To capture over 30 years of Filipino creativity, more than 200 behind-the-scenes professionals gathered into one studio, where they shared the frame for the first time.
ForVogue Philippines’ Anniversary Issue, the team led a full-day shoot to create an image of the image-makers: the designers, photographers, stylists, and artists who shape the face of the Philippine fashion industry. In a sunlit hall overlooking Quezon City, the studio transformed into a class reunion, where everyone had a story to tell about everyone else. Between layouts and touch-ups, creatives expressed feeling honored and amazed to be surrounded by so many of their contemporaries.
“It’s very rare for us to be in one room, kaming mga photographers,” says Borgy Angeles, “so I’m very happy na nakikita ko na sila, the people that I look up to.” Hairstylist Patty Cristobal also voiced how content and humbled she felt, “because who would have thought, after everything, this is where it will all fall into?”
Included among those present were catalysts who sparked the magazine publishing boom in the late ‘90s such as Neal Oshima, whose fashion images set a new precedent for Philippine photography; and Cristine Duque, a makeup artist who co-founded the Propaganda in 1996. The group drew attention to the need for Filipino artists to support and create opportunities for one another.
Vogue Philippines deputy editor Pam Quiñones shares that their efforts laid the foundation for creative talent booking procedures, and that their goal of recognition was spurred not by a desire for prestige, but a broader dream of building a community.
Nearly three decades later, the growth of the industry takes a physical form in today’s shoot, where fashion veterans and newcomers alike meet on common ground as “Generation Now.” Here, the invisible hands that craft Philippine contemporary fashion culture come to the fore, drawing together a visual story of creatives who are companions, inspirations, and advocates for each other.
To understand the state of Filipino artists today, the team sat down with former Representative Toff de Venecia, a leading cultural advocate and the principal author of Republic Act No. 11904, better known as the Philippine Creative Industries Development Act.
Enacted into law in July 2022, this landmark bill established a development council tasked with the protection and empowerment of Filipino cultural workers in nine creative domains. By providing long-term institutional support via infrastructure, education, funds, and more, the law seeks to uphold the dignity of artistic careers and elevate the country’s creative economy, which saw another expansion in gross value last year, generating 1.94 trillion pesos or 8.7 percent of the nation’s GDP.
On the topic of achievements since the bill’s passage, de Venecia remarks that the Philippine creative economy is on an upward trajectory, signaling movement in the right direction. However, he also notes that the data is selectively recognized and puzzled over. “Even within the creative industries, there’s still a lot of confusion as to who’s part of it,” he explains, “and then traditional or non-creative industries also don’t realize the value of tapping the creative economy to increase their productivity.”
But beneath a general lack of understanding lies an issue of perception. “To begin with, there’s always been an uncomfortable relationship with artists and [the] government,” he says, “because artists fiscalize, [and the] government is always seen as something that gets in the way.” His stance on the value of bridging the sectors is firm, yet the challenges of visualizing and communicating that value remain.
Alphabetical order: Aniken dela Cruz, Artu Nepomuceno, Belg Belgica wears a CELINE shirt from HOMME ET FEMME, BJ Pascual, Borgy Angles wears a CELINE shirt from HOMME ET FEMME, Cenon Norial wears a CELINE top from HOMME ET FEMME, Charisma Lico, Cru Camara, Cyrus Panganiban, Dominic Pamatmat, Ed Simon, Edwin Celestino, Fern Dy, Gabriel Nivera, Gabriel Villareal, Jack Alindahao wears a CE- LINE top from HOMME ET FEMME, Jason Tan, Jerick Sanchez, Jilson Tiu, JL Javier, Joseph Bermudez, Josh Tolentino, JV Rabano, Karl King Aguña wears a HERON PRESTON jacket from ARCHIVES D’HOMME ET FEMME, Karlo Torio, Kieran Punay, Kim Angela Santos, Koji Arboleda, Lorenzo Corro, Louie Aguinaldo, Mark Nicdao, Mav Bernardo wears a BALENCIAGA top from HOMME ET FEMME, Meet Keso, Miguel Nacianceno, Neal Oshima, Patrick Diokno, Paolo Pineda, Renzo Navarro, Ricky Villabona, Sara Erasmo, Sela Gonzales, Shaira Luna wears a RAF SIMONS shirt from HOMME ET FEMME, Sonny Thakur. Photographed by Mark Nicdao for the September 2025 Issue of Vogue Philippines
In a room filled with artists, that tension seemed to dissipate. When asked about the reasons why they love their professions, creatives at the shoot launched into entire memories, offering a breadth of insights on what their work meant to them.
Reflecting on the value of creating in our world today, designer and Novel founder Prince Padilla shares that fashion can “mirror the times we’re living in,” which draws him to step outside and see beyond his point of view. Creative director Joseph Bagasáo picks up the same thread, stating that “being a designer for today is really being a designer not just for yourself… It’s about empowering not just your own brand but also the brand that you know has something to say.”
