For Chef Miggy Cabel Moreno, food is more than a craft. It is a vessel for memory, identity, and cultural preservation. Born and raised between Jolo and Zamboanga, Chef Miggy has dedicated his career to championing the rich culinary heritage of Mindanao, particularly that of the Tausug people. Through Palm Grill and Cabel Restaurant, he has introduced diners to stories told through burnt coconut, age-old recipes, and traditions that have endured for centuries. His efforts have not only reshaped conversations around regional Filipino cuisine but have also earned international recognition, making him the first Tausug chef acknowledged by the MICHELIN Guide with Two Bib Gourmand distinctions. Yet beyond the accolades lies a deeper mission: to preserve heritage, challenge misconceptions, and ensure that the stories of Mindanao are given the visibility they deserve. In this conversation with BLNC Magazine, Chef Miggy reflects on culture, representation, resilience, and the responsibility of carrying the legacy of his people forward, one dish at a time. Q: Your work goes beyond cooking. It feels deeply connected to identity, memory, and representation. When did you realize food could become a form of cultural storytelling? Chef Miggy Cabel Moreno: My grandmother, the late Oswalda Alcantara Cabel, was a historian. Part of her legacy is the Sulu Museum and Library, and growing up in her household meant learning firsthand about the culture and history of Sulu. Beyond this, she loved cooking and hosting people from our locality and beyond. Along with these experiences came the stories behind the cuisine I grew up loving. At the age of eight, while learning how to cook in her kitchen and later in my mother Melissa's kitchen, I came to appreciate the importance of storytelling and the representation of Tausug food and culture. Palm Grill and, eventually, Cabel Restaurant became avenues for me to continue the legacy she left behind through food and by sharing the stories that make us proud to be Filipinos. Q: Growing up in Jolo and Zamboanga, what were the earliest food memories that shaped your understanding of Tausug culture? Chef Miggy: Two flagship dishes define Tausug cuisine: Pianggang Manok and Tiyula Itum, both rooted in pre-colonial cooking traditions. The Tausug are the only people in the Philippines who burn coconut meat and incorporate it into their cooking. This culinary practice, preserved since the era of the Sultanate of Sulu, is a unique cultural heritage that all Filipinos can take pride in. Q: Palm Grill introduced many Filipinos to Southern Mindanaoan cuisine for the first time. What challenges came with presenting unfamiliar flavors to a mainstream audience? Chef Miggy: In almost a decade of running Palm Grill, we have encountered many difficulties. When we established the restaurant in 2017, regional cuisine was neither a familiar nor fashionable business venture. We had to overcome misconceptions and preconceived notions. One of the toughest challenges was that many people were unwilling to try the cuisine. One memorable encounter was with a customer who believed that Muslim food was food for rebels. Another dismissed it as food that was not fit for consumption. The lack of representation and the desire to change perspectives became the reasons why I felt I needed to succeed. I'm grateful we never gave up despite all the hardships we encountered along the way. Q: You often speak about preserving heritage through food. What does preservation mean to you in today's fast-moving culinary scene? Chef Miggy: Mindanao remains the most unexplored of the Philippines' three major island groups. Because of this, there is still so much to uncover about its culture, history, and heritage. Growing up in Sulu and later in Zamboanga, I experienced firsthand the vibrant history of its people. Our ancestors were seafaring traders of a flourishing Sultanate and resilient warriors who defended their land against invaders. Because of this, our foodways were shaped by influences from neighboring Southeast Asian countries. Having never been fully colonized, the Tausug, Sama, Badjao, Yakan, and Lumad peoples preserved traditional cooking methods and practices. Through their cuisine, we better understand who we are and reconnect with an important part of our history and identity. To me, it is essential that we never forget these traditions and recognize our role in preserving them for future generations. Q: As the first Tausug chef recognized by the Michelin Guide with Bib Gourmand distinctions, how did that moment feel personally and culturally? Chef Miggy: Validated. Grateful. These are the exact words that best describe how I felt and still feel. For the longest time, I found myself constantly repeating that Tausug food is great. Beyond the stories it carries, its flavor profile is completely different from the other Filipino cuisines we know. This recognition validates Mindanaoan and Tausug cuisine on the global stage. I have always dedicated my work to representation, and with Michelin's recognition, I carry with me not just Mindanao, but regional Filipino cuisine as a whole. It reminds us not to forget the essence of Filipino food history and our responsibility to uphold and promote it. Q: Many people still know very little about Tausug cuisine. What are the misconceptions you hope to break through your work? Chef Miggy: Tausug food is not exotic food. It's not merely Muslim food, because food has no religion. It is Filipino food, part of our heritage and one that has stood the test of time. I hope Filipinos will show the same support and enthusiasm for our regional cuisines that they show for Korean, Japanese, and Western cuisines. No one else will champion our food for us. If we want our cuisines to become as mainstream and competitive as others on the global stage, we must lead the way. Q: Beyond technique, what emotions do you want diners to experience when they sit down for a meal you created? Chef Miggy: Palm Grill is more than just a restaurant. It is a full sensory experience. Our mission is to showcase Mindanao in a more positive light, which is why every detail of the space has been thoughtfully curated. I have always believed that food should evoke wonderful memories. For those discovering Mindanaoan cuisine for the first time, we take them on a gastronomic journey unlike any other. For those who have been away from home, Palm Grill becomes a place to reconnect with their roots, reminisce, and relive cherished memories through food. Q: There's a quiet sense of resilience in your journey. What kept you committed to this mission even before wider recognition arrived? Chef Miggy: As a child, whenever we traveled around Luzon and the Visayas, I would browse restaurant menus and notice the absence of Mindanaoan specialties. That experience became a core memory and one of the reasons I persevered despite all the challenges of the food industry. Coupled with cherished childhood memories of cooking and the aroma of burnt coconut and spices, this realization eventually led to the birth of Palm Grill. Q: In your opinion, what conversations are still missing in the Philippine culinary industry today? Chef Miggy: Filipinos should be more mindful about what we eat. Quality is often better than quantity. A ₱699 unlimited meat deal or buffet may seem like great value, but getting your money's worth isn't always about how much you can consume. We should pay more attention to the value of our food, where and how it is sourced, what it supports, and how it is prepared. These are conversations I feel we don't discuss enough. At the same time, I recognize that many Filipinos have limited choices and often prioritize affordability over quality. That's a reality we should address as a nation if we want healthier and more sustainable food habits. Q: You've collaborated with