and learnings in pursuing his passion for the arts and photography.

Can you give us a little background? Where did you study and what did you take?UST, College of Fine Arts, Major in Advertising Arts

Growing up, what was your dream?I wanted to be an advertising practitioner before, like a creative director of an ad agency.

What did you want to be when you were a kid?Typical, like some other kids I wanted to be an astronaut, or something like that. But eventually I got into arts, specifically graphic design and photography.

Obviously, you are into publications. What is it in magazines that you are in love with?Good design, typography, and sometimes the features itself, but mostly it’s really the design.

Certain magazine that you look up to?Acne, Fantastic Man -- more on clean designs or those with anti-design themes.

Before Rogue, you have worked as a “designer” in Status, tell us more about it?Graphic Designer. There’s not much freedom kasi may art director so may magdidirect nung gagawin mo. Then when I became an art director, ako na yung may say sa look of the magazine or kung ano yung gusto kong mangyari.

How was it like working as an Art Director?More pressure in a way ‘cause there’s much higher expectations.

What are the challenges that you have encountered as an Art Director?Myself. Because I have a tendency to become really really OC.


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How was it like working with Status? Was it your first job?First “real job” because before that I worked for like 2 to 6 months in other companies. One is an ad agency, then next was in a Printing Press. It’s a good training ground for the magazine industry that I am into now.

Status and Rogue have total different characters, why transfer?Status is very young and Rogue is like the “real” magazine. My workmates now are magazine professionals - industry people like Mark Nicdao, Paolo Reyes, Miguel Mari.

Did you get intimidated by them?No, they were very accommodating. And they’re like a family. They would push you to do more stuff outside of Rogue, and grow with Rogue. Sobrang okay yung management. But of course, it is always stressful every closing period.

How was the transition like?I had a break for six months after Status so that was a good trasitional gap, so when I started in Rogue, parang I started fresh uli.

What do you do exactly for Rogue?I do the layout of the magazine and then lately I also started shooting features. I actually have an upcoming editorial to shoot. So exciting because there are more channels and opportunity for me to grow.

Every month, Rogue produces (one of the) best cover(s) and the most intelligent articles. What it is like working with the bests?Exciting every month because you keep on learning new stuff, kasi sa Rogue sobrang okay lahat ng mga tao.


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Some of them go to school and study every once in a while and when they go to work, they share what they learned from it. Like someone would study in New york and they’d share their learnings after.

So can you see yourself working there for a long time?Definitely.

You are also a photographer and one of the top photographers in the country Mark Nicdao is the Photographer at Large of Rogue, how is it like working with him?

Sobrang bait ni Mark and very encouraging, like whenever our creative director shows his work to Mark, parati siyang positive feedback. He really encourages you to do more, to shoot more. Mark is very down-to-earth.

What is your signature style?It depends on what the work requires. Like in Rogue, we’d follow it’s own identity. You can’t put your own style in it.

I’ve also been working with Benchmark and Philippine Star, so iba-iba talaga. You adapt with the publication that you work with.

In the creative world, who are your icons? Local and international.Those people that I work with. I don’t know them personally, meaning their personal lives. Their works are just really inspiring for me. In terms of photography, Avedon.

What is your creative process?Sleep 8 hours a day. Important sakin yung rest, kasi kung stress ka you will be stuck eh, so di ko sya pinipilit.

Aside from Rogue, what else do you do? I know you also contribute in some other publications?

Benchmark, I do their art direction. Parang guerrilla siya, we do the layout sa bahay ko or minsan sa restaurant na katabi ng Rogue. I also contribute in Philippine Star.

I know a lot of young creatives out there are passionate about magazines. In this industry, what are the challenges that you have encountered and how did you deal with them?That stress that you have to be always better than your previous work.

What’s next for Patrick?I still want to concentrate in photography, but I want it balanced with art direction, so really more of Rogue and photography.

Special thanks toArt Galileia for the location

of this photoshoot

GirlStarted from a personal blog, Arriane Serafico of wanderrgirl.com, was able to build a community of young girls who share the same passion for creativity. Now as they grow, Arriane continues to empower the youth, building the nation one

wanderrgirl at a time.