TOQA founder Isabel Sicat calls her designs a reflection of her evolving tastes, free from the pressure to appease a particular audience. “You just make it for yourself,” she says, “it’s a constant exploration of identity through clothes and textiles and dressing up for whoever you want to be today.” For Twinkle Ferraren, being a designer is about engaging authentically with one’s roots, “reconnecting with your culture and heritage and seeing where you are in relation to that.”
After 33 years in the industry, Joey Samson feels proud to call the Philippine fashion community his home, recalling it was a dream of his as a young pre-med student. On his secret to growing in the industry, he says, “A lot of hard work,” emphasizing the importance of being open to challenges. “You have to be able to find your own design language, because that’s the only way you can communicate what you want and what you do.” Established knitwear designer Lulu Tan-Gan praises the qualities that make Filipino designers distinct, such as specializing in slow fashion, making one-of-one designs, and revitalizing handicrafts that bring the country’s heritage closer to the next generation.
The conversation shifted among the photographers, who spoke about the experiences that informed their eye and put them in touch with their surroundings. “My late grandfather taught me how to appreciate light, and to kind of grow stories from light,” Artu Nepomuceno shares. “I like making sure that the light that falls on [my subjects] is also, in a way, falling in love with them.”
Karl King Aguña pays attention to closeness and familiarity. “I started capturing friends when I was in Grade 4 here in the Philippines, and I started doing the same in London with my classmates. I see [my subjects] as friends,” he says. Shaira Luna, whose self-described nostalgic gaze unites her images, also finds comfort in how the craft has changed her. “I used to be a very kind of shy person, but I think photography has really taught me to open up, and also how to get others to open up to me… I think after all these years, I realized [this] really is something that I’m meant to do.”
Thirty years into his career, Louie Aguinaldo resonates with that feeling, still bursting with excitement to play around and experiment with his compositions, while openly learning new tricks from young photographers. “I think the interesting thing about photography is you can resee the world,” he thinks aloud. “There’s always another perspective.”
Back at the shoot, stylists echoed the enthusiasm to come together and imagine their looks in cohesion with a bigger picture. “I feel that, with styling at the moment… I’m able [to] create a safe space for people,” says R/STUDIOS founder Renée de Guzman. “It’s really about connecting and bridging a lot of different industries together, and it’s such a lovely space [because] styling involves photography, involves production, that when I’m able to collaborate with these creatives, it builds a bigger storyline.”
Mano Gonzales also looks forward to the collaborative process, saying, “My work as an artist [is] very solitary, but [when] I work in shoots like this, I get to feed off of the energy of creators just like me, [and] that’s where I learn a lot of things.” For Steven Coralde, styling is a dream come true. “I am very into what I do, so it doesn’t feel like a job at all,” he admits. “For me, styling is not a matter of doing or like projecting a certain style upon someone, but more of meeting halfway, and finding the perfect balance always.”
The makeup artists agree, finding intentionality in the way makeup changes how clients face their reflection. “My perspective is [that] makeup is a tool to really make somebody confident,” says Xeng Zulueta, “and for me, parang nothing gives me a sense of achievement more than when [my client] looks in the mirror [and] they’re like ‘Oh wow, I look great.’” Booya Mocorro finds fulfillment in her ability to build an image. For her, “[makeup is] not more about covering, but really drawing out the beauty of a person.”
“I think the interesting thing about photography is you can resee the world. There’s always another perspective.”
Pam Robes shares how the role summons her extroverted alter ego. “Doing makeup enables me to meet different people… So it kind of like broadens my horizon.” Lala Flores expresses her appreciation for the “never-ending inspiration of colors and trends” she sees around her. “It’s ever-evolving, it never stops. So also, as an artist, you don’t stop. You keep improving and improving and improving.”
The power of their profession didn’t escape the hair stylists either, who had much to say about where their trade has taken them. “The job makes me build relationships,” says Cherry Reyes, who adds that what she loves about hair is “the transformation.” But even outside the chair, Gab Villegas reflects on how the work transforms him. “I got used to just [doing] pretty hair. So when I first started experimenting, it opened up a whole new world for me. It was like an endless possibility of shapes and sculptures and colors and textures.”
Teng Roma relates to this sense of exploration. “What I love most about my profession is the freedom to do what I want really, [and] it has given me the chance to travel, with the money I made.” Now retired after a near 45-year career, he shares, “The best education for me is traveling and learning at the same time about the craft.”
Toff de Venecia touches on the subject of exposure, and how opportunities to engage with the larger creative community can enable artists to go further in their work. “Even with my work in theatre, like when I travel to London and New York and see all of these shows… [whether] it’s an old show that’s remounted or it’s something entirely new, whether [it’s] in substance or in form, your exposure gives you permission to be able to leap.”
