MANILA, Philippines?The problem with showing a collection that calls to mind another designer?s recent work is the inevitable comparison, and, even more, the nasty undertone: Did he copy?

At our table in Makati Shangri-La, where sat several fashion editors at the showing of Jun Escario?s collection, the finale in this installment of the Nokia-Metrobank Femme-sponsored Fashion Watch Quartet Series, we heard the name Prada whispered at least twice.

The editors were obviously referring to the similarity of Escario?s clothes to that of Miuccia Prada?s lace designs for the current season.

It was a flimsy comparison, however. Had Prada inspired Escario, the similarity ended in the use of material. He went for outright feminine and pretty; hers were severely cut at times and largely unlined, thus provocative, which made it memorable.

Unlike the Italian, who?s noted for her cerebral designs, Escario seemed less concerned about making a statement than making photogenic clothes. And perhaps he?s not about statements and provocations.

The Cebu designer is about clothes that women would feel glamorous in as they walk the red carpet?imaginary or otherwise. In other words: commercial clothes. (That?s if you could afford him. The mere mention of his notoriously high price tags had the editors at our table rolling their eyes skyward.)

Escario?s collection was 1920s-inspired, and with the heavy beadwork on his flapper dresses, one can feel she?s getting her money?s worth. Given the reference, some of the looks were predictable. But he had notable pieces in a white camisole dress with a black lace overlay, for instance, and the mini-dresses with feathered hems. They looked expensive.

The belted dresscoats also served to break the cloying promenade of drop-waist silhouettes.

During the show, Escario sent out two pieces?one had a beaded keyhole neckline; the other a tent-shaped dress, a silhouette that has seen its sell-by date, both in red shantung silk.

They didn?t seem to belong to the collection. You know, like bringing out a comedian in between acts of an opera; the comedian is funny but it has no business being there. If they were meant to show his range as a designer, they failed to serve their purpose.

Escario, however, was clearly in his element when he was draping long jersey dresses. Unforgiving, yes, but they succeeded in making their way to the editors? mental notes, judging by their approving nods.

No mind-blowing designs here, but most of them were, at least, stunning: a low-cut aubergine dress with wide waistband and a long flowy skirt; gam-lengthening, wide-leg pantsuits; a halter dress in Bordeaux red.

An asymmetric dress or two, though, seemed dated and crude, like the one white top with big floral appliqués on the shoulder, or the white dress with black lace draped across the bodice. Those two looks wouldn?t justify his typical high-five-figure rate.

It?s unlikely that this collection will distinguish Escario from others who have created flapper (and lace) collections in the past. But, predictably, it would find its way to the pages of editorials and, ultimately, on the backs of his loyal clients. Often, for many designers, that?s the only bottom line.