Photographs & Styling by Benjo BillonesStyling Associate: Keren Grejales

Hair and Make up by Lesley Jane PascualSittings Editor Elena Marie Domingo

ThEwandErr

DENIM DRESS BYVANIA ROMOFF

wwww.vaniaromoff.com.ph

“MANY PEOPLE THINK I’M BRAvE, BUT IT TAKES A LOT

OF COURAGE FOR ME TO START SOMETHING THAT I

DON’T KNOW THE OUTCOME OF, TO BE SPONTANEOUS,

TO CHOOSE HEART AND GUT FEEL OvER LOGIC.”

How young are you?I turned 26 this year. (I usually follow this up with “I feel old,” but you know what? I’ve come to like growing old.)

Can you give us a little background, where did you study and what course did you take?I graduated from Ateneo de Manila University in 2009, with a degree in Management Economics.

How are you growing up? My grade school guidance counselor described me as “shy, a silent worker, likes to work by herself.” You know that quiet girl in your class, with glasses (at the age of 8!) and braces, who always got perfect scores in math? That was me. I was the stereotypical nerd.

At the same time, my mom got me into the arts very early. I attended my first creative writing workshop when I was 7, and I wrote a Dr. Seuss-inspired book. I was enrolled in all kinds of painting, illustration and animation workshops starting when I was 8.

My weekends and summers were always packed with classes in art, writing, dance, math, from 9AM to 5PM. The thing was, up until I was in high school, I thought that this was normal! I thought all other kids had schedules as jam-packed as I did. But don’t get me wrong: I loved all of them. In fact, I loved them so much that my mom made it the carrot at the end of the stick: I could continue attending ballet and art workshops, for as long as I got very, very good grades.

You worked as Sen. Guingona’s consultant for a time and now shift to R2R as their visual Storyteller. Why the shift? From the very beginning, I knew that working in the government was not a long-term commitment for me.


I knew that I was going to be there as long as it felt like it was where I can make the most change while giving the best of myself. But I have no political ambitions whatsoever. So career-growth wise, I knew that it wasn’t the proverbial ladder I wanted to climb. In fact, I always say I hate working in politics (I don’t have the personality or hunger for it) – but I love working in governance. Those are two intertwined but very different things. I already felt it coming. You know that gut feeling that tells you something doesn’t feel right anymore? (I know, I treat and speak about my work as a relationship. It’s kind of pathetic!) But what I made sure was that I stayed until I finished my biggest project, which was writing, lobbying for, and eventually passing the Design Competitiveness Act of the Philippines. One of my last tasks was to sit at the Implementing Rules and Regulations sessions for the law. Now that it’s passed, I am still very passionate about it, and I feel that I can make better contributions now that I’m fully immersed, both feet in the design community.

In R2R, it seamlessly merged the things I loved: design, entrepreneurship, nation-building, and women empowerment. It’s in this space, this intersection that I see myself growing in, long-term, and in the direction that I want to. And to have Reese Fernandez-Ruiz as my mentor? That is priceless. Just 8 months in, and she has already shown me what it truly means to be a compassionate leader and a why-driven entrepreneur. She is extraordinary and I am so blessed to have her as a friend and a mentor.

You are the epitome of an influencer, building a community of young girls, pushing them to be the best that they can be. Was this something you always thought you’d do?


“makE surE You sTarT wiTh Your whY.”

“Part of knowing your why is also being very clear on who you want to help, and why you want to help

them. That way, this makes your project less about YOU, less

about the big idea – and more about others, the people or the

community you’re trying to help.”

having ThaT why To comE back To hELps

a LoT EspEciaLLY whEn iT sTops fEELing

good. and i’m TELLing You, ThErE wiLL bE TimEs whEn

it won’t feel good. it will feel shitty and

pointless as hell. in ThE bEginning, iT wiLL bE

fun, fuLfiLLing, absoLuTELY ThriLLing – buT ThErE arE

aLso TimEs whEn it will be thankless,

tiring, financially challenging,

and will feel likecrawling uphill

through the mud.