resorts, chefs, and cultural platforms around the country. How do these collaborations help amplify Mindanaoan voices and traditions? Chef Miggy: The only way, apart from writing children's books, is through collaboration. I've always believed collaborations help ensure our work transcends the tables and four corners of our restaurants. I'm grateful for the opportunities that arose because of Michelin recognition, but I've also made sure to partner with brands that understand and share my vision of propelling Mindanaoan cuisine further. Because it doesn't stop with accolades, awards, and collaborations. It needs to be sustained. And for as long as there are misconceptions and fears about discovering Mindanao, our work is not done yet. Q: Food is often tied to home. What does "home" taste like for you? Chef Miggy: Home is the aroma and flavors of Tiyula Itum and Pianggang Manok. It is slow-cooked chicken infused with coconut milk, burnt coconut, turmeric, and lemongrass, and a spice-laden beef broth simmering for hours, especially comforting on a cold, rainy day. That's home. Q: What part of Tausug culture do you think deserves more visibility outside of cuisine? Chef Miggy: Tausug art, dances, talents, and the people behind them deserve greater visibility and appreciation. The late National Artist Abdulmari Imao, Olympian Tuburan Tamse, contemporary artist Dang Yusah, and the Badjao pearl divers of Sulu and Tawi-Tawi are just some of the many cultural bearers and traditions that define the southern islands of Mindanao. There are so many stories waiting to be told. Q: Looking at everything you've built so far, what kind of legacy do you hope to leave for future Filipino chefs, especially those coming from regions and communities often overlooked? Chef Miggy: I would like to be remembered as the Tausug-Mindanaoan chef who, like his ancestors, never feared the roughest seas. History tells the story of the Moro people, especially the Tausug, as warriors of resilience, courage, and unwavering conviction. They fought for their land, freedom, faith, identity, and dignity. Like them, I consider myself a modern-day Moro warrior. My battlefield was not fought with shields and swords, but with a spoon in one hand and a knife in the other. Through countless sacrifices, failures, and victories, I carried my heritage into every dish I cooked. Every plate became a testament to where I came from and to those who came before me. My journey has never been about cooking alone. It has been about honoring my ancestors, preserving our culture, and proving that our stories deserve a place at the table of the world. To the next generation of Filipino chefs: never be ashamed of your roots. Your heritage is your strength. Your story is your greatest ingredient. Carry it with pride, protect it fiercely, and share it boldly. Photography by: Fern Dy ( @fern.dy ) Assisted by: Albert Calaguas Art Direction and Styling by JM Jusay of BLNC Mag

MoCAF, the Modern and Contemporary Art Festival, marks its fifth consecutive edition since its founding in 2022. MoCAF 2026 will feature an expanded lineup of over 50 local and international galleries, a range of new and continuing programs, and partnerships across the arts, food, and beverage industries, making it the largest and most ambitious edition of the festival to date. Since its inaugural edition, MoCAF has grown from a 19-gallery showcase into one of the most significant platforms for contemporary art in the country. In just five years, the festival has expanded to represent hundreds of visual artists, alongside handcrafters, artisans, and other creatives. Alongside the highly anticipated artworks from Ysobel Art Gallery, Fundacion Sansó, Art Underground, and White Walls Gallery, MoCAF is also excited to welcome this year’s participating international galleries: SHIKISAISHA GALLERY (Japan), Gallery Kogure (Japan), White Space Art Asia (Singapore), and Kate Contemporary Madrid (Spain). This year’s festival furthers that trajectory through the continued development of MoCAF XTN (Extended), which opens additional exhibition spaces and creates broader opportunities for galleries and artists to present their work. Participating Galleries “Audiences can expect MoCAF 2026 to be bigger, more exciting, and even more engaging this year. We’re bringing in a stronger lineup of galleries, artists, and creatives, including both returning names and new participants joining us for the first time,” says Coleen Wong, the MoCAF Festival Director since the very first MoCAF. Among the new galleries and exhibitors lined up for this year’s MoCAF, several familiar names will showcase remarkable artistic talent and masterful works. These include the special exhibit of Jerika See and Sheila Go, the collaboration between Toym Imao and Tarantadong Kalbo, works by renowned artist Jappy Agoncillo, and the return of Chinabank as the festival’s major bank partner through an initiative featuring 100 artworks by 100 artists for this year’s festival. Special Exhibitions MoCAF 2026 introduces and expands several programs designed to reflect the festival’s commitment to inclusivity, young talent, and the full breadth of the contemporary creative community. Among the highlights is an evolution of MoCAF Discoveries, the festival’s dedicated platform for young artists. Over four years, Discoveries has already featured more than 200 young artists. This year, selected alumni from previous batches, including participants from the inaugural 2022 edition, will return to showcase how their practice has grown, offering an inspiring testament to the platform’s lasting impact on the careers it has helped launch. MoCAF Discoveries For the first time, MoCAF 2026 will also feature digital artists and illustrators, with works printed and framed in collaboration with Art Caravan. The initiative affirms digital creativity as a valid and celebrated art form, bringing screen-native works into the physical exhibition space for audiences to encounter firsthand. A major collaborative exhibition with Chinabank will also stand as one of the largest group presentations within the festival, featuring 100 artworks by 100 artists. Alongside this, MoCAFLimited returns with a curated selection of artist-made merchandise, including a limited-edition capsule collection developed in partnership with Team Manila. The festival will also offer hands-on creative experiences through workshops, which will continue as a core part of the festival following strong audience response. XTN Artisans continues to provide dedicated space for handcrafters, makers, and independent creative brands. This year’s lineup brings back familiar names such as MILKWEAR and Baybayin Bags, alongside new participants including Armore Collective, Anmari & Co., and Binibini Marikit, further expanding MoCAF’s showcase of design, craft, and contemporary Filipino creativity. MoCAF XTN Artisans An expanded XTN Bites food and beverage offering will also give visitors more ways to enjoy the festival throughout the day. Returning favorites include ODD Café, Butterboy, and Hijo De Mexican Cantina, joined by new participants such as The Good Poison, Fiasfud, Bored & Hungry, The Spirits Library, and SIPP, among others. “MoCAF has always been envisioned as a space that feels welcoming and safe, not just for artists and creatives, but also for the public. Whether you’re a collector, an artist, or someone simply curious about art, there will be something to see, experience, and take part in,” Wong shares. Central to MoCAF’s mission is the dismantling of barriers that have historically kept broad audiences from engaging with contemporary art. The festival is designed to be accessible to first-time visitors and seasoned collectors alike, with a programming philosophy rooted in discovery, openness, and genuine connection. MoCAF XTN Bites Beyond its exhibitions, MoCAF