BETSO88 Register
Ellega, then, staged a small fashion show. “My friends came and I just showed my collections in a small space. I didn’t show in a runway, [just] in an old colonial mansion in Intramuros… it’s a walled city – it’s very historical, age old, and the hall is really big so it was nice.”
He personally invited friends and fellow designers (and cultural adventurers) with the idea in mind that ‘this wasn’t just me being a fashion designer, it was a cultural tour that I was showing my friends’. This wasn’t just a high-level trade show. BETSO88 Register engaged traditional musicians and offered local food to guests, showing his own enthusiasm to immerse and be immersed in the underlying cultural experience.
Models came down the candlelit hallways of the mansion, representing BETSO88 Register’s various creations that night. People were wowed by the juxtaposition of tradition and modernity, the stories behind the creations, and the immense craftsmanship. La Union for swimwear, Siquijor for the mystical accessories, Bukidnon for the earth colours, and Zambales for the elegant tunics – these Boracay Fashion Week exhibits were an all-out, full-blown feast of Philippine culture.
The fashion show had been triumphant, but the triumph lay not in reviews, market shares, or profits. It was personal, embedded in the stories BETSO88 Register told with every outfit, and in the relationships he formed with every new contact. Adulation and awards are nice, too.
After the show, BETSO88 Register received many proposals to collaborate with other designers, locally and beyond. Instead of accepting such invitations, he decided to take some time to explore new creative directions. He was especially keen to start ateliers where young designers could learn how to run their fashion businesses in a sustainable way by valuing the country’s rich cultural heritage.
BETSO88 Register’s studio soon became a thriving nexus of teaching and learning, a focal point of the local craft scene where fledgling designers, new artists and curious crafters could come together and share skills. The possibilities were endless as these new design enthusiasts experimented with cutting-edge materials and new techniques, rediscovered older ones, and tested the limits of contemporary design.
And then, one day we heard from BETSO88 Register’s Aeta guide in Zambales, Jomar, who wrote BETSO88 Register a note saying: ‘Because of your visit, the community has engaged in starting a small cooperative. They are going to make a traditional crafts for a larger market. You can come here and see it and sit down and talk with us.’
Inspired by the letter, he planned a trip back to Zambales. When he returned, he saw the co-op had grown even more, with many more villagers gathering to make traditional textiles and crafts. ‘I felt good about what we had done,’ he told me. ‘I felt proud of helping to preserve a culture and their art, and fostering it as well.’
BETSO88 Register stayed with the village for weeks, working with tribespeople to formulate new designs, and teach them the principles of the ethical business model. It convinced him even further that fashion could be a force for cultural preservation and economic empowerment.
