Fashion for the brave bride

Popstar designer Furne Amato stuns in Conrad show

DUBAI-BASED Filipino fashion designer Furne One Amato, whose works have clothed stars like Beyoncé, Mariah Carey, and Lady Gaga, as well as pop culture icons Paris Hilton and Heidi Klum, graced the Conrad Manila with his presence and his new collection.

Titled “Harvest,” the new collection was shown at the Conrad Manila’s Inspired Beginnings wedding fair, which ran from June 26 to June 28. The designer had a solo show at the fair’s opening evening.

The harvest theme was seen on the runway, with straw baled and in carts, as well as other rustic elements like lanterns. The show featured strange sound choices like vultures, rain, and church bells accompanied by simulated lightning, calling to mind drought and its end.

First came a bodysuit of lace with a matching dramatic cape, and a baroque garland buckling a belt. We noted that models tripped more than a few times, perhaps because of the slippery floor or the complicated shoes (one slipped while wearing go-go boots; another, high-heeled sandals). A couple of tight-fitting dresses with fabric rising up like smoke then appeared on the runway, but we were most impressed by a sheer dress with a fur cape, framed at the neck with orchids.

Another dress, in pure white, was so heavily beaded that it made a rattle as it snaked down the runway. Marabou feathers were seen a lot in trims, such as in a peignoir and a pencil skirt.

One dress that stood out was a very tight, white tulle, with white “veins” across the fabric, accompanied by a billowing tulle cape, a crystal skullcap, and a mask of tulle over the model’s face.

The first half of the show ended with a stunning look: one with a dove-shaped hat supporting a veil, pants, a corset, and a matching train — a look that surprisingly worked despite its disparate elements.

The backdrop then split open to a crescendo of music, and it was another set of models appearing like animals, in front of a background of a stable.

Out came a woman with a crest of white feathers on her hair, and a cape of tulle and white wings with roses at the back, appearing as if she were just about to take flight. Most of the outfits had this silhouette of wings, making for a magical look.

There was a tiered flapper skirt, tasseled, all under a veil edged with lace. Tulle was crimped and formed into a train for another dress, while yet another had pearls cover a skintight dress with a plunging neckline — this time the pearls were making the noise on the runway.

A massive skirt of layered tulle was followed by an empire-waisted gown with a feather shawl. The sleeves of this particular gown were made of pearl drops. There was a massive dress with leg-of-mutton sleeves, with feathers forming a mohawk on the “bride.”

Another striking dress was one with a surprisingly modest shift-bodice dress atop a tiered skirt. Each tier was hemmed in feathers, and pearl drops hanging from the edge of the veil framed the model’s face.

Finally, the show (really) ended with a Victorian ballgown with a cape of feathers, the model wearing a wreath of glass pearls and silk flowers around her head, the whole neat package encased in a tulle veil.

That was not a bridal fashion show per se, it was a fashion performance. Any bride wearing anything even remotely close to this would have to have real chutzpah, but if she does: well, what a feat for her. — Joseph L. Garcia