A New Generation of Creatives: The Vogue Threads Manila 2025 Portfolio Review

At Vogue Threads Manila 2025, aspiring creatives had the opportunity to speak one-on-one with industry veterans and Vogue Philippines editors during the three-day portfolio review.

In the halls of RCBC Plaza, the atmosphere felt charged with possibility. Young designers, stylists, photographers, and writers clutched their portfolios, carefully assembled collections that reflected not just their technical abilities but their creative ambitions. At Vogue Threads Manila 2025, a three-day portfolio review was held, providing aspiring creatives with an opportunity to exchange ideas and refine their creativity.

Among the panel was Vogue Philippines fashion editor David Milan, who didn’t look for polish but rather perspective. “Even if they’re still in school or don’t have a lot of materials yet for their portfolio, it’s important to see if there’s a specific point of view when it comes to creating either images or clothes.”

One of the strongest observations Milan made was that many of the young designers were not stopping at the surface of clothing but diving into the technicalities of how it is made. “They were interested in the technicalities of it, the whole steps of pattern making. They were so interested with developing fabrics on their own,” he recalled.

The participants came away with insights that felt equally transformative. Beanca Galang, a fourth-year student at MINT College and an emerging stylist, said she left the session with a firmer grasp of storytelling. “I learned a lot more about storytelling rather than just the work that we have to do,” she shares. For Galang, who admitted social media trends often influenced her, the portfolio review reminded her to look beyond the algorithms and find her editorial voice.

For Valerie De Haan, who had just completed her fashion styling course at SOFA, the review provided clarity at a time of uncertainty. “I feel more inspired to do better, and I feel like I have more direction,” she said. Caught between her desire to write and her love of styling, De Haan had been unsure of what path to pursue. For her, the review helped her better understand the rigor of styling while also affirming her deeper interest in storytelling through writing. “Though I would love to style, if you’re gonna ask me now, I want to write,” she concludes.

It is this duality, fashion as both craft and narrative, that the portfolio review illuminated. For Milan, originality remains the most significant challenge. In an era when social media saturates the creative field with trends, he urged the participants to resist easy mimicry. “I want to see something that you don’t see online, especially on TikTok or Instagram,” he says.

For Audrey Carpio, Vogue Philippines culture editor and first-time panelist for the writer’s portfolio review, the experience was both refreshing and encouraging. “Since there were no writing applicants last year, I was happy to see that several people submitted their work this time,” she says. “It’s encouraging to witness a growing interest in writing.”

Carpio was attuned to voice, a quality that defines good writing. “I’d love to discover a distinctive voice or point of view that comes through clearly in the writing, even when the piece isn’t personal,” she explains.

Reflecting on this new generation of creatives, Carpio noticed their versatility. “Many of the young writers we met are also pursuing photography, styling, or design. This range shows their curiosity and versatility, but also reflects the value this generation places on being a well-rounded creator.” For her, this hybridity signals a shift: today’s fashion reatives are not confined to one medium, but instead seek fluency across many.

What she hopes to see more of, however, is boldness. “I’d like to see more creative risk-taking, work that pushes the idea of storytelling in new ways,” she says.

Beyond the technical advice, what resonated most with the participants was the sense of mentorship, an affirmation that their journeys, though uncertain, were valid. For Galang, De Haan, and students and emerging creatives who came with portfolios in hand, the session was not only about refining their work but about reframing their futures. It was a reminder that fashion thrives on visionaries who are willing to experiment, storytellers who dig deeper, and makers who care about process as much as product. Like Milan reflected, the most compelling work will always be the kind that cannot be scrolled past.