Definitely not! It still feels bizarre that my words on a screen have resonated with a lot of young girls, and it is my hope that they don’t just get inspired from this and then stop there. Let’s be honest: that inspiration from your screen won’t do the work for you. It’s one thing to be inspired and want to do something, and an entirely different thing to actually committing and doing something about it.

Just a thought, are you also open to having wanderrboys (or gays)?Absolutely! I do have a few Wanderrboys in the community, although they’re not as vocal or active possibly because there are only a few of them! It’s not that I want to exclude them per se, but to be honest, I’m just not sure if I resonate with them as much as I do with girls. But definitely, if I do, then I am very, very happy! Boys are a very foreign concept to me.

You’ve been doing a lot, a certain portion of the public sees that but what truly inspires you? Who’s the biggest contributor? The reason why I do what I do and why I keep on going is not a what, they are who’s.

In 2012, I started holding an internship and mentorship program every summer. Since then, I have mentored 14 girls in leadership, design thinking, marketing, and project management. I always joke that my interns are my hired friends, but to be honest, that’s truly what they become – friends.

A lot of people our age and older than us are so threatened by young people who are so good and accomplishing so much before they even reach their 20’s. I don’t think that should be the case. In my work, I live to work with and surround myself with these kinds of young people. I want them to become bigger, better, more driven, more creative, more compassionate designers of a better world than I could ever be.

They don’t scare me, or make feel old, or insecure – they inspire me to be better, and they make me feel so much younger and so much more alive.

One big thing that your readers doesn’t know about you?I started drinking coffee when I was 2 years old, does that qualify? Haha!

I’m a big control freak. It calms me down to see things mapped out in Excel files and formulas and conditional formatting and color-coded cells. In fact, when I was going on a first date (which was just recently), my first question was – wait, what’s the program? 8:00 to 8:15 small talk and appetizer? 8:15 to 8:45 main course and work, movies, music, in that order?

Many people think I’m brave, but it takes a lot of courage for me to start something that I don’t know the outcome of, to be spontaneous, to choose heart and gut feel over logic.

How does one find quality time to do big things? If it’s important enough to you, you won’t find time – you’ll create time for it.

Most millennials would start something but they easily get discouraged, or at a certain point get tired. What advice can you share to our youth? I love that you brought this up, because this is really a question that I wish more young people would ask. I always get so many e-mails and messages asking me about how to start their own projects. But to be honest, as hard as it already is, starting is actually the “easy” part. What’s even harder? To keep going.

Over the last five years, I’ve found that there are two things that will keep you going:

One, seek out and surround yourself with passionate, driven, and supportive

people. Even better if they share in your why. They will make the journey loads more fun, more collaborative, and the burden lighter when it gets difficult. I don’t believe in self-made people. You simply cannot do this alone.

Two, make sure you start with your why. Part of knowing your why is also being very clear on who you want to help, and why you want to help them. That way, this makes your project less about YOU, less about the big idea – and more about others, the people or the community you’re trying to help.

So here’s the thing about trying to change the world: we think it can only be done if you come up with the newest, coolest, hippest idea that everyone will like and share on social media. That most of the time, we forget to ask ourselves: what problem are we trying to solve? Is this the best way to go about it?

It’s not about coming up with cool solutions, and then finding a problem it can address. That’s just going about it backwards. It’s not about having the coolest idea in the room, it’s about who understands and then addresses the problem best. You can’t solve a problem you don’t understand.

Having that why to come back to helps a lot especially when it stops feeling good. And I’m telling you, there will be times when it won’t feel good. It will feel shitty and pointless as hell. In the beginning, it will be fun, fulfilling, absolutely thrilling – but there are also times when it will be thankless, tiring, financially challenging, and will feel like crawling uphill through the mud.

But if you know WHY you’re in it, if your focus is on WHO you are trying to help, it will be hard to turn your back on them. Because it’s no longer just about you.


Among all your passion projects, which is the closest to your heart?It’s like telling me to choose which major internal organ I think is most useful!

