BY JOSE PAOLO S. DELA CRUZ
The three featured designers served up a fashion revolution with their exquisite takes on the terno — adding both heart and innovation to the already iconic butterfly sleeve.
“Kasarinlan, Kultura, Kasuotan.” These dramatic words effectively summed up what this year’s Ternocon show is all about. But like in any interesting story — or ensemble, for that matter — the most interesting elements can be found in the details.
Held at the still-unfinished-yet-already-breathtaking Museo del Galeon in SM Mall of Asia a couple of days before the Philippines’ 126th Independence Day, the show was no mere showcase of fashion. Rather, it was an epic story, complete with the highs, lows and sometimes exorbitant twists that reeled viewers into the runway.
The storytellers are as varied as they come: Jaggy Glarino of Mindanao, Cary Santiago from the Visayas and Jesus Lloren (better known as Jojie in social circles) from Luzon. And together, this triumvirate delivered a fashion revolution.
Jaggy Glarino’s “Lemlunay”
Starting on a rather upbeat note, Jaggy took on the runway with his intricately beaded and structured pieces for “Lemlunay,” which chronicles “childhood memories of Mindanao and its vast cultural heritage.”
As expected, the bead works, intricate patterns and flowing fabrics came in quick succession. One can only wonder how heavy some of the pieces were, for upon close inspection, one would find that the designs on the skirts and vests were not “simply” embroidered but individually beaded.
Ironically, Jaggy’s mastery over Mindanao’s colorful design patterns are best put on display when he reins in such elements and infuses them with rather classic silhouettes, as seen in a red and black terno with a sweetheart neckline; and the gray terno worn under a blue, red and white patadyong, which many legislators (or their spouses) from Mindanao may want to consider for the upcoming State of the Nation Address.
The solihiya pattern was also a recurring element in many of the pieces. And while they were structurally and aesthetically beautiful, the addition of flowers to some outfits pushed them ever so slightly over the edge. Jaggy ended his segment with a glorious terno with frayed woven edges that give a playful twist to the terno, skilfully worn by no other than Marina Benipayo.
Jesus Lloren’s “Lullaby for My Mother”
Described as a tribute for a beloved mother and the Motherland, Jojie’s “Lullaby for My Mother” was presented in a rather somber mood. Models marched slowly in their re-invented ternos, in a pace reminiscent of a funeral march.
Let not the drama deceive you though, for Jojie’s clothes, while muted in color and texture, ooze with class and surprise. From the half-bent butterfly sleeves (as seen in the piece worn by Maine Mendoza) to a knee-length terno with an asymmetric back and train, Jojie delivers the unexpected with a push and pull of restraint and liberty.
Perhaps it’s the mournful music. Perhaps it’s the serious expression on the model’s faces. But for most of “Lullaby,” this writer couldn’t help but think of the dramatic, shoulder-padded dresses of the early ’90s. The cascading trains and layered drapes at the back of some of the pieces were also somewhat reminiscent of Western gowns from the Gilded age.
Altogether, albeit unsurprisingly, these elements resulted in a coherent collection that transitioned from dark to light, hopeless to hopeful — all of which elicited rapturous applause at the end of the segment.
Cary Santiago’s “Ikonograpiya”
From the mangoes to the jeepneys, to the eagles and the kites, restraint was probably not at the top of Cary’s mind when he created “Ikonograpiya,” consisting of pieces in red, blue, yellow and white. And in many ways, it works in giving the Ternocon 2024 show a celebratory ending.
The first piece in the collection, a red caped gown with a cutout image of National Hero Jose Rizal plus matching bowler hat was a fitting start to his collection. This was followed by a red, eagle-inspired number, also a looker.
While not exactly subtle, the red dresses proved tame in contrast to the yellow and blue pieces, where kites, sunflowers and jeepneys are more literally interpreted. The show ends with a parade of white ternos, the most notable of which was worn by Miss Universe Philippines 2023, Michelle Dee.
At the end of the show, designers, guests and models alike stood from their seats and sang the national anthem. And with in that brief moment, as a wave of patriotism engulfed the room, “Kasarinlan, Kultura, Kasuotan” came full circle.