serves as a site of unexpected possibility where brands encounter artists, collaborations are formed, and visitors leave with something they did not expect to find. The festival also provides meaningful hands-on exposure to the arts for students and young professionals who join the ground crew each year, reinforcing MoCAF’s role as a community-building institution as much as an art event. Fundacion Sansó - Scholarship Mbrace Project In line with MoCAF’s continuing commitment to inclusivity and access, MoCAF Gives Back returns this year to support initiatives that uplift communities beyond the festival space. The program continues its support for ScholarSip by Fundacion Sansó, which helps fund the tertiary education of art scholars, and the Mbrace Project, which extends care and meaningful support to Filipino children in need. “It feels surreal to be bringing MoCAF back for its fifth year. Seeing how much it has grown, not just in size, but also in reach, identity, and community, makes me feel very grateful. MoCAF is not just growing as a festival; it is growing with the art community itself,” Wong adds. MoCAF 2026 continues to affirm the festival’s founding belief: that contemporary art is not the exclusive domain of the few, but a living, growing conversation that belongs to everyone willing to take part in it. Tickets are priced at PHP 380. Students, PWDs, and senior citizens may avail of discounted rates. Tickets will be available through Klook, the official ticketing partner of MoCAF. Discounts and merch packages will also be offered upon checkout. MoCAF 2026 will take place from July 3 to 5, 2026, at Marquis Events Place in Bonifacio Global City, Taguig. For more information on MoCAF and upcoming MoCAF XP activities, visit www.mocaf.net. Follow @mocafmanila on Instagram and TikTok, and like MoCAF on Facebook for updates.

Filipino Footwear Steps Into the Global Stage Through the 1st National Footwear Design Competition The Philippine footwear industry marked a defining moment with the launch of the 1st National Footwear Design Competition, titled “Hakbang at Habi | Where Every Stitch Tells a Story.” More than a design contest, it became a national platform where craftsmanship, culture, and innovation converged into a shared creative language. Organized by the Filipino Footwear Alliance Association, Inc. (FFAA), the initiative brought together designers, manufacturers, government institutions, and mentors in a unified effort to elevate Filipino footwear design locally and internationally. Bon with IFDC Trophy Ricmar with IFDC trophy Lester with IFDC Trophy & Shoe Karen with IFDC Trophy_ A Collective Push for Filipino Design The FFAA, a growing network of footwear manufacturers, designers, and suppliers, continues to champion the advancement of the local industry through collaboration and global exposure. Its milestone membership in the Confederation of International Footwear Associations (CIFA) in 2025 opened the door for the Philippines to officially join the International Footwear Design Competition (IFDC)—placing Filipino talent on a world platform. With the support of DOST–Philippine Textile Research Institute (PTRI) under the SAPATOS program and the Department of Trade and Industry – NCR, the competition was designed to highlight innovation anchored in Filipino identity. Designing From Heritage, For the Future Open to designers aged 18 and above nationwide, the competition called for footwear concepts inspired by Filipino heritage, indigenous textiles, and contemporary narratives. The response was overwhelming: over 120 entries from across the country, each translating personal and cultural stories into wearable design. From this pool, 18 finalists emerged, representing diverse regions and creative perspectives—from mythological reinterpretations to modern urban storytelling. From Concept to Craft: Industry Collaboration What set this competition apart was its hands-on production process. Finalist designs were not left as sketches—they were developed into actual prototypes through partnerships with Filipino manufacturers, including: Verdandi Inc. | Nifty Shoes SV Digital OPC | Loritess Shoes JRM Konzept Shoes Jacob by Fontelle Shoes GIBI Shoes Craftique Corporation Redeyes Footwear Solution These collaborations bridged design imagination with real-world craftsmanship, transforming ideas into fully realized footwear pieces. Mentorship and Mastery To strengthen execution, FFAA hosted a three-day Design Bootcamp (April 14–16, 2026) focusing on footwear construction, material innovation, storytelling, and intellectual property protection. Industry mentors guided the finalists, including: Maco Custodio Buddy Tan Ritchie Rodulfo Joel Wijangco The Intellectual Property Office of the Philippines (IPOPHL) also provided sessions on protecting original creative works—reinforcing the importance of design ownership in a global market. The Top 18 Finalists The finalists reflected a wide range of cultural narratives and design interpretations, including: Mutya ng Panay by Pamela ForondaOryol by Hazel RoldanBakunawa Ngan Mga Kadayaw by Karen Mae T. La’oTangled (Sala-Salabit) by Bon MarterBalangay by Renegade LimpinPakan by Ricmar AgasSirena by Hanna Camille De VillaSayaw ng Butanding at ni Mayon by Lester Dellosa and many more entries that showcased regional identity and storytelling through footwear. A National Champion Emerges Held on May 15, 2026 at the DOST-PTRI Tela Gallery, the awarding ceremony crowned “Tangled (Sala-Salabit)” by Bon Marter as Grand Champion. Inspired by the chaotic web of electrical wires and cables across Metro Manila, the design reflected human struggle, resilience, and the search for direction within complexity. Its layered structure symbolized how growth can emerge from disorder. The piece also received: Best in Footwear Innovation Best in Story Execution Other top winners included: 1st Runner-Up: Mutya ng Panay 2nd Runner-Up: Oryol 3rd Runner-Up: Bakunawa Ngan Mga Kadayaw From National Stage to Global Recognition All official entries proceeded to represent the Philippines at the International Footwear Design Competition (IFDC) in Guangzhou, China, held on May 20, 2026. This marked FFAA’s first international participation as an official CIFA member—and a historic breakthrough for the country. From 143 global entries across 19 countries, the Philippines secured its first-ever Gold Award after 11 years of participation, a milestone that redefined its position in the global footwear landscape. Filipino Designs That Made History Among the standout winners: Pakan by Ricmar Agas Awarded the Xinhaopan Group Gold Award, Pakan drew inspiration from Ilocano weaving traditions, incorporating symbolic elements such as shuttles and yarns. It honored generational craftsmanship while presenting it through a contemporary lens. Tangled (Sala-Salabit) by Bon Marter Winner of the Enterprise Group Gold Award, the piece extended its national success onto the global stage, reinforcing its powerful narrative of urban resilience and complexity. Other International Winners Sayaw ng Butanding at ni Mayon by Lester Dellosa – 3rd Place, Female Boots Bakunawa Ngan Mga Kadayaw by Karen Mae T. La’o – 3rd Place, Female Trendy Together, these works formed a layered portrait of Filipino identity—rooted in heritage, shaped by environment, and expressed through imagination. A Defining Moment for Filipino Footwear The 1st National Footwear Design Competition was more than a showcase of design talent. It became a turning point for the industry—uniting government agencies, private manufacturers, and creative communities under a shared vision. From local storytelling to global recognition, the Philippines stepped forward not just as a participant in the global design conversation, but as a voice shaping it. Each pair of shoes told a story. Together, they told a nation’s.

