Sew What?: Behind the Glamour of PUP Icons Fashion Week 2025

Glitz. Grind. Guts.

What lit up the runway was more than fashion—it was the final stop on a long track of sleepless nights, student grit, and stitched-up dreams. 

True to its theme, Makina: Riles ng Estilo, this year's fashion week blended art, innovation, sustainability, and cultural pride. Held on June 2 and 4 at PUP Tanghalan ng Bayan, the event moved along the tracks of creativity, celebrating the long-standing legacy of the university's modeling and advertising organization, driven by 'the Love of Art.'

To witness what walked the runway is one thing—but to understand what powered it? That is where the real story of icons begins.

Makina in Motion

Originally planned as a three-day event, the organizers faced an unexpected challenge when a last-minute national holiday forced them to cut it short. Three themes—past, present, and future—had to be packed into just two days. The stakes rose. But the makina kept running.

“Per designer, naging ‘station’ sila,” said West Aguila, one of the event’s core creatives. “Pero kahit compressed, sinigurado pa rin namin na makikita yung tatlong tema.”

From reimagining what modern Maria Clara would wear to edgy streetwear and surreal, avant-garde silhouettes, the show still delivered a bold range of fashion—driven by the relentless drive of those who kept the wheels turning.

Backbone of the Runway

One such force was Jeptah Mae Pausal, the head trainer and floor director, who did not need to walk the runway to steal the spotlight—her work was the runway’s backbone. 

She was in charge of organizing routines, supervising training, and guiding the stage managers who kept the show on track. A role that required both authority and empathy, especially when energy ran low and the pressure ran high.

“We need to be full force, all out,” she stated in an interview, reflecting on their final day. “Para at least, mabusog ‘yung audience. Worth it ‘yung pinanood nila.”

The models, too, pushed through. For Pascual, who has now walked multiple times, the jitters were gone. But the gratitude remained. “Super thankful ako na taon-taon, part pa rin ako ng roster.”

Wearing the Vision

Sharing that same sense of purpose was Kriselda Quilloy, the PUP Icons president and a model herself. For her, the fulfillment came not just from the glamor of wearing the pieces, but from the responsibility behind it.

“Bigyan namin ng justice ’yung damit nila. Ayun ang pinakaimportanteng lagi kong sinasabi sa mga models ko,” she shared, emphasizing the respect they owed to the designers’ brilliance.

For Quilloy, donning each piece was not just a runway moment; it was a point of pride.

“Nakakaproud dahil mafefeel mo ‘yong galing ng mga designers,” she added, noting that the pieces showcased the diversity and excellence of Filipino designs—many created by designers who even traveled to Manila just to be part of the show.

Visionaries in the Trenches

Among the designers was Gil Salazar, known for his work in the Bench Design Awards. He showcased pieces inspired by two collections: Femme, which explores gender expression and femininity, and Bulak-layan, which centers on resilience and self-worth.

Yet behind the themes, it was the process that revealed the heart of the collection. Salazar handcrafts his fabrics from scratch, using retaso (fabric scraps). 

“Using sustainable materials really feeds my soul,” he mentioned plainly, but powerfully. “I want to inspire others to be sustainable—because soon, fashion will have no choice but to change.”

Another designer in the lineup, Nard Redoble, took a similar approach. His collection, Denim Dialogue, gave second life to discarded pants, old ball gowns, and forgotten black shirts.

“I didn’t even sketch,” he admitted. “I just let the fabric guide me. Three days, no sleep.” The result: a raw reinvention of formalwear—elevated from street staples and finished with an unapologetic flair.

Designing With Fire

Meanwhile, Designer Vandro Casiwan brought structure, rebellion and restraint to the stage with The Edge of Equilibrium, a minimalist menswear collection that walked the line between Filipino tradition and Japanese streetwear.

Neutral tones, clean lines, and quiet layering gave the linen-rich collection a sense of control. But even then, the process was not as calm as the aesthetic.

“For ten pieces, sometimes it took us one to two months to produce,” he said. Each fabric Casiwan selected was chosen with care, intention, and an eco-conscious commitment.

On the other side of the spectrum, Muah Andrei and Grayson De Gama came in with political and cultural fire.

Andre’s debut collection, Sa Karagatan at sa Kabukiran, explored themes of identity, environment, and the urgency of territorial defense. “‘Yong recent issue natin about the West Philippine Sea, isa ‘yon sa mga dapat nating pag-usapan and talagang ipaglaban kung ano ‘yong dapat na nasa atin,” they remarked.

In parallel, De Gama featured a power mix of garments and a katipunera’s spirit in their pieces. “‘Yong pinakamain focus ng collection is ‘yung Philippine Tropical Fabrics (PTFs), ‘yong jute and sinamay,” they explained. For them, Divisoria’s fabric game is unmatched—cheap, diverse, and full of meaning. 

Their production timelines varied. For De Gama, it was an impressive one-month sprint filled with student deadlines and late nights. For Muah, it was a three-month process that began shortly after finishing his TESDA (Technical Education and Skills Development Authority) training, an opportunity he received through PUP Icons themselves.

More Than a Show

“We all dream to make it big in the creative industry,” Aguila said. “And this is where we start.”

So, sew what?

At PUP Fashion Week 2025, the runway was not just a stage—it was a proving ground where true icons were not only seen, but made. It was a movement. It was a factory of dreams. A battlefield of late nights, quick fixes, cracked heels, and stitched stories.

Fueled by glitz, forged through grind, and held together by guts, every look told a story beyond the seams.

And in the end, it all came down for one reason, and one reason only: for the love of art. 

Article: Xyra Caryl Zaleta and Jan-Rhada Amarila

Graphics: Jan Mike Cabangin