Behind the Scenes of Rhett Eala’s Retrospective Fashion Show

Rhett Eala revisited his archives and cinematic inspirations in a 59-piece showcase.

“It’s really a recollection of my past collections and bringing it forward to what the times are today,” says Rhett Eala about his collection for the 14th annual Red Charity Gala. The event, co-founded by Tessa Prieto and Kaye Tinga, is one of the country’s most anticipated philanthropic fashion gatherings, supporting the Assumption HS 81 Foundation, the Hope for Lupus Foundation, and the Philippine Red Cross. After a 15-year break from the runway, Eala has made a strong return this year with two major shows, including his role as one of the featured designers at Ternocon 4.

At The Peninsula Manila, following a lineup of jazz performances, gourmet cuisine, and a silent auction, the evening’s final act was the fashion show, with a collection that distilled his design hallmarks into one cohesive collection. It celebrated sophistication, ladylike grace, tradition, and a quiet sense of melodrama. This season, his approach was guided by his own personal Criterion Closet Picks, revisiting the films that shaped his youth. On a chandelier-lit checkerboard runway, he began with Italian Neorealism, whose focus on everyday life and simplicity formed the conceptual backbone of the collection. Federico Fellini’s La Dolce Vita informed the opening black-and-white looks, translating the film’s elegance into decadent dresses and gowns that would not look out of place at the Ascot Gavotte.

From there, his references expanded. Elizabethan-inspired skirts were reinterpreted with lightened crinolines and softened volume. Sense and Sensibility introduced empire waistlines, flowing skirts, and structured collars that evoked gentle romance, while Wong Kar-Wai’s saturated cinematography added mood and texture. The result was layered but controlled, with period cinema refracted through a designer who has a sharp sense of nationalism and understanding of his clients’ needs.

It was an exclusive spectacle, and the atmosphere had the intimacy of a mid-20th-century Parisian atelier fashion show. Following the opening segment, the collection shifted to a more youthful and dynamic tone. This section drew from the Bright Young Things, a group of hedonistic socialites and aristocrats in 1920s London known for their lavish parties, artistic pursuits, and distinctive style. The reference appeared in flapper-inspired dresses, playful cupcake minis, and tailored suits for men. Three-dimensional floral stems emerged on both womenswear and menswear, introducing sculptural elements that enhanced rather than overpowered the designs.

Noel Manapat, who has staged nearly every Red Charity Gala runway for more than a decade, described the process of translating Eala’s vision. “It’s the biggest platform for the designer to showcase his vision of what his DNA is in a very grand setting,” he said. “So my job is to help bring out that vision.” This year, that meant returning to some of Eala’s most emblematic codes. “Rhett wanted to revisit some of his DNA or some of the things that he’s been doing for years,” Manapat explained. “You can see his new iteration of the poncho. It’s a chiffon scarf that became part of pop culture in the ’90s.”

The poncho scarf, in particular, made a notable comeback. In the 1990s, sheer chiffon versions cut to drape off one shoulder became a staple in Manila, worn with jeans or evening wear, widely copied, and instantly recognizable. Later, under his Due label for Rustan’s, Eala reworked the piece in cotton and darker tones, proving its adaptability over time. Fringe, another signature, returned in full glory. Eala has often spoken about how fringe animates a silhouette, injecting movement and energy without compromising the clean lines he favors. Both elements appeared throughout the collection, not as nostalgic references but as integrated motifs in a contemporary framework.

To conclude the show, the final designs evoked a Le Bal des Débutantes feel, a clear nod to the custom-order society clients who were sitting in the front row. Ball gowns, trapeze dresses, and sweetheart-neckline gowns in moiré silk, taffeta, and satin were paired with brightly hued marabou feather hats and evening gloves. Models walked slowly, often in pairs, criss-crossing to highlight the movement of the fabrics. The finale featured a sea of candy-colored chiffon gowns, creating a scene of romance and exuberance, before Piolo Pascual closed the show in a classic midnight blue tuxedo.

Above all, the retrospective, held for a meaningful cause, underscored why Rhett Eala’s work continues to resonate. His designs privilege wearability and ease while remaining thoughtful and culturally grounded. By revisiting his past not as nostalgia but as material to shape the present, he reaffirmed his enduring place in Philippine fashion.

By LAWRENCE HARRISON. Photographs by ROJAN MAGUYON. Digital Associate Editor: Chelsea Sarabia. Digital multimedia artist: Bea Lu.