MANILA, Philippines—Wearable need not be synonymous with boring as Rajo Laurel showed in last Tuesday’s resumption of Fashion Watch at Makati Shangri-La.

Produced by Inno Sotto and sponsored by Nokia, Belo Essentials, Global Asiatique and Metrobank Femme Visa, the series will run almost every week from August-November, Tuesday and Thursday afternoons, at the lobby lounge.

Using yards upon yards of voile and silk charmeuse,

Laurel played with geometric shapes to produce a 48-piece ready-to-wear collection, consisting mostly of pleated, gathered and fluid dresses, and separates in neutral and earth tones.

Apart from being figure-friendly, the clothes were noteworthy for their volume, simplicity and fluid lines. To be not too predictable, Laurel emphasized the waist in some dresses and separates, using statement belts and sashes with the collection’s trademark appliqués inspired by agates and other semiprecious stones.

Otherwise, the designer allowed majority of the pieces, including drop-crotch silk and laminated linen pants (a tamer version of MC Hammer’s baggy trousers), to simply hang loose.

Variations in necklines— from the V to the U, from Venus to sweetheart—as well as a juxtaposition of contrasting silhouettes in one outfit were also evident.

Laurel also borrowed liberally from the 1980s—high-waisted pants and skirts paired either with strapless or peplum tops. In lieu of shoulder pads, he combined some strapless tops with semi-draped shrugs for a softer, more deflated look.

Drapery

His choice of materials, particularly silk charmeuse, worked well with his objective to produce a “drape-y” collection for tall women. Otherwise, a number of pieces might prove to be too voluminous and overpowering for puny Pinays.

Perhaps to draw attention to the clothes, Laurel made his models wear identical open-toed shoes. The footwear and accessories are available at the House of Laurel.

His use of ombré shades— gradating colors similar to the tie-dye look—worked well in certain pieces, including tops and short dresses, but failed when it came to two numbers.

The pair of semi-beaded long dresses wasn’t bad in themselves. They simply stood out for the wrong reasons in a collection dominated by soft, shiny fabrics with unstructured silhouettes.

Obvious references to ancient Greece and the American Southwest were fine, but putting Bollywood touches in those beaded and gradating numbers proved to be a bit of a stretch. It was as if the pieces belonged to a different collection.

It would also do the local fashion scene some good if the likes of Laurel and other young yet seasoned designers exert more effort to get out of their comfort zone.

As it was, he could produce such a pretty and figure-flattering collection with his eyes closed.

As a whole, though, Fashion Watch’s strength over other fashion shows, which Laurel wisely took advantage of, was again evident. By highlighting the work of a particular designer, the series, apart from letting him shine, allows the individual to focus purely on his work.

Freed from the fear of looking too “simple” next to a colleague’s collection, the featured talent tends to steer clear of gimmickry and produce wearable clothes that showcase his strengths as an artist.

The tendency to go overboard and resort to fantasy creations just to outshine the competition is, thus, avoided. In the end, not only the designer, but women in general are all the better for it.