Photos by JILSON SECKLER C. TIU

THE CHANGES in the curriculum of the College of Fine Arts and Design have led to the demise of its fashion design course, which used to require a yearly fashion show organized by the junior batch. The last installment of that series was Cirq Regal, a spectacular feast of wondrous couture and theatrical apparel.

Cirq Regal was held last February 9 at the NBC Tent in Bonifacio Global City in Taguig.

“Not only is this a Quadricentennial event, but it also bears the 10th anniversary of our college and is the last of this annual tradition,” said event chairperson Kaye Sordan as she talked about the Advertising juniors’ fashion production, a requirement that started sometime in 1977.

The show featured 120 fashion designs created by third year Advertising Arts students.

The designs were classified into eight collections, or “houses”, inspired by the attractions seen in a circus. These scenes served as Cirq Regal’s sub-themes: mimes, dolls, freaks, animals, illusionists, acrobats, clowns, and “pyros” or fire breathers.

The first collection, “House of Theatric Mimicry”, paved the way for the other collections as there was a transition from the black and white pieces to the bloom of colors in the next collection of clothing. The collection featured monochromatic clothing with modernistic designs.

The “House of Fragile Perfection” exuded a softer feel, with lots of dainty tulle skirts, sewn-on buttons and larger-than-life bows. The collection also showed men’s clothing in earth tones.

The audience buzzed with excitement as the “freaks” were revealed through the “House of Eccentric Distortion”. The designers paid attention to detail as some of their models came out as twins, a monkey boy, and even a reptilian man. The collection was comprised of outfits that featured bold metallic embellishments. Without these extraordinary metal accessories, the clothing line seemed friendly enough for everyday wear. Their avant-garde piece featured lines of golden wire woven into detachable wings and a cage-like structure encasing the model’s skirt.

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The “House of Tempest Savagery” unleashed the primal side of Cirq Regal with authentic looks that brought to mind an African savanna. The collection consisted of apparel featuring bold animal prints and native raw materials.

On the other hand, the “House of Dramatic Deception” played a lot of tricks on the eye, literally and in a couture sense. Its avant-garde floor-length gown grabbed attention as the bottom part seemed to be made from umbrellas. The collection was both functional and fashionable, with some pieces appearing as mere accessories, and with a single pull or when unzipped, transformed into a bag.

The “House of Aerial Absolution” displayed eccentric and futuristic designs with popping colors as their main characteristic, while the “House of Colorful Mischief” mainly combined pastel shades and bright hues with carefree designs that were more ready-to-wear.

The “House of Crimson Lustre” ended the show with its edgy, glamorous collection, showcasing the sensual color palette of flames along with flowing clothing outlines seen in its gowns and dresses.

Advertising juniors outdid themselves with what they fondly called their “epic finale,” as this was the last batch fashion show. They were able to execute a fashion production with a dramatic and daunting theme, which they themselves thought too ambitious at first.

“Even before the show starts, the fact that you’re here, it’s already a success,” Cirq Regal adviser Ma. Rhoda Recto told her students before the runway spectacle commenced. Alyosha J. Robillos

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