We recently formed DesignHerStory a new community that was borne out of Wanderrgirl. It has been a dream for more than a year now, to sort of graduate the community from Wanderrgirl, which, let’s face it, very based on me and my life – into an actual community that was more about the girls who are in it. We had the DesignHerStory conference last August 2. As speakers, I invited some of my friends who I was adamant that more young girls should meet: Reese Fernandez-Ruiz, Maine Manalansan, Marla Miniano, and Shaira Luna. We talked about the intersection of creativity, purpose, and fun.

Mostly media portrays girls to be insecure, unsure, materialistic, self-centered – but all the women in the conference that day, were proof that that isn’t entirely true. When I see young girls, I see big hearts, a sense of wonder and adventure, and so much opportunity. And that event, more than anything else, it was about connecting these 90+ young women to each other. There is power in knowing that you are not alone, that there are other people who get you, who are also creative but also want to solve problems of the country and the world. It feels amazing to connect with other people who “get it.” There is unbelievable power in finding your tribe. Together, we are so much stronger.

That was my dream for a time now – and my current team of interns, everyone barely out of their teens, made it happen. They organized that huge conference on their own, and I was really blown away.They shared in my dream, and now it’s our dream come true, and I can’t be grateful enough.

OFF SHOULDER JUMPSUIT WITH BELL SLEEVES BYVANIA ROMOFFwwww.vaniaromoff.com.ph

“ if you know whY you’re in it, if your focus is on who you are trying to help, it will be hard to turn your back on them. because it’s no longer

just about you.”



DENIM DRESS BYVANIA ROMOFF


Sure there are ups and downs, so for you what was the lowest point? And how did you deal with it?Leaving my job in the government was a hard one. Even if I saw that the time would come sooner or later, it didn’t make it any less heartbreaking. I dealt with it like it was a big breakup – sad movies, ice cream, crying, and all.

I started questioning if I had done enough, if those three years of hard work really mattered anyway… Corrupt people were still winning, and even the supposed good guys start to disappoint you and eventually turn out to be just like the rest of them. I think in this kind of work, you will always go back to that question of whether you are doing enough. Sometimes it feels like you give and give so much of yourself, but the wins are miniscule, and the changes, incremental.

And so ending that chapter sort of unearthed all those thoughts and feelings, I was really at the brink of giving everything up. Build a normal business, stop running my mentorship program, all that.

But I followed my own advice – I hung out more with my past interns, with my friends and mentors in the social enterprise and nation-building circles. Just being in their presence reminded of why I planted myself there in the first place.

If there’s an ultimate goal left unfulfilled? What’s the dream project?The vision for DesignHerStory is to empower every girl to be a designer – a designer of her own story, by and while designing the story of a better world. And I want us to do it together – in this community, I don’t want girls bringing each other down or make others feel inadequate. Who wants to be a yardstick of smallness, when you can be an enabler of greatness in each other instead?

So yeah, we’re growing DesignHerStory organically – we are designing the community as we go. We have our values intact, but we don’t know what it’s final form will be like: will it be just a community, plain and simple? A school, maybe? A book or a publication? A series of workshops? An online platform? We really don’t know yet, but we are always in communication with everyone and staying curious about their needs and how we can address them.

Our how might evolve, but our why remains constant.

What’s the message you’d like the readers to learn from you? Maybe another thing is that finding your passion is not an inward experience. You don’t sit down at a desk or stare into space and hope you find your passion. It’s an outward experience. You have to engage with the world: try things out, fail at things, love some things but leave them, get frustrated, succeed… all these things are how you find what you’re really passionate about.

our how mighT EvoLvE,

buT our why rEmains

consTanT.


Defined by his own aesthetics, London-based fashion designer Carl Jan Cruz is definitely one to watch out for. Mentored by top stylist Melvin Mojica, designer Melissa Dizon Ramsay, and René De Vera of Céline, Carl gives us a glimpse of his creative process and

shares some of his most important life lessons.

