There is no better introduction to the runway quite like Rajo Laurel. Last October 24, I had the privilege of attending my first ever fashion show, at the grand finale of Fashion Week Asia (FWA). The iconic, veteran Filipino fashion designer closed the week with The Collection: Archivo, a collection that traced elements of Laurel’s past designs from 33 years of his career in the fashion industry.
When I first got the news that I was invited to see the show, thanks to The Diarist team, Rajo Laurel was a familiar name because of his ready-to-wear company, RAJO, as I have often found myself passing by its physical storefronts growing up. However, Archivo was the first time I got to see his couture creations up close.
The show began once the lights dimmed down and a montage of Laurel’s career flashed on the stage-wide screens, accompanied by Michael Jackson’s song I Just Can’t Stop Loving You. Then, the screens lifted to reveal the opening look—a beaded floral skirt with a sheer, long-sleeved polo reminiscent of a barong but with a long train that set the tone for the entire show as a love letter to Filipino craftsmanship and Laurel’s creative eye for details.
What followed was an array of warm, neutral-toned looks that were so inherently traditional Filipino yet fitting for modern wear, with pieces inspired by the traditional barong, Filipiniana, and rattan hats but reworked into Laurel’s contemporary vision. Using traditional materials from silk to piña, all silhouettes, including the men’s looks, were expertly draped, pleated, and flowing.
A favorite look of mine for the menswear was a textured straw cape. Despite the color scheme for the initial looks not being particularly bold, the textures and shapes were too striking to not admire.
Another highlight for me was two matching dresses in pastel made of braided threads that appeared tassel-like, to move the collection forward, introducing more color.
The subsequent portion of the collection began with the song Pure Imagination by Gene Wilder from Willy Wonka & the Chocolate Factory. The decision to play this was perfect, as this was where the looks started to get vibrantly daring with their color palette. The first ensemble had a poofy, low-rise chevron skirt with a fitting top in a blocky pattern, finishing it off with heels that resembled fuzzy paint splatter—just pure creativity.
The following looks offered a vibrant journey through the colors of the rainbow, blending textures and heritage prints such as Ifugao blankets and Yakan weaving that revealed Laurel’s design philosophy. As a first-time viewer, Laurel’s meticulous attention to color, draping, and structure instantly highlighted the inimitable genius of a Filipino creative powerhouse that no one could emulate.
My top picks were first, a dark blue pants and top set with hints of royal purple, paired with a hat that resembled a colorful vintage glass lamp with a matching clutch.
Second was a dress that was made entirely of handwoven beige and dark blue rattan to create a spectacular silhouette, and finally, a dress crafted with traditional Filipino plaid primarily known as patadyong, paired with a rattan, embroidered floral corset. What also stood out for me were the heels chosen, as they all complemented the pieces with their very own texture and colors.
The collection ended in a dramatic long-sleeved bright red gown and lengthy, pink-lined cape—a breathtaking finale for a stunning runway show.
Seeing all the looks together after gave me genuine goosebumps as a slow, acoustic version of Erasure’s A Little Respect played while the models made their rounds around the stage before the original upbeat 1988 song began. Then Laurel came up, all smiles, lip-syncing along as he accepted his flowers and gave his thanks to the audience.
Overall, I loved how Laurel seamlessly blended his archival designs and local textiles and prints to transform them into timeless, fashion-forward looks, from pieces I could see fashionistas wearing during the day to dramatic, avant-garde ensembles.
It was truly an incredible experience to celebrate Laurel’s historic contributions and the finest displays of Filipino artistry. By reinterpreting his past works through a contemporary lens, Laurel wove heritage texture, textiles, and prints into timeless, modern silhouettes.
From what I got from the 33-year retrospective montage at the beginning of the show and today’s looks, one thing seems true: Rajo Laurel will always be a creative powerhouse and a Filipino cultural visionary, no matter the decade.
The show then concluded with one of my favorite 1980 disco anthems, I’m Coming Out by Diana Ross, which set the vibe for what followed, an after-party that had all the best disco hits, with many celebrating Laurel’s success and impact on the local fashion industry. As a Gen-Zer with a big love for disco beats, I enjoyed the mixes, from Donna Summer to Madonna to ABBA, seeing the guests and models coming together to let loose on the runway stage-turned-dance floor—and I might have joined them for a song or two, or more like 10 (though let’s keep that between us and my editor).
The author strikes a pose.