But for as long as art is treated as a luxury, rather than a right, creatives will continue to be held back from accessing the tools they need to tap their inner potential. So, in de Venecia’s vision of the Philippines’ creative future, it’s important to invest in the next generation, starting with equal-access opportunities for mentorship and growth.
It was this same vision that led designer Jojie Lloren to establish F.A.B. Creatives, a Manila-based fashion school that offers a year-long comprehensive program, workshops, and scholarships to young designers. Through practical courses and workshops, seasoned practitioners share their expertise with up-and-coming talents who are eager to pursue a career in the industry.
Through spaces like these, close collaboration emerges as a vital action that not only moves creatives forward, but bridges cultural and generational gaps in understanding, making the community stronger and wider. It also allows people to see that the Philippines is not lacking in skill or talent, but often missing opportunities to strategize.
“There is a surplus of offering here,” de Venecia states, “but sometimes [what gets in the way are] pain points like infrastructure, or international gateways, or sustainability and consistency of offerings.” To realize a Philippines that’s more creative, he emphasizes the need for more research, more data-gathering, and more forums where creative professionals can dialogue with a diverse range of voices.
With two years to go before the reevaluation of the Creative Industries Bill, de Venecia suggests that its scope could grow. While its current objectives include generating jobs, revenue, export goods, and intellectual property, as well as expanding the market both domestically and overseas to attract investments and strengthen soft power, amendments could potentially recognize creativity as a key driver in areas like urban development and renewal, health and wellness, agribusiness, and other sectors whose creative aspects are not typically seen.
When the possibilities feel daunting, de Venecia invites those in the creative industries to return to a roadmap, or an image. “What image do we want to get across to the world?”
Throughout the day, the Vogue Philippines team of editors, producers, artists, and writers would gather around a monitor to see just that.
But even after the camera flashed, and the team resumed their double roles as stylists, directors, and videographers, there were still designers conversing in corners of the room, photographers pausing over snacks and sips of coffee, technicians and production assistants moving lights and lifting bleachers to prepare the next set.
The lines between subject and artist blurred together, and something intangible was shared between every person in the studio. We witnessed awe, respect, and a renewed sense of duty and kinship. At the shoot, a return to the image was a return to the people who were shaping a future where creatives belonged. Everyone in the room could feel it.
See more of this story, featuring Filipino designers, photographers, stylists, makeup artists, and hair stylists, in the Anniversary Issue of Vogue Philippines, available at the link below.
By AYLLI CORTEZ. Photographs by MARK NICDAO. Editors PAM QUIÑONES, DANYL GENECIRAN, JOYCE OREÑA, and DAVID MILAN. Hair & Makeup: Gery Peñaso, Christian Ray Arapoc, Zhiedge, Vince Leendon, Neal Allen Viray, Hanna Pechon De Mesa, Carell Garcia, and Jufel Gomez using M.A.C Cosmetics. President: Suki Salvador. Deputy Editors: Pam Quiñones and Trickie Lopa. Managing Editor: Jacs Sampayan. Beauty Editor: Joyce Oreña. Vogue Man Editor: Danyl Geneciran. Media Channels Editor: Anz Hizon. Fashion Editor: David Milan. Art Director: Jann Pascua. Head of Business Development: Cindy Monsalve. Producers: Julian Rodriguez and Bianca Zaragoza. Associate Fashion Features Editor: Ticia Almazan. Digital Associate Editor: Chelsea Sarabia. Fashion Associate: Neil de Guzman. Beauty Associate and Writer: Bianca Custodio. Media Channels Producer: Angelo Tantuico. Digital Content Writer: Daphne Sagun. Digital Fashion Writer: Lawrence Alba. Digital Multimedia Artist: Bea Lu. Multimedia Artist: Mcaine Carlos. Editorial Assistant: Mavi Sulangi. Media Channels Copywriter: Aylli Cortez. MGLI Ad & Promo Associate: Sofia Dominique Santos. Account Manager: Bettina Mendoza. Creative Services Producer: Elise Relucio. Creative Production Associates: Esab Raymundo and Judith Ong. Creative Services Copywriter: Liam Biteng. Head Lighting Technician: Villie James Bautista. Photography Assistants: Arsan Sulser Hofileńa and Crisaldo Soco. Capturer/ Photo Manager: John Philip Nicdao. Videographer: Lorenzo Corro. Camera Operator: Heinrich Torres. Production Designer: Justine Arcega. (Mugshots) Hair & Makeup: Dollie Verniz and Barceliza Gimeno of Jing Monis. Vogue Man Writer: Gabriel Yap.
Shot on location at AVIRE Tower.
