ART FROM THE HEART
How RAJO LAUREL stays rooted and vulnerable
In 2015, when the national costume worn by then Miss Universe Philippines candidate Mary Jean Lastimosa drew heavy criticism for having been designed by a Colombian designer and barely reflecting a hint of our country’s culture, critics rallied to shine light on talented Filipino designers instead. Arguably the most prominent and prolific figure in the Philippine fashion industry, Rajo Laurel spoke up by sharing his own vision for the costume on Instagram.
“What if I were to do our national costume for our candidate for the #MissUniverse? I would be inspired by our nation’s fiestas like the Ati-atihan,” wrote Rajo. The design revealed an intricate long-sleeved jumpsuit, balancing geometric patterns with soft, feather accents. Feminine and powerful, the design gathered immediate praise, showing the undeniable mark of a true Filipino designer who was steeped in authentic admiration for our nation’s local cultures.
Rajo seemed to have been foreshadowing a grander vision. Four years later, he has fleshed out and expanded his take on the Ati-atihan, with the vibrant, 800-year-old festival held in Kalibo, Aklan serving as the main inspiration behind his collection for this year’s Red Charity Gala. Last October 12, dozens of models graced the runway at the Shangri-La, Fort Bonifacio Global City, strutting outfits brimming in strong color palettes; fresh and playful silhouettes; and divine details and beadwork—evoking, while masterfully modernizing, the bright and bold energy of the Ati-atihan. As audiences awed at and applauded his latest collection, Rajo walked down the runway with his hand to his heart, radiating gratitude and humility.
EMBRACING VULNERABILITY
Considering the scale of his success, it was thus surprising to hear, on the day before this year’s Red Charity show, Rajo reveals that he was, in fact, extremely anxious.
“It’s thrilling, but at the same time, it’s also very nervewracking. I’m shaking in my boots, so to speak,” Rajo told me, expressing how before every show, he still gets butterflies in his stomach. He admits that being shown side-by-side nine other designers among the crème-de-la-crème of Philippine fashion, whom he reveres, magnified his nerves.
“We’re still very vulnerable. What we do is a very personal expression, which sometimes leads to you opening up yourself. You bare your soul each time you create. There’s a sense of vulnerability when you put yourself in the spotlight. Everybody has, in my head, a judging eye.”
He shares that this vulnerability, however, is an essential part of the creative process. He operates on the belief that it is this act of opening yourself up, of being true to your core even when you’re exposed, that makes the work authentic and worth doing.
“I’m grateful that it still feels that way—that I’m not jaded after 26 years of doing this.”
Perhaps it is the healthy dose of pressure he puts on himself, this innate refusal to be jaded and complacent, that drives him to constantly outdo himself. Rajo believes that his last show is his best show—and, given the glowing reviews of his “Archipelago” collection that headlined last year’s Red Charity Gala, which drew inspiration from the lush topography across the country’s islands and employed modern indigenous materials, one can understand the pressure he must have felt to top this.
FROM TOPOGRAPHIES TO FESTIVALS
Instead of breaking away from last year’s theme, Rajo wanted to build continuity with it—this time, zoning in the oldest Filipino festival held on the island of Panay. Hailed as the “Filipino Mardi Gras”, the Ati-atihan pulsates with mesmerizing color and costumes, along with spirited dancing and drinking as it annually commemorates the legend of Aytas generously welcoming Borneo datus to their land.
“I wanted to sort of utilize that sense of joy—that sense of fiesta,” says Rajo. He then explains how, from the initial inspiration, his designs evolve through an organic process: “It’s all about how I want to tell the story. From the story, I do research on the material. From the material, the shapes come in; the silhouettes come in. And it all grows.”
Showcasing playful sways of tiered fringes and celebratory colors of gold, purple, and red, Rajo's latest designs indeed exuded the lighthearted extravagance of the Ati-atihan, without sacrificing his inimitable modern elegance.
LAUREL’S SPIRIT OF PHILANTHROPY
Yet not only are his designs in continuity with his longheld desire to shine light on the idiosyncrasies of Philippine culture, they are simultaneously testament to his deep-seated consciousness to give back. Rajo shared how his creations incorporated a particular weaving technique by women prisoners from Davao. Initially discovering their work in a bazaar, he decided to reach out and work with them.
Through his craft, Rajo says he feels responsible to be a blessing to others. “Because at the very core of what we do, it’s not just about the clothes. It’s about the way you make people feel. That’s the truth to it. You must always leave this world making someone else feel better about themselves.”
Looking to the future, Laurel mentioned no grand dreams or extravagant gestures of philanthropy. Instead, he focused on striving to do well in his mundane, day-to-day work of creating clothes. Perhaps this is the true secret behind his success: building an empire centered not on himself, but on quietly working hard to make others happy.-NS