Photographed on Film by FEDERICO FERRARI

Styled byPAM QUINONES

Interviewed byBENJO BILLONES

thenewbreed

How young are you?22, 23/03/1992

How did you get into fashion? Growing up, did you already know that this is the industry you’d like to work in?It was a calling since. It felt like it was in my DNA. Mom got me interested in clothes and my step dad in aesthetics.

You worked for Celine for a time. Please tell us how did you land the job and how was the experience like?There was an opening and so I applied, got refused twice, got it back for the third time. Persistence is key. It was another great experience.

You have worked with and been mentored by some our great local designers. How would you compare your experience in the Philippines and abroad?It feels the same, I feel like I feed of the energy of people I work with. The energy always feel the same. It’s always about the core, the clothes.

Who would you consider your greatest mentor and what is the one great lesson you learned from him?Every mentor I had was special. Melvin Mojica, opened my eyes to the world. Melissa Dizon Ramsay , nurtured me under her wing and became like my fashion mom. René De Vera of Céline who is like a brother to me, tough love always.

Everyone seem to teach me that great lesson of finding myself within the process. I love you all.

Please describe your design aesthetics?Honest, Intimate, and Discreet.

What is you creative process?Pragmatic and mindful.

TO NOT jUST BE FAMOUS FOR BEING FAMOUS, BUT SUccEED IN PIONEERING GREAT cLOTHES.


+ PROFILES

Lookbook Photos by Charles BuenconsejoModels: Joan Bitagcol and Buce Venida

Favourite piece that you have ever made? Why?The “Toniyo” stripped print reproduction in a lambskin tee and linen slit shorts. Nostalgic memories, friends, parties, youth, boys.It’s my step dad’s tee that I claimed to be mine.

In this age of personal branding, how do you market yourself?I feel like Personal Branding has always been there, that’s how all these greats exists now. Chanel, Lanvin, Prada etc etc. It’s just one’s talents to brands. Things have just been modernized by the technology but nothing compares to personal gestures (letters, calls, meetings).

You studied BA Menswear Fashion Design and Technology. Why focus on menswear? The fit and make focus, this is what matters. We can have so many great illustrators, 2d designers, but at the end of the day where are the garments ? I was educated to be uneducated. There is no specific way of doing illustrations or research. Stay authentic.

Who do you see wearing your clothes? What type of man/woman is he/she?I do not limit it to anyone. I only see the clothes and let go from that. The right people will identify.

How do you see your brand evolving in the next 5 years?To stay true to what I stand for and to never be consumed by irrelevant things. To not just be famous for being famous, but succeed in pioneering great clothes.

What is next for Carl?To Love and Conquer.

What advice can you give to our young creatives who want to go the same path and become a fashion designer?Produce, produce, and produce and start from scratch again. Never be satisfied but always be contented. If people think it’s beautiful right away, think again. You are the best critic of yourself.


+ PROFILES

NEVER BE SATISFIED BUT ALWAYS BE cONTENTED.IF PEOPLE THINK IT’S BEAUTIFUL RIGHT AWAY, THINK AGAIN. YOU ARE THE BEST cRITIc OF YOURSELF.

HAILTO THE QUEENOLIVE GOWN BYVANIA ROMOFF


PHOTOGRAPHS & STYLING BY BENJO BILLONESSTYLING ASSOCIATE KEREN KEZIAH GREJALESHAIR AND MAKEUP BY LESLEY JANE PASCUAL

SITTINGS EDITOR ELENA MARIE DOMINGO

HAILTO THE QUEENIt’s not like everything was just handed to her on a silver platter, as oftenly misconceived by most people due to her being “surnamed.” Regina worked so hard to be where she is now. From her internship in Candy Magazine to being a staff writer at Cosmo.ph until she became the magazine’s Beauty Editor, and now the Editor-in-Chief of Philippine Star’s YSTYLE, Regina proved to be on top of her game because of her incredible passion and talent for writing, her wisdom, and of course, her undeniably sweet charm. HAILTO THE QUEEN


How young are you?I don’t know about you, but I’m feeling 22…just kidding, I’m 27.