It's a celebration of queerdom! A dozen queer artists invade the exhibition space at gallery. sort of.’s annual Pride exhibition. Serving as the fourth edition of its Pride celebrations, Eye Contact promises insane talent from the best queer artists in the local contemporary art scene. Twelve pairs of queer eyes explore in this offering the frisson of instant attraction, and the attendant jumble of emotions that this arouses. Hope, fear, excitement, danger - these artists tap into their experiences with that familiar, thrilling look from a passing stranger. From the curatorial notes: “It has been said that the “look” is actually a survival tactic. Developed out of the need for discretion. For protection. For those times when being queer was a crime, and when even acting different could land one in jail. The gay stare assesses the lay of the land: is there mutual attraction? Does he want it as much as I do? The look establishes possibility. Is that interest? Perhaps, even consent?” Anmom, Sleepy, 2026 Mark Hernandez, THE MAN OUTSIDE, 2026 Seven of these artists (illustrator Justin Abrigado, bear watercolorist Deej Amago, figurative whiz kid Mark Hernandez, the psychedelic dazzler Idwardo, pop favorite Mark Weigh, lush brooder Brent Sabas and Aklanon homoerotic painter Gelo Zarsuelo) reprise their Pride appearances, while new blood Chumason Njigha and Jehu Sabado debut in this venue. Thai artist Anmom, already making waves in the international art scene with gallery appearances in both Taiwan and Thailand (as well as Manila) joins the merry mix with delightful face cards. Meanwhile mainstays Allyster Arroza and Nathan Esguerra, fresh from major exhibitions in Alabang, Cebu and/or Bangkok, take part in Pride for the first time. Chumason Njigha, Whatever You Like, 2026 Idwardo, Hyperfixation, 2026 Deej Amago, Tanaw, 2026 It’s a merry mix with this diverse cast of talent, and their varying styles promise works that will appeal to nearly everyone with an artistic bent. From figurative to pop, from erotic to wistful, from poetic to psychedelic, this exhibit demonstrate the vast range of talent available in the Philippine scene. Justin Abrigado, Soulmate, 2026 Allyster Arroza, In Your Reflection, 2026 Nathan Esguerra, Pump Fiction, 2026 Nathan Esguerra, Pump Fiction, 2026 The exhibition opens on June 14, Sunday, at 4:00 p.m., and will be on view for the next four weeks. The gallery is located at 37 Camaro St., Fairview Park, Quezon City.

Photographer & Stylist: Ron Ben Model: Nadia — TWO management. Freddy — NEXT management Eugene — NEXT management Assistant: Jofre Francisco and Miah McCarthy

Kael Street exists in the space between nostalgia and modernity, transforming forgotten textiles, vintage fabrics, and delicate embroidery into pieces that feel deeply personal. Rooted in storytelling and slow craftsmanship, the brand creates garments that carry warmth, memory, and a sense of history, proving that fashion can be both wearable and emotional. Inspired by fashion history, cinema, and the romance of past eras, Kael Street embraces intuitive creation over fast-moving trends. Through repurposed materials and handwork, the label highlights the beauty of Filipino craftsmanship while encouraging a more thoughtful relationship with clothing, sustainability, and self-expression. For this edition of BLNC Facets, we step into the world of Kael Street to talk about memory, artistry, slow fashion, and the stories woven into every piece. Kael Street feels deeply nostalgic yet modern at the same time. What emotions or memories do you hope people experience when they wear your pieces? It would be the warmth that comes with reminiscing about happier, simpler times. Cheesy as it sounds, I simply want people to feel special — knowing that the fabrics they are wearing has endured time, and was skillfully crafted by human hands. It warms my heart to see people’s smiles when they wear our work. I hope to elicit a positive memory or feeling, in the same way that you would when you see a work of art that resonates with you. And to be able to wear art is a happy feeling. Your work often transforms old household textiles into wearable garments. What first drew you to the beauty of forgotten fabrics and vintage materials? I was drawn to the hidden potential behind them, and all the fun possibilities in transforming them. They all have their own charm, you just have to look past the dust and really appreciate them for what they are and how they’re made. You’ve described Kael Street as a space to experiment beyond what fast fashion offers. How important is creative freedom to your process as a designer? I think that your work shines the most when you stay true to yourself and you need the creative freedom to do that. My process is intuitive, and i work best when I just go with the flow. Try now, worry later. It’s necessary for me to have that freedom to explore new mediums and techniques in a way that makes sense to me. Otherwise it would feel wrong and it will show. A lot of your designs carry an “old soul” energy. What eras, films, music, or cultural references continue to inspire your visual language today? All I know is that I love movies, and I love fashion history! So naturally I gravitate towards period dramas and fantasy genre. There are long hours of research involved in making costumes — you have to blend history with the way your characters move around the world they’re in, all while looking visually compelling on screen! In visual media, you can truly see the role clothes play into telling a full story. Observe the way your wardrobe changes throughout the years as your taste shifts and as your character grows. Sometimes when I pick out an outfit, I like to imagine myself in a movie. Call me delulu but it’s fun! Fashion is cyclical so you’ll often see trends resurface throughout history. I’m inspired by the silhouettes, structure, and prints that persist in different eras — puff sleeves, drop waist, etc. If I had to pick a favorite, it would probably be the 70s. The music and the glamour of it all! I could never get sick of it. Hand embroidery plays a huge role in your pieces. What does needlework personally mean to you beyond fashion and craftsmanship? Needlework, to me, has always been a source of relaxation. I can ease away the worries of the day when I sit down and focus on my sewing. The