FUTURE FORWARD
Three decades strong in the industry, RHETT EALA shares insights on modernizing Filipiniana fashion and navigating the contemporary fashion scene
“I’ve come full circle, in a sense. I started with retail, managed my own store for a while, and focused mostly on made-to-order couture,” muses Rhett Eala as we talk about his pop-up store at SM Aura. “You can say that I am back to making things similar to my work at the start of my career. My focus lies in making everyday wear that popularizes our local culture,” he says. The designer draws from decades of experience to navigate through today’s faster and more competitive fashion scene.
Rhett has participated in many pop-up fairs—so much that fellow designer Randy Ortiz fondly called him the “Queen of pop-up” in a separate interview—and has several more on the way. His native-inspired pieces usually take center stage in smaller pop-ups, but the bigger space at SM Aura allows the him to properly feature his whole oeuvre and add a touch of homeliness to the space.
“When I moved into a condo unit, I brought in a lot of furniture from my old house to the store,” he says, directing my attention to the ornate floral carpet and the sturdy antique
wooden table where diverse textiles are neatly stacked. Imposing abstract paintings, made by Rhett himself, line the walls of the store. “These used to be stored in my warehouse. I decided to dress up the space with these works of art. Besides, they’re good backdrops for portrait shots, like the one you’re taking of me later,” he quips.
EVERYDAY FILIPINIANA
“There is a case to be made for day wear, you know,” he adds, noting how many designers think that their chosen profession is all just about evening wear. “People think it’s gowns and dresses, but it’s not always like that. Besides, on average, we need more day wear than formal pieces, right?”
I nod in agreement. “You want your pieces to be part of the modern Filipina’s wardrobe, in a sense,” I tell Rhett as we look at the racks across the showroom. At the entrance, customers first see Bagobo weave jackets donning vibrant colors and intricate patterns. Further inside, modernized terno pieces bear eyecatching prints, from jewel-green tones to vivid Asian motifs. Zarah Juan’s designs are also featured in the store, providing accessories for those wanting a dash of proudly local flair in their daily looks.
“Precisely,” he replies. “Just look at countries like Indonesia, where wearing batik is part of daily culture, or in Japan, where it’s common to see women clad in beautiful kimonos. Many are bound to the notion of wearing the terno for formal occasions only. I’d like to make it something that you can wear from day to night, from a lunch out to a simple dinner.”
MUSINGS ON LOCAL CRAFTSMANSHIP
Rhett’s Filipiniana designs and local textile pieces are part of the larger and popular cultural movement that promotes proudly Filipino craftsmanship and raw materials—fabrics that are, he admits, quite expensive and challenging to get one’s hands on. “You have to be aware and precise when you work with these kinds of woven materials, he cautions. “The limited production compels you to fit as many styles and pieces as you can per yard. As such, whenever they’re available, I immediately buy and store them. Then, I produce designs accordingly when I have another pop-up coming up.”
As such, Rhett has gained that quickfire sense of knowing what kinds of garments he’ll make upon acquiring these special textiles. “We’re lucky that we don’t experience many seasonal shifts, so I don’t need to change up my fabric choices as much,” he says. “If anything, I work with various color palettes at different parts of the year. For instance, the holiday season demands richer and more festive colors. The days leading to Chinese New Year and Valentines are dripping in red. Toward summertime, we work with whites and cool shades.”
Rhett notes, however, that we could further diversify what we can craft from our local wares if proper support and improved technology for their development can be realized. “We have an abundance of craftsmen, but everything still depends on the raw materials,” he stresses.
THE BUSINESS OF FASHION
Rhett’s pop-ups are indicative of the veteran designer’s ability to ride with today’s dynamic fashion scene— versatility that, he says, has kept him in business for so long. “You know, even if one has decades of experience under one’s belt, the industry isn’t something that you truly ‘master.’ You can’t rest on your laurels.” he says.
Hence, Rhett encourages young designers to thoroughly study the business side of fashion. “Designing is not just about grand fashion shows. At the end of the day, your creativity must translate to good business,” he says. “Just like a student, you must constantly learn more about your ever-changing market and global design trends. Forecasting, budgeting, managing: these are all things I had to learn, on top of the creative side of the business. I’m getting the hang of it more now, and I’d like to impart this discipline to our young designers as well.”