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Like a
certifiable fashion character that seldom comes along,
Antonio “Jan” Garcia is a flamboyant force. “I always
wanted to be a designer,” he declares with all the
trappings of a Roman emperor.
Indeed,
for the special shoot he graciously organized for the
BusinessMirror, Garcia showed that he gets what he
wants. A top-drawer model in the 1980s, he cajoled,
coerced and charmed his former colleagues to participate
in what turned out to be a hilarious, happy
reunion-cum-all supermodel production.
Just as
he has crossed over to designing, he asked Tweetie de
Leon-Gonzalez (also an accessories designer with her Ice
Crystals at Rustan’s Essenses) to hone her photographic
eye; Lou Bunyi-Pareja to use her magical makeup skills;
Gem Padilla, now a writer and PR consultant; and Patty
Betita, now a motivational speaker, to dust up their
model heels.
ON
Patty: “A trapeze act,” strapless gown in beaded black
{Swiss schlaepfer} lace with tulle overlay on bodice;
ivory silk Mikado opera coat with handpainted detail.
Much as
he begged other designers to model for them at the
Professional Models Association of the
Philippines’
(PMAP) 20th anniversary gala, Garcia opened the show
fittingly enough, presenting an all-black collection of
1920s flapper dresses.
For this
spread, Garcia showcased a play of silhouettes and
subtly translated them into contemporary couture, his
vast knowledge of fashion coming to the fore. “I was
sketching every chance I could get even as a kid of six,
as far as I can remember. My mom, Rosa Garcia, was a
member of FDAP [Fashion Designers Association of the
Philippines] before she left for the US in the mid-’80s.
My granduncles from both sides were prewar tailors,” he
recounts his design lineage.
To
pursue his dream, he studied at the Fashion Institute of
Design and Merchandising (FIDM) in
Los Angeles, graduating as summa cum laude. He received such accolades
as the grand prize of “Recontre de Jeune Talent” in
Saint Galle, Switzerland, in 1993; US Hispanic Designer
of the Year, awarded in
Washington,
D.C., in 1994; and the 1994 Vidal Sassoon Award for
Fashion, awarded at the Waldorf NYC,
New
York. He also represented the US in the Concours
competition in the ’90s.
ON Gem:
“A nod to Cecil Beaton,” a
Fair Lady-inspired gown
with ruffled asymmetric portrait collar in Lagatolla
illusion tulle and beaded Mikado trumpet bodice.
So why
come back to the country and leave a lucrative practice
in the US? “I’ve proved to myself that the old cliché ‘America
is a humbling experience’ is a gross understatement to
say the least. Working here is viable as far as
creativity goes. Working for my company in the US
[Antonio Garcia Designs, or ARPRA Inc. with offices in
LA and a showroom in NY] mostly deals with styles, sizes
and sales,” Garcia explains. “Here, you can interface
and personally deal one-on-one with clients’ needs
which, of course, is more personally satisfying.
Dollar-wise, it’s a whole different ballgame.”
With
Garcia (“I don’t want to be mistaken for my namesake
florist”), one is left tongue-tied as he spews
witticisms and side comments like a twister. So here he
is at his loquacious best.
On Patty: “An abbreviated
column,” short cocktail in bridal satin with
one-shouldered draped blouse on top.
MODEL
BEGINNINGS.
Twist of
fate (!), I met then-designer Rene Ann Gomez at the Good
Morning store in Divisoria while running an errand for
my mom, who used to supply for Shoemart’s private
labels, who introduced me to modeling. I was one of the
lucky founding members of the PMAP. Back in the ’80s,
there were very few legit managing agencies. Most of the
dependable and actively working models worked
independently. There were a handful of us working for
the same circuit and most of the available jobs. The
working relationship turned into a “family-like”
close-knit clique, which, in their good conscience,
formed an association to protect and respect the needs
of models and subsequently upgrade their services to a
more professional level.
I took
whatever I learned from FIDM directly into starting my
own company right after graduation. I assisted as an
intern while still in school just to make sure I get the
proper skills and not make serious mistakes while
working in the actual garment industry.
IDOLS
AND INFLUENCES.
I’ve always admired Cristobal Balenciaga not just for
his dramatic lines but also for his very fashion-forward
take on fashion. He would experiment on and successfully
pioneer the different elements of his design which were
very avant garde for his time. I also look up to
American designer Norman Norell for his subtle approach
to high-construction techniques.
CLIENTELE.
I’ve been blessed with clients who have been very
supportive of my design ideas here and abroad. One of my
very first clients who purchased a pink suit from a
store on Rodeo Drive that I supplied to was Goldie Hawn.
I’ve also dressed up Sally Fields and opera great
Katherine Battel, to name a few. My local clients are
mostly high-profile society ladies.
INSPIRATIONS.
I have no pretensions of being inspired by mind-blowing,
over-the-top objects or references, but rather have a
good enough sensibility of what the dictates of the
moment are. In other words, the client or the purpose of
the design is what triggers my inspiration.
For now,
I am very much stimulated by experimenting on shapes and
silhouettes, and filtering these into designs that
enhance the female form.
FORECAST.
Ask
every other designer around and they might mention that
there’s going to be a lot of construction and structure
forthcoming. I think it’s a natural reaction,
trend-wise, to soft and girly looks that have trickled
down to today’s fashion scene. I think women will look
for a little tailoring and polish in their wardrobe, as
opposed to frilly looks we have been experiencing in the
past few seasons.
FORTE.
My company’s classified in the US as special-occasion
designer suits, gowns and dresses. It’s the closest
category the American market has to haute couture. I
guess that’s my forte. Lately, I’ve used a lot of
structured silk, like Mikado, duchess satin and four-ply
organza. I’ve also infused jusi and vintage fabrics into
my designs. I’ve been very lucky in convincing my
clients, and I think they appreciate it so far. Of late,
I have been successful in including very modern patterns
hand-painted onto the garment and sometimes even tracing
them with beads.
PHILOSOPHY.
My fashion philosophy is both sensitive and aspirational.
(Big words huh?) I always start with something
idealistic, then be sensitive enough to translate it
into a given market or, in the made-to-measure business,
the clients’ needs. I think in the end, it’s always:
Will there be someone who will actually feel and look
good in what you have designed for them?
WISH.
My wish for Philippine fashion is every designer’s wish:
To be the center of world fashion!
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