repetitiveness of it is meditative, and the sense of accomplishment once you’ve finished the very thing you devoted your time to is so satisfying. Needlework is also an underrated medium that I feel like needs to be explored more in this country! Textile art can be a very sustainable way of art when you breathe life into scraps or worn-down garments. Needlework doesn’t get the same treatment as other mediums in art, perhaps because people associate it with domesticity (something undervalued by the patriarchy). But when you look at history, women have cultivated and documented the history and culture of their community through narrative needlework. And they didn’t just document momentous victories and losses of their tribes, but also the simple moments of everyday life — moments that shape their community and define their identity. History that could otherwise have been erased in time. It’s beautiful how you can immortalize your life through art. Sustainability is often discussed in broad terms, but your approach feels very personal and intimate. How do you define slow fashion in your own words? Slow fashion is intentionally made – to benefit people and your community, all while minimizing negative impact to the environment. Often made in small batches, to avoid over production and waste. Many people are becoming more conscious about consumption, but fast fashion still dominates everyday life. What conversations do you hope Kael Street sparks among younger consumers? Apart from being conscious shoppers, I feel that it’s also important to have conversations on ways we can practice sustainability outside of consumption. It’s also nice to know how to mend and repair clothes when needed, to lengthen the lifespan of your clothes instead of throwing them away. Your designs feel highly emotional and story-driven. Do you think clothing can carry memory or history in the same way art does? Absolutely! In fact I think it speaks volumes about the way we live considering that our clothes are our second skin. We live, breathe, and move with them. We choose our clothing based on how we want to present ourselves to the world. I have clothes that are tied to good days and certain milestones; Sometimes clothes trigger certain memories, especially clothes that we’ve kept for way long. You can trace history through clothes from the very stain in your shirt, to the surface techniques used to manipulate fabric, to the very fibers of that cloth. You mentioned that your creative process is instinctive and gut-driven. How do you know when a piece finally feels complete? For a lack of a better term — just vibes. Even with all the mix of prints and colors, it should feel balanced in a way. Some fabrics can shine on their own, some look best with another element. I’ll know it’s good to go when they’re in harmony. As someone working with vintage and repurposed textiles, what are the biggest challenges in balancing sustainability, craftsmanship, and wearability? For some reason, I immediately thought of time. Sometimes I feel like i’m being chased by time to finish so many things that need to be accomplished (I say this in a lighthearted way haha). Though i’m not complaining, it’s just the nature of things. As a slow fashion brand, we operate in small scale. Personally, we like to keep it that way because it works well for us as we’re able to maintain quality and avoid overproduction. Sometimes though, we find ourselves challenged with time management. It takes time and care to source materials, sanitize and repair damages accumulated from years of existence, and then to fashion a garment that’s made to live in for years to come. This whole process is something we deeply enjoy doing though, so every challenge we come across doesn’t seem too bad. Filipino craftsmanship is central to your work. In what ways do you hope local fashion continues to evolve while still honoring tradition? We have such a rich cultural tradition surrounding craft and Filipinos are so resourceful — I feel like we can blend those and maximize them in fashion. There are so many communities of artisans all over this country who are still maintaining their craft that’s been taught through generations — from embroidery, beadwork, weaving, to woodcarving and jewelry making. I think it would be nice to explore collaborating with them in blending traditional techniques with current fashions (in a way that still stays true to our identity), both to preserve tradition, and innovate local fashion. With collaboration also comes more knowledge about our history and craft, which we can pass on to the younger generation and aspiring creatives. Fashion today moves incredibly fast online. How do you personally stay grounded and connected to intentional creation amidst constant trends and digital noise? I try to stay offline as much as I can (which is kinda hard when you’re running a brand, a lot of things hinge on online presence these days). Social media feels so different these days from how it used to be. And with the fashion side of it, there’s this expectation to keep churning out ideas that will grab everybody’s attention. I try not to succumb to that and just focus on having fun and staying true to who we are as a brand. This means less time scrolling on social media and more on staying present doing the things I love. Personally I love to have a documentary playing in the background while i work. It reminds me of how big and grand this whole world is and how much of it i’ve yet to see. It fills me with a sense of wonder that inspires me to create. Looking ahead, what worlds, techniques, or stories are you excited to explore next through Kael Street? There’s so much! Where do I even begin? We’re still pretty new and are honestly still figuring a lot of things out (but then again, life is a never ending cycle of ‘figuring things out’). We’re quite optimistic about the future though, and are very eager to learn. I want to try exploring new surface manipulation techniques with repurposed fabrics, but at the same time I feel like i’ll always come home to embroidery. My heart is there, and it’s just such a reliable way to mend. I want to try experimenting with more romantic silhouettes too, especially with vintage lace and how it moves and drapes. That’s only to name a few. I want to take my time this year, trial and error, then see where to go from there.