Growing up, has writing always been the dream?Actually, the dream was to be a marine biologist! Unfortunately, health issues made it very difficult to dive, so I had to give that up early in life. But after spending most of my life devouring book after book, writing ended up being something I enjoyed and was decent at, so here I am today.

You had your first column in Phil Star at the age of 17. Can you tell us more about it? What was it about?I never actually set out to write a column for Young Star. At 17, I was a huge fan of the local music scene, and I was friends with a number of then-up-and-coming bands. One of those bands was Kjwan, and I wanted to help them get the word out, so I asked Tita Millet (Mananquil) of Star’s Lifestyle section if it might be possible to get someone to write about them, then it was suggested that I do it instead, and when she read it, she asked me to stay on as a weekly columnist. My column was called Ashtray Girl, and it ended up being mostly about music and teenage angst. Haha!

You were also a part of Ateneo’s Musician’s Pool which is an org for musicians and music lovers. Are you actually a musician? What instruments can you play?The Ateneo Musicians Pool ended up being part of the reason that I actually wanted to go to Ateneo. Ateneo and UP were the breeding grounds for many of my favorite local bands. I would never call myself a musician, though I used to enjoy

singing and I can play maybe four basic chords on the acoustic guitar that’s gathering dust a corner of my room. Haha! I also took piano for a few years as a child because my maternal grandmother’s a concert pianist, but I got too lazy to practice and quit early. I still regret that all the time.

You came from a very famous family, growing up, was there a certain pressure of proving yourself to the people? If yes, how did you deal with it?

I wouldn’t really describe us as being very famous, just somewhat prominent, perhaps. I’m the eldest grandchild, so I think that might also have played a part in it, but I always felt challenged to set the bar high. Except, so many of my family have already set the bar high so it’s mostly a matter of catching up, I guess. I consider it a good thing, to be inspired by the people around me to always work towards becoming the best possible version of myself. I’m mature enough now to see it that way, but when I was younger, there was a need to prove myself to other people. Coming from a background like mine, where everyone assumes that everything is just handed to me on a silver platter, it was hard at times to deal with how some people (who remained mostly anonymous on the Internet) would say that I only had what I had — my previous job at Cosmopolitan, for instance — because of my family’s influence. When you’re “surnamed,” you hear comments like that often, and it can get extremely frustrating to work so hard (and I work so hard) only to be told that people think you don’t work at all. But what matters is that the people who matter — my bosses, my family — know exactly how hard I’ve

“i’vE comE To rEaLizE ThaT ThE onLY pErson

i really need to prove anything to is myself”

worked. And these days, I’ve come to realize that the only person I really need to prove anything to is myself.

Favorite author? Favorite book?It’s so difficult to choose a favorite author because so many of them have come to mean a lot to me. (Choosing a favorite book is absolutely impossible — I think everyone who has ever loved to read will agree with me when I say that our favorites change.) If I had to choose one author, though, I think it would be Neil Gaiman. I read his Sandman graphic novels when I was in high school and they changed my life. I lined up to see him all three times he came to the Philippines.

Your favorite article that you have ever written? Why?The second one I ever wrote for my Young Star column, Ashtray Girl, entitled “Melancholy and the infinite sadness” (which was a play on the Smashing Pumpkins album title). It was about sad songs, basically, and I think that one will always stand out in my memory, not because it was particularly good, but because I got so many e-mails when it came out (around 60, I think) from all sorts of people, of all ages, from all walks of life, telling me that they could relate and sending me their own lists of sad songs they loved to listen to. I think that was when I really came to realize the power and reach of the published word, and how amazing it is to be able to connect with so many people. I’ll never forget it.

You were a Cosmo Beauty Editor and the current Editor of YSTYLE. Can you tell us how did you land both jobs?I applied for the staff writer position at Cosmo.ph several months after graduating from Ateneo, at the recommendation of the girls of Candy Magazine, where I interned. Several months later, my friends from the magazine caught wind of my

wanting to resign from my website job, and Cosmo’s then-EIC, Zo Aguila, approached me and suggested that I apply for the magazine’s open beauty assistant position. After a few interviews and some writing tests, I got the job. Two years later, our editorial director Myrza Sison (a legend!) promoted me to associate beauty editor. A year after that, when I handed in my resignation, she asked that I stay on as associate beauty editor at large, which I did until July this year, because handling both Cosmo’s beauty section and YStyle was getting a little too taxing, and I wanted to take a break from beauty after working in that field for three and a half years.

