An artist’s eternal conundrum: can beauty remedy necessity? Designer Viña Romero’s newest collection begs to answer in the affirmative.
PHOTOGRAPHY Colin Dancel
“To be completely honest, this is our only collection that didn’t have a title to begin with,” Viña Romero admits. “And that’s because almost all the pieces are samples from our production space that never had the chance to be photographed—unseen pieces featuring our staple details and well-loved treatments. However, when you asked for a title, the word ORAS instantly felt right.”
Born out of necessity, ORAS signals Romero’s foray into crafting visual representation for her brand. She is refreshingly candid and honest about her worries: “One of my greatest fears is becoming a starving artist and potentially resenting my own art due to financial struggles. Although I enjoy discussing our brand face-to-face with our small circle and have been consistent with our design sensibilities, there’s been a disconnect between how we tell our story in person and how we present it on social media.”
“ORAS is our way of saying that we’re still here and our brand is still alive,” Romero continues. “It’s our attempt to exist through visuals—something we lacked for the longest time. It’s our way of slowly reestablishing our presence and practicing how to confidently showcase what we have and what we do best.”
Let’s talk about this new collection. What were your inspirations for it?
Our latest collection is titled ORAS, which is Tagalog for ‘time.’ This collection is born out of necessity. For the longest time, I focused on slowly developing our production team, transforming my passion for designing and creating clothes into a sustainable livelihood. While doing so, I neglected one crucial aspect of a modern brand: creating visuals and translating our story through social media. We seldom post photos of our work or share our process. People and clients only see our available pieces during pop-ups, house calls, or when we send them new items directly.
This collection marks a significant change. It’s the first time we’ve openly collaborated with people we truly wanted to work with. For this collection, I asked Esme Palaganas to help me creatively produce our lookbook and editorial shoot. I have also been drawn to Colin Dancel’s way of translating emotions through photographs, so we were eager to work with her. The shoot took place in San Jose Del Monte, Bulacan, where I live and where our production home is located. Everything about the shoot and collection, although not perfect, felt like a hug.
Could you tell us more about your brand? How did it begin? What are your dreams for it?
The brand Viña Romero is always for the quietly confident. It mirrors my personal style and resonates with those who value our work. Central to my design ideology is the commitment to crafting well-thought out and quality pieces—simple but definitely not plain. Each creation is envisioned for the quietly confident individuals who are always at the forefront of my mind when I design.
We launched our ready-to-wear brand in SOMA stores back in 2015. Since we only have a home studio based in San Jose Del Monte, Bulacan, we actively participate in pop-up events, including Artefino, MaArte, and Katutubo for us to have a chance to reach a wider audience. Finally, in 2023, our brand was blessed to find its current home at Rustan’s Department Store Makati and Shangri-La.
My ultimate dream for our brand is to achieve longevity at a happy and steady pace. This means sustaining our brand’s presence and growth long term while maintaining a balanced and fulfilling work environment. We aim to continuously hone our team’s skills and instill confidence that a fulfilling livelihood can be built from one’s passion, and that being a skilled craftsman is a career to be truly proud of.
Could you tell us a little bit about your career background?
I took AB Fashion Design and Merchandising in De la Salle – College of St. Benilde. Fresh out of fashion school, the young and carefree artist in me took a chance and entered the Look of Style Awards 2014, a design competition that promised a scholarship to London College of Contemporary Arts for the winner. Despite not feeling entirely qualified, I decided to audition, thinking that trying wouldn’t hurt. To my surprise, I not only managed to join but also won the competition. This experience turned things around for me, boosting my confidence to become a full-time designer and make clothes for a living.
What piqued your fascination with the local fabrics and techniques you use? What made you decide to use them?
We’ve always aimed to seamlessly incorporate locally developed and produced materials into special pieces for each collection. We source our piña seda from Aklan and work with weavers from Bugasong, Antique to create contemporary materials that match our brand’s aesthetic.
I’ve always been into embroidery and fabric manipulation. My first collection, titled Palad, was inspired by the unique flow and shapes of palm lines and fingerprints, which I translated into embroidery details. Simple fabric manipulation became my way to achieving the textures and details that I like. I enjoy transforming plain fabric into something unique and not readily available.
Our staple hand-pintucked fabric, for example, takes about 20 hours to produce three yards. This labor-intensive process is why we incorporate patchwork details into our pieces. We aim to make the most out every scrap because our hand-pintucked fabric is truly a labor of love and patience.
Working with locally produced materials is particularly gratifying as I love the challenge of turning traditional fabrics into something that can be worn on the daily.
Could you walk us through your creative process?
When I design, I prefer a really quiet environment without background music because it helps me focus. I can only tolerate natural sounds. I start by tuning into my current mood and headspace, which sets the tone for my work. Then, I assess the materials within my reach, allowing them to shape my initial designs.
My favorite phase of the process is product and material development, where I freely explore my imagination—editing, revising, and refining until it feels just right. I love it when pieces that I initially thought wouldn’t work end up being my favorites.
What are your long-term influences? What are the things that have inspired you for years?
Growing up, I had only two dreams: to be a doctor or a fashion designer. My love for fashion began in high school, where self- consciousness played a significant role. With five different school uniforms for each day, I always aimed for a perfect fit. Fortunately, my mother, who is skilled in sewing, helped make that possible. Since then, my goal has been to feel both comfortable and confident in what I wear.
Memories from my childhood will forever influence the way I design today. For example, my desire for well-fitting uniforms back then and my comfort in wearing my father’s and brother’s clothes have shaped my preference for creating gender-fluid pieces. I also love to design pieces I envision myself wearing with and without my insecurities.
What are your current influences? What’s inspiring you right now?
I’ve been drawn to mid-century houses and interiors for quite some time now. Whenever I see them, it inspires me to design pieces that would fit the lifestyle of the people living there.
It’s a great time to be a designer. Seeing the local fashion industry thrive brings me joy and hope. I love watching my designer friends, as well as myself, receive the support we all deserve. This heavily inspires me to continue with everything we’re doing.
How has your work evolved along with your own personal growth?
Since our brand truly reflects my personal style, it has naturally evolved alongside my personal growth. Currently, my work revolves around how I want to live my life, embodying my evolving values and lifestyle preferences.
