Fashion Spotlight
Rafé’s new campaign for the upcoming season is an all-Filipino affair, shot in Paris featuring a collaboration with designer Babette Aquino-Benoit and photographer Onin Lorente, writes Bambina Olivares Wise
Here’s an exclusive first look at Rafé New York’s fall/winter 2017 designs
"I’ve always dreamt of shooting a campaign in Paris; it’s the fashion capital after all,” confesses accessories designer Rafe Totengco of the New Yorkbased label Rafé. “And I was finally able to make that dream come true!”
The City of Light, one could say, shares equal billing with Rafé’s latest campaign, which showcases his fall/winter 2017 collection. As the Bacolod-born designer explains, “It’s one of the most photogenic cities in the world. It has so many vignettes that are so iconic and evoke such a strong connection with people the world over.
“My woman is a global citizen. She’s well travelled, eclectic, and sophisticated. I wanted to celebrate her lifestyle as well as one of my favourite cities in this campaign.
“There’s a quality of light that I refer to as ‘Parisian grey’ that I felt would be perfect for my fall/winter 2017 collection. I wanted to hint at the backdrop but not be too in-yourface about it.”
Onin Lorente was tapped to produce and photograph the campaign. “He’s a friend and a fabulous fashion photographer. We have been chatting over the years about a possible collaboration. I told him I was going to be in Paris for Fashion Week to show my collection and was hoping to do a shoot while I was there; but I was a little apprehensive about coordinating it all while I was also selling my collection. Coincidentally, he was also scheduled to be in Paris so we decided to make a go for it.”
Totengco says that he has been a longtime admirer of Babette Aquino-Benoit, the chic Paris-based designer and businesswoman who lent him pieces from her own collection and wardrobe for the shoot.
“When I found out she was developing her own prêt-a-porter collection, I jumped at the opportunity to pull from it. The clothes play an important supporting role in this campaign. They’re modern and minimal, which I think help tell the story of who she is and how she lives.”
As evidenced by the collection, Totengco’s fascination with faceted design, grid patterns, and geometry continue to evolve. Echoing the more muted yet luxurious shades of the season, the colour palette “goes deeper and richer, playing off the iridescence of the shells that I work with. Bordeaux, midnight blue, and charcoal grey mixed with metals and shells look sophisticated and opulent.”
The minaudière remains the signature piece of the Rafé brand. This season sees a new addition to the range, the Pia minaudière, which Totengco says allows him “to further explore perspective illusions and geometric patterns inspired by graphic artists like Bridget Riley, Victor Vasarely, and Sol LeWitt.”
The influence of modern architecture is also seen in many of the minaudière styles. Previously, Totengco had referenced the likes of Fernando Romero, the Mexican architect who designed the Soumaya Museum, as well as Rem Koolhaas, whose Casa di Música in Porto inspired the Azura minaudière. One of the mainstay styles, the bestselling Maryanne minaudière, references the Portugal Pavilion at the Shanghai World’s Fair, designed by Carlos Couto.
For the latest collection, he turned to such visionaries as Roman Vlasov, Zaha Hadid, and Daniel Libeskind. “Their work pushes the boundaries of fantasy and reality,” he says, “and the design of my new Vivienne minaudière is influenced by this ideology.”
Architecture, art, romance, passion, mystery, and sophistication are at the heart not just of Rafé’s collection, but of Paris, too. No wonder the City by the Seine was the perfect location for Totengco’s latest campaign.
Philippine Tatler: How does the new collection reflect your evolution as a designer? Rafe Totengco:
The beauty of my minaudières is that they are, for the most part, timeless and seasonless. The variety of shells that I work with allows me endless possibilities and combinations. Every season, I learn something new based on bestsellers and whatever feedback I received from my customers. I apply these learnings to the next season and at the same time experiment with new concepts. It’s a never ending journey.
PT: There are recurring elements in all your collections, but you also try to bring in something new. How did that work in this collection? RT:
I was particularly drawn to perspective and shadows this season. My Pia minaudière is a play on what seems like a three-dimensional illustration of a box but in fact is a flat surface. You have to view the minaudière from a three-quarter perspective to fully appreciate the design.
This season, I also wanted to throw in a hint of ‘kawaii’ into the mix but done my way, hence the cat faces in geometric shapes. They were quite challenging, but ultimately they provoke an emotional response. I’m extremely pleased with how they turned out.
PT: How early in advance do you prepare for a collection? RT:
It always begins with the deadline and I work back from that. I have to work within a time frame that allows me to have time to create and also allow my factories to produce. Within that schedule, I know when my deliverables are and when I can expect to send and receive. I then begin with my mood board, colour palette, and my trusty Muji notebook where I sketch ideas. After I’m happy with a sketch, I throw these sketches into Illustrator where I see them in colour. This is probably the most time consuming part of what I do because the possibilities are endless and sometimes you have to stop and look at my colourups the next day with fresh eyes. I usually allow myself six to seven months lead time from initial concept to final samples.
PT: Where does your inspiration come from and how does it crystallise into an actual product? RT:
I’m inspired by so much and there is no one source. I’m an equal opportunity inspiration seeker. I start accumulating ideas randomly, and eventually, I see a thread. The first image or thought may not even make it to the final stages, but it’s a starting point.
Eventually I put a colour theme and a story if you will. This way, the collection can be viewed in its totality even if I know that’s not how it will be bought by the customer. It’s a way for me to rein in other ideas as they come all through out the design process.
I keep a notebook of all my sketches so I can refer to the first idea or as I try to work out variations and details.
PT: Are you already at work for next season’s collection? RT:
I’m always working on the future collections. It’s a love-hate thing with fashion. You’re only good as your last collection and it never ends. As soon as you’re done with one, it’s time to start thinking of the next. But I wouldn’t have it any other way because I love what I do.
Rafé New York is sold exclusively at Rustan’s.