As for YStyle, that’s something I never imagined was in the cards for me. I have purposely avoided working at The Philippine Star for years. Everyone expected that I would go straight there upon graduating; I think Tita Millet was waiting for me to join the Lifestyle Editorial team, but I knew that if I did, people would just say that I swept in because my father runs the company. That’s the last thing I wanted. So I got a job elsewhere, worked hard, paid my dues, and did what I could to prove myself. Late last year, Tita Millet told me that Bea Ledesma was leaving YStyle, and she asked if I could come in and take it over with Supreme’s David Milan, who she tapped as creative director. I felt it was time to give back to the family business (I think my dad was happy to finally have me there), time to learn something new (because I’ve tried web, I’ve tried magazine; newspaper was the final frontier of print media for me). I felt that I had spent enough time proving that I could do a good job. So I said yes.

Aside from that, you are also contributing in some other publication. How do you manage all of these? Yeah, I still have a blog that I intend to resurrect, and a whole slew of side

read a lot, absorb as much as You can, and immerse yourself in as much media and culture as you can manage. everything — fashion, fiLm, music, arT, LiTEraTurE — whatever you can get your hands on; TakE iT aLL in. there’s so much out there.

projects — many unrelated to publishing — that I’m planning to pursue over the next few months, apart from occasionally contributing to other magazines when I’m asked. It’s a little crazy, and sometimes I catch myself drowning under the weight of all those deadlines, but then this is the dream, right? So many people are hoping and praying to have the opportunities that I’m getting; it would be ungrateful of me to turn them down, especially when I know I’m capable of pulling them off. I have worked so hard to get to this point; I’m not about to throw it away. It’s all a matter of time management, sheer force of will, and a little insanity.

How would you describe your writing - your voice?Conversational. I could never pull off academic writing, and like all young writers, I’ve been down the path of utter pretentiousness. I’m done with all the big words; I don’t need them to get my point across. I just want to tell you whatever story I’m trying to tell you in a manner that I find engaging and easy to read. I try to keep it real. I’ve been told that I can be a little sassy, which is probably true.

What is your creative process?Panic, basically. Haha! I haven’t attempted any creative writing in years — I haven’t had the time — but when it comes to writing for work, outlining is always a huge help. Just mapping out all the ideas and concepts I want to throw out, organizing them in a logical, l inear manner, and then fleshing them out. It keeps me from getting stuck. When it comes to brainstorming, p l a n n i n g f o r m a g a z i n e s a n d

PubLISHIng — and all creative industries, REALLy — REquIRES A LOt OF PASSIOn. yOu REALLy nEEd tO LOVE tHE FIELd, And by LOVE, I mEAn COmPLEtELy ObSESSEd, CAn’t ImAgInE yOuRSELF dOIng AnytHIng ELSE. LOVE, bECAuSE It WILL OFtEn FRuStRAtE yOu tO bE WORkIng SO HARd, And WORkIng SuCH LOng HOuRS, only to be paid so little.SO bE REAdy FOR tHAt. but if you love it enough, and you stick it out, it can be really rewarding.

TOP BY ESME PALAGANAS

There is a reason so many of us joke about our

#PublishingMillions(Because of the lack thereof.)

But definitely, many more projects in the works, and not all of them writing-related. I get the feeling that things are just starting for me, and I’m excited to see what the future has in store.

Advice on the young creatives out there who want to be like you?Read a lot, absorb as much as you can, and immerse yourself in as much media and culture as you can manage. Everything — fashion, film, music, art, literature — whatever you can get your hands on; take it all in. There’s so much out there.