PHOTOGRAPHER: Wilmark Jolindon STYLIST & ART DIRECTOR: Hillary Lee MAKEUP: Janell Capuchino HAIR: G Mande MODELS: Erica Lau of Mercator & Kevin Cantos PHOTOGRAPHER’S ASSISTANT: Dennis Sulit CLOTHES: Celina delos Reyes, HA.MÜ Mood & Lean Profeta SPECIAL THANKS: Zoomburst Photo Studio, Jovie Sta. Ana, & Mary Faye Murphy

In a practice where tradition meets scientific inquiry, color becomes less of a fixed outcome and more of an evolving conversation between material, environment, and time. For Mariton Villanueva, founder of Himaya by Mariton Villanueva, botanical dyeing is not simply a craft rooted in heritage, but a living laboratory where experimentation and unpredictability shape every result. Her process begins with research. References like Gampol, a documentation of traditional Philippine dye plants, serve as an entry point, alongside independent exploration of dyeable flora found online and in nature. But research is only the beginning. The real work unfolds in the studio, where plant materials are tested against different fabrics, mordants are adjusted, temperatures are shifted, and timing is constantly refined. Each variable matters. A slight change in heat can alter a hue entirely. A different mordant can push a color toward something unexpected. Even the same plant may yield different results depending on when it was harvested or how it was processed. In this space, chemistry is not abstract—it is immediate and visible, expressed through pigment, fiber, and reaction. There is structure in the science, but there is also uncertainty that cannot be fully controlled. Rather than resisting this, Mariton embraces it. Unpredictability becomes part of the method, not a disruption to it. It keeps the practice responsive, reminding her that color is never static and never fully owned. On Working Independently and Building Toward Collaboration Operating as a one-woman studio under Himaya by Mariton Villanueva means moving through every stage of production, from sourcing materials to dyeing, sampling, construction, and creative direction. This level of involvement naturally shapes how decisions are made. Each choice is grounded in process. Material behavior, production timelines, and the realities of craftsmanship are always part of the equation. The work demands attention to detail at every step, and with that comes a deep understanding of how each part connects to the next. While the responsibility can be heavy at times, it also brings clarity. There is no separation between concept and execution. Everything is experienced firsthand, from the first immersion of fabric into dye to the final form of the garment. Still, this independence is not seen as a fixed condition. Collaboration is an essential part of her long-term vision. Mariton speaks about working with skilled artisans—particularly weavers and mananahi—as a natural extension of the practice. For her, textile work is not meant to exist in isolation. It thrives in shared environments where knowledge is exchanged and craftsmanship is collective. The goal is not to remain alone, but to grow into a more interconnected system of making—one where each contributor brings their own expertise into the process. On Responsible Practice Beyond the Aesthetic of Sustainability Natural dyeing is often framed through a romantic lens, associated with purity, tradition, and ecological harmony. But for someone working directly with both plant materials and chemical processes, the reality is more complex. Sustainability, in Mariton Villanueva’s practice through Himaya by Mariton Villanueva, is not defined by aesthetic ideals. It is defined by responsibility. Working with natural dyes does not automatically mean a process is free from impact. It requires careful consideration of sourcing, scale, and extraction. She emphasizes the importance of using locally available plants and being mindful of how much is harvested, recognizing that even natural resources can be depleted if handled without restraint. At the same time, she is clear that dyeing is still chemistry. Plant-based pigments interact with mordants and fibers through chemical reactions that must be understood and respected. Rather than framing natural dyeing as “pure,” she approaches it as a material system that requires both knowledge and accountability. For her, responsible production is not about achieving an idealized version of sustainability. It is about making informed decisions at every stage—working slowly, respecting materials, and engaging ethically with the people involved in production. It is a continuous process of awareness rather than a final state of perfection. In this way, Himaya by Mariton Villanueva challenges simplified narratives around craft and sustainability, offering instead a grounded perspective where experimentation, science, and responsibility exist in constant dialogue. Designer: Mariton Villanueva Photographer: Meinard Navato Makeup artist: Jana Dela Cruz Model: Zaira Yuki Midoro Instagram Handles: @vmariton @mpnavato @janafiedd @zairayukii

For the mind behind Viktor, leather has never been about excess. It is about permanence, protection, and identity. While the Manila-based label first earned recognition for its premium custom denim, it is through leather that the brand reveals its sharpest edge, transforming a material often associated with rebellion into something architectural, intimate, and deeply personal. Long before Viktor existed, fashion already played a defining role in his life. A graduate of University of Santo Tomaswith a degree in Mathematics, he initially built a career in graphic design and art direction. But outside office hours, another obsession quietly consumed him: collecting designer jeans, leather pieces, and garments that carried character through wear and construction. Eventually, that fascination evolved into action. “I realized I was spending most of my salary buying designer pieces,” he recalls. “So I thought, why not create my own?” That decision led him to leave his art direction role at an inflight magazine and establish Viktor, a brand now known for custom-fitted denim and expertly crafted leather jackets designed with both structure and longevity in mind. Unlike trend-driven labels that release collections at rapid speed, Viktor approaches design more like an ongoing study of form. Every release builds upon previous ideas through refinement rather than reinvention. Leather, in particular, has become one of the brand’s strongest design languages because of its ability to evolve alongside the wearer. For Viktor, leather is never static. It softens, creases, darkens, and records memory over time. Every scratch becomes part of the garment’s history. That relationship with material is rooted in his appreciation for tactility and construction. Much like an architect working with concrete, he views leather as raw material capable of both strength and elegance. He is less interested in decorative fashion and more drawn toward creating silhouettes that feel sculptural and lived-in. The influence of Tadao Ando becomes apparent in this approach. Much like Ando’s minimalist structures, Viktor’s leather pieces often rely on restraint and precision. Clean lines, controlled proportions, and subtle detailing allow the material itself to speak. This philosophy reached a striking new level in DYSTOPIAN BLUES, the collection presented during Manila Fashion Week. Inspired by the emotional atmosphere of Blade Runner, the collection imagined a future shaped by climate anxiety, urban decay, and survival. Leather became central to that vision. Oversized jackets, structured outerwear, and protective silhouettes transformed familiar garments into something almost armor-like. The pieces carried an industrial sharpness while remaining wearable, balancing futuristic tension with everyday practicality. Instead of relying on costume-like theatrics, Viktor grounded the collection in garments people could realistically inhabit, even within its dystopian imagination. “Clothes can serve as protection,” he explains. “Not just physically, but emotionally too.” That idea resonates deeply in the way Viktor constructs its leather garments. There is a quiet sense of security embedded into each piece, whether through the weight of the material, the precision of the fit, or the confidence it gives the wearer. The jackets feel less like seasonal fashion and more like personal armor shaped by movement and time. But Viktor’s exploration of leather also carries a deeper conversation about sustainability and craftsmanship. Alongside premium leather and Japanese denim, the brand experiments with locally sourced textiles and material innovation. For DYSTOPIAN BLUES, bamboo and piña fabrics were developed to mimic the appearance of denim while remaining lightweight and suitable for the Philippine climate. Leftover leather scraps from production were also repurposed into handcrafted floral brooches by assistant designer Will Mueco, transforming waste into objects of strange beauty. This balance between edge and responsibility reflects Viktor’s broader evolution. What began as a custom denim label has quietly expanded into a full bespoke apparel brand crafting premium jackets, shirts, and leather pieces for a growing audience seeking individuality over mass production. Yet despite its growing influence, the brand continues to move with restraint. There is no rush toward spectacle, only a steady refinement of craft. Perhaps that is Viktor’s true distinction. In a fashion landscape often driven by noise, the brand understands the power of material, silhouette, and patience. Leather, in Viktor’s hands, becomes more than fabric. It becomes memory. Protection. Confidence. A second skin shaped by the person wearing it. And like all things made with intention, it only becomes more beautiful with time. Viktor Manila Creative Direction: @linaw._____ Style: @fasyonloca Mua: @phray_payek @newnextmodels.ph @brandi_clmnt @thelorenruiz @angxlz.xny @rvalera_9

Photography and Creative Direction : Jobo Nacpil (@jobonacpil) Grooming : Myckee Arcano (@myckeearcano) Model : Ross (@rossmrtnz) of Muse Men Philippines (@musemenphilippines) (@musemnla) Shot at Zoomburst Studios (@zoomburst)

There’s a certain kind of magic that happens when fashion stops being just about clothing and starts becoming a language. In Imaginarium: Tales from the Land and Sea , that language is deeply personal, quietly powerful, and unmistakably Filipino. Set to unfold at the UP IBG-KAL Theater, Season 2 of Imaginarium brings together a new generation of designers who aren’t interested in following the usual path. Instead, they build worlds—ones shaped by memory, identity, and transformation. The result is a collective narrative where land and sea are not just inspirations, but metaphors for growth, tension, and becoming. At its core, Imaginarium feels less like a traditional fashion show and more like a living archive of stories. Each collection carries its own emotional weight, yet together they form something cohesive—a reflection of where Filipino fashion is headed, and who is shaping it. Sustainability runs through many of the works, but not in a way that feels forced or performative. Designers like JJ Montecalvo and Renegade Limpin treat discarded materials as starting points for reinvention, turning scraps into pieces that feel intentional and alive. It’s less about making a statement and more about showing what’s possible when creativity meets responsibility. There’s also a strong sense of place woven into the collections. Basil Malicsi’s Bakasyon captures the ease and warmth of island life, translating the feeling of sun, movement, and escape into soft silhouettes and breathable forms. In contrast, Fern Garcia’s haunting reinterpretation of The Little Mermaid leans into longing and identity, where structure and fluidity clash in a story of desire and restraint. Other designers take a more introspective route. Mario Santos focuses on the quiet act of making—on the unseen labor behind each piece—while Thea Balume reworks tradition through tension, blending Filipiniana references with raw denim and lace. These are not just aesthetic choices; they’re reflections of process, emotion, and personal history. What stands out most is how each designer approaches storytelling differently. Some are bold and expressive, others restrained and subtle, but none feel disconnected. There’s a shared understanding that fashion can hold meaning beyond the surface—that garments can carry memory, conflict, even vulnerability. Under the direction of John Carlo Pagunaling, the show extends beyond clothing into a full visual experience. With a strong creative team supporting everything from scenography to styling, Imaginarium builds an environment where each piece can exist as part of something larger. More than anything, Imaginarium is about visibility. It creates space for emerging designers to be seen—not just as talents to watch, but as voices already shaping the conversation. It challenges the idea that innovation only comes from established names, proving instead that some of the most compelling work is happening right now, at the edges. In Tales from the Land and Sea , imagination isn’t treated as an escape. It’s a tool. A way to process, to question, and to create something honest. And in that honesty, the future of fashion starts to take form.

In the quiet space between doubt and devotion, there’s a moment every creator faces—the point where something deeply personal begins to take shape in the world. For Chef Lordfer Lalicon, that moment wasn’t defined by certainty, but by questions that carried the weight of culture, identity, and responsibility. Before the recognition, before the Michelin nod, there was only the fear of whether Filipino food—his Filipino food—would be understood, accepted, and respected in spaces that had long overlooked it. This edition of FACETS traces a story shaped not just by ambition, but by inheritance. One that moves through pop-ups and pressure, through the quiet burden of representation that many Filipinos carry long before they are ever asked to speak for it. It’s a journey of translating culture without diluting it, of holding onto what is sacred while opening doors for others to understand. At the center of it all is KAYA—a name that means “to be able,” but more importantly, a reminder: kaya natin . We can do it. Built on family, sustained by community, and grounded in values that go beyond the kitchen, KAYA is more than a restaurant. It is a living expression of memory, sacrifice, and love. In this conversation, we look beyond the accolades and into the emotional architecture of building something that carries both legacy and longing. From fatherhood to food, from exhaustion to pride, this is a portrait of Chef Lordfer Lalicon learning to stand fully in his story—without apology, without translation, and without losing himself along the way. Before Kaya had a name, a room, or recognition, what were you most afraid of when you decided to build something of your own?  Running a restaurant as both the owner and the chef is an immense responsibility.  I truly thought to myself, "Am I capable of representing Filipino food this way, for my people, for my family?"  How will people respond to this style of Filipino restaurant?? Being Filipino often means growing up invisible, then suddenly being asked to represent an entire culture. When did you first feel that weight in your career?  I think I first felt the weight of an entire culture when we did Kaya pop-ups.  I had a Japanese Omakase restaurant and we started doing these small dinners in a another small room we had.  We invited guests, regulars, Filipinos, and non-Filipinos.  While creating menus and planning their experiences I kept asking myself, "Is this Filipino enough?"  How am I going to represent what it means to be a Filipino to me?"    Many people know nothing of Filipino food, yet alone eat a fine-dining Filipino meal. Was there ever a moment when you questioned whether Filipino food belonged in fine dining spaces like Michelin kitchens? What did that doubt sound like in your head? No, I never questioned if Filipino food belonged.  Filipino food is so delicious! It is dynamic, unique, and possesses depth, history and variety. All I think about is how to best present our delicious food.   How am  I going to uplift and educate our amazing culture?  People just don't know what they are missing until you give it to them in a way they can understand. Kaya is named after your daughter. When service gets hard and the pressure is heavy, how does that name ground you?  Every day during our pre-service, we go over our day, roles and responsibilities, and we end it with everyone putting their hands in and saying "KAYAAAA NATIN."This is a reminder that "We can do it," and Kaya the restaurant is all of ours.  We have a responsibility to our Ancestors and supporters to work through the hardship and pressure, to do our best,  because "KAYA NATIN." How did becoming a father change the way you think about legacy, not just as a chef, but as a Filipino man? Being a father changed everything.  Your children represent you. As a Filipino Chef restaurant owner, my children need to be taught their culture, food and what it means to carry on the traditions of our beautiful Filipino culture.    I hope I can instill all the values that I have learned from my parents.  Being a parent also made me softer and more understanding.  I have learned that we are all still children, learning, experiencing pain, and searching for our meaning, our 'why,' and how to proceed with life.  I have become much more patient and understand that how people follow depends on how you lead.  Filipino food is rooted in care, generosity, and survival. How do those values show up in the way you lead your kitchen, especially on difficult days?  Everyone is a person.  Everyone of our people is family.   We ensure they understand the importance of family and how we lift each other up.  We have built a work culture under the Values of Pamilya, Kapwa + Bayanihan, Utang Na Loob, and Mapanlikha.  On difficult days, I focus on using these values to lead in my decision making.  Leading with family in mind, lifting them up when they need me,  understanding their value as a team member and lastly being creative, and forward thinking when solving issues or problems.   When Kaya earned Michelin recognition, what was the first emotion you felt, and what emotion surprised you afterward?  I felt a abundant amount of Joy for my team and family.  This recognition is thanks to family, friends, my team and a bunch of sweat, blood, and tears!  Success can be loud, but exhaustion is quiet. What parts of this journey have taken the biggest emotional toll on you?  I think constant comparison of those around you [is the issue].  What should you be doing and what should you not be doing?  The toll of constantly questioning whether you are doing enough.  Opening a business is truly one of the most difficult things.  Keeping the restaurant open—paying bills, staff, insurance, rent, etc.—sometimes seems impossible.  Balancing the conflict between money and creativity is quite challenging. As a Filipino cooking in America, do you ever feel like you’re constantly translating yourself? How do you protect the parts of your culture that don’t need explaining?  I believe it's ok to explain your culture in general.  Part of living in community with others is helping them understand who you are and where you are from.  Kaya is our way of introducing who we Filipinos are and helping people love our culture. There’s pride in being seen, but also pressure to get it right. How do you personally navigate representing Filipino cuisine on a global stage without losing yourself?  I think you have to know really who you are, where you come from, and what you stand for. Luckily surrounded by all this!  My beautiful Filipino wife and 3 children.  I live in a multigenerational home with my wife's parents, and my parents live next to the restaurant.  My community is Filipino. I study, I learn as much as I can and I try to be 100% myself.  I want my kids to live like this, so I make sure I lead by example. What sacrifices have people not seen behind Kaya’s success, especially from your family?  Well, like I said I am supported by my wife and both sets of parents.  Without their help I could never have opened Kaya.  Their support is everything to me.  They take care of the kids when I work late, which is constantly.  I put my children to sleep only one or two nights a week...  Is there a dish at Kaya that feels deeply personal, one that carries memory, longing, or even grief? Kare Kare has been on the menu since we opened, and it is our top-selling dish besides lumpia.  Kare Kare is the first Filipino dish I taught myself how to make.  When I was 21, I met this beautiful girl Julie, I read, asked my parents and watched some videos on how to cook Kare - kare.  She said this was her favorite dish.  It turned out great, we had a wonderful first date in my dinky apartment.  That moment in time changed my life forever, that beautiful woman is now my wife and the mother of our three children: Kayah, Masayah and Hirayah.    On nights when the dining room is full and expectations are high, what keeps you emotionally present rather than just pushing through service?  I love seeing people happily enjoying our food.  This is why I love being a chef. Watching people have a good time at Kaya keeps me present and wanting to serve them more. Who were you cooking for before the awards, before Michelin, before the headlines? Are you still cooking for them now?  I have always cooked for my family.  I will cook for them now and forever.   Filipino culture teaches resilience, but rarely rest. How are you learning to take care of yourself within an industry that celebrates burnout?  Umm.. This is a hard question.  I believe burnout is a choice.  It means you are not taking care of your needs, health, thoughts, and happiness.  Chefs often overwork because working is what they do best.  We truly must learn to reflect on how to live  a more balanced life by taking care of our minds, bodies and souls.  This can be quite challenging though.  There is no school on how to run a kitchen, a restaurant, a business and a family all at once.  I would say constantly controlling and changing your priorities daily will help in not having burnout. If your younger self, the Filipino kid dreaming quietly, walked into Kaya today, what do you think he would feel? Young me would be proud and amazed.  Kaya is truly special, I still walk in and feel so blessed to be where I am. What does Kaya represent emotionally for you now, beyond being a restaurant? Kaya is my legacy.  Kaya truly represents me and how I want the world to see me and what I want to provide to the world. When your daughter grows older and looks back at your work, what do you hope she understands about why you chose this path? I hope she understands what Kaya means to her culture and why I worked so hard to build it.  I hope she can understand hard work, sacrifice, and sucess and loving what you do.  I hope she takes all the lessons I teach her and learns how passion and commitment lead to happiness. I hope she sees my path and understands that life is beautiful,  waking up everyday, showing up, trying your best and laying everything on the line is a privilege and a choice.  I hope she can understand that this path has given us such a rich life, filled with love, amazing people, and sustenance.  What does being Filipino mean to you today, after everything you’ve built and everything you’ve carried? I am so proud to be Filipino.  To see the growth in our communities across the world and even in the Philippines.  I see the Michelin stars and all the talented Filipinos finally getting recognition.  We have such a beautiful, diverse palette of art, food and culture.  All the islands, all the countries and yet we stay connected.  We impose our flavors and style on different artistic and professional landscapes.  I love how our strong culture is embedded in our DNA and everything we touch gets a little kiss of Filipinoness... Finally, if your story were reduced to one feeling served on a plate, what would that feeling be, and why?  If my story were reduced to one feeling served on a plate, it would be "Love."   I have always believed that God is Love and I feel that I do everything through God.  God has blessed me and my duty is displayed through the work I do at Kaya.  Every day I approach Kaya with Love and I hope people can feel this when they sit at our table.