Since its reopening in 2023, the Goldenberg Mansion has become a cultural hub in Manila. Not only has it hosted concerts and events showcasing the Philippines’ rich heritage, but it has also welcomed some of the biggest names in the local fashion industry. Most recently, it served as the venue for the unveiling of Dennis Lustico’s latest collection, marking his 25th year as a designer.
Titled “Pamana,” meaning "inheritance" or "heritage," the collection embodies Dennis’ dedication to portraying the Filipino identity through fashion. To bring this vision to life, the designer incorporated abaca, piña, and other indigenous weaves from Luzon, Visayas, and Mindanao. While the materials hint at a traditional approach to Filipino style, his goal was to create something new, fresh, and contemporary.
“Usually, when we hear the word ‘pamana,’ we immediately think of the terno or baro’t saya. I wanted to do something that hadn’t been done before,” Dennis explains. “The collection is distinctly Filipino but also relatable to a global audience. I imagine some of my pieces being worn abroad, standing out because of the elements that tell the Filipino story.”
Work on the collection began in February of this year. After months of collaboration with artisans from Aklan, Lumban, and the northern regions of Luzon, Dennis showcased his 50-piece collection—40 womenswear and 10 menswear looks—on Oct. 3 at the historic Goldenberg Mansion.
The show began with a parade of ambassadors to the Philippines, each donning custom Dennis Lustico creations. As the soft sounds of piano music filled the air, his first muse took to the runway. “Pamana” features a romantic yet vibrant palette, with muted tones enhanced by metallic accents. Staying true to his reputation as the maestro of restrained elegance, Dennis presented pieces that are easy to wear, relatable, and timeless. His designs emphasized classic silhouettes and expert tailoring, from shift dresses and boxy tops to oversized blouses, allowing the local fabrics to shine.
“For this collection, I was very mindful about respecting the fabrics and materials,” Dennis reflects. “I was also focused on creating pieces that last—something you can keep and wear for many years. When someone forms a lasting connection with my designs or relates deeply to them, that’s when I know I’ve done a beautiful job.”
Though the shapes and forms are refined, they serve as the perfect canvas for Dennis' intricate details. Distinct patterns of gumamela (hibiscus) and kalabasa (pumpkin) leaves and flowers adorn his pieces. The collection also honors Lumban’s time-honored callado technique, which comes to life through the anahaw (footstool palm) and malunggay (moringa) embroideries.
In addition to drawing inspiration from Filipino flora, Dennis also looked to the country’s unique architecture to enhance his designs. Small wooden squares, each individually cut and lacquered, embellish tops and shift dresses in a nod to the stone houses of Batanes. Meanwhile, the fringe trimmings, which sway elegantly on the runway, pay homage to the thatched roofs of the bahay na bato.
One of the standout pieces from the collection is a cocktail dress with an off-shoulder neckline, adorned with yellow anahaw embroidery—fully representing Dennis’ approachable design philosophy. His two-piece copper ensemble celebrates texture with its floral embellishments and tiered fringe skirt. For menswear, his barongs and shirts in metallic hues, detailed with lacquered wooden squares, strike the right balance of drama and tradition.
More than a celebration of Dennis’ legacy and the