Also, keep in mind that publishing — and all creative industries, really — requires a lot of passion. You really need to love the field, and by love, I mean completely obsessed, can’t imagine yourself doing anything else. love, because it will often frustrate you to be working so hard, and working such long hours, only to be paid so little. There is a reason so many of us joke about our #publishingmillions. (Because of the lack thereof.) There is no such thing as writer’s block when you have a deadline. So be ready for that. But if you love it enough, and you stick it out, it can be really rewarding. I’ve been doing this for all of my adult life and it’s still a huge thrill to see my editorials in print, to see my byline and my work published, to see something that was once just the germ of an idea in my head fully realized and translated onto the page for thousands to read.

newspapers is very different. For magazines, we have to project ahead — I have to think about what’s going to be relevant in a few months, which is when the magazine will come out. I have to anticipate the reader’s needs. Which of the projected trends will my reader be interested in knowing about? What will her concerns be? Then I build my stories around that. For the newspaper, it’s all about what’s happening right now, because what we shoot on Tuesday afternoon will probably be out in Friday’s paper.

Your dream interview?Tom Hiddleston. Because I’m convinced — absolutely convinced — that given the opportunity, I can make him fall in love with me. Haha!

You recently left your post at Cosmopolitan Philippines, why so?I felt it was the right time. I wanted to leave before I got burned out, and after working full-time in beauty for three and a half years, I wanted to branch out more and give myself the time to try out new things. Also, doing both Cosmo’s beauty section and YStyle simultaneously was proving a little too much to handle. It was like taking on twice the work, but having to do it in the same amount of time. I wanted a little more time for myself. I’ll always be a Cosmo Girl, though!

What’s next for YSTYLE?More of the tongue-in-chic we’ve been throwing out; more collaborations with great photographers, artists, designers, and young talents; more fun and irreverence. We’re having a great time, and we love what we do, and I think it shows.

What’s next for Regina?If I told you, I’d have to kill you because I signed a pile of non-disclosure agreements. Hahaha! I’m kidding! (Sort of!)


EdItcURATED FASHION

88Today’s Terno

winner Tony Evanshows his interpretation

of the modern terno


96Fashion Editorial

featuring top modelChanel Olive Thomas

ISSUETWO

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TODAY’STERNO

The Fashion and Design Council of the Philippines (FDCP), together with the British Council, awarded young fashion designer Tony Evan for winning this year’s Today’s Terno, a design competion for the modern interpretation of the country’s national

costume.

Evan competed with 13 young and talented finalists and was judged by the countries top creatives from different industries: Jojie Lloren, Kenneth Cobonpue, Irene Marcos-Araneta, Lulu Tan Gan, Thelma San Juan, and Wynn Wynn Ong to name

a few.

Interpreted by model Althea Siapno, styled by Keren Keziah Grajales, with hair and makeup done by Justina Lopez, and photographed by Benjo Billones, we present to you Tony Evan’s modern

terno.

Special thanks to Jeanne Bernadette Riverafor the shoot location


P H O T O G R A P H E D B Y B E N J O B I L L O N E SS T Y L E D B Y K E R E N K E Z I A H G R A J A L E S

H A I R A N D M A K E U P B Y J U S T I N A L O P E ZM O D E L A L T H E A S I A P N O

TropicalDaze

TOP MODEL CHANEL OLIVE THOMAS SPORTING LUXE TROPICAL ENSEMBLES STYLED BY ONE OF OUR NEXT GENERATION’S INFLUENCERS XIE ANTONIO

Mesh Top with applique by Bang Niu.

High waisted bottom by Soak. earrings,

Stylist own

P H O T O G R A P H E D B Y G P P L A M E N C OS T Y L E D B Y X I E A N T O N I O

M A K E U P B Y A N A I S I PH A I R B Y K A T C H I E M E J I A S

M O D E L C H A N E L O L I V E T H O M A SO F I M A G E N C Y M A N I L A

Crop top by Bang Niu, Printed Bottom by H&M,

Earrings by Forever 21. Necklace by Armani

Exchange

Top by Bang Niu. High waisted bottom by Soak.

earrings, Stylist own

plus magazine issue 2

Documents

industries of fashion

young fashion designers

fashion editorial

world of fashion

creative process

pool of young

young creatives

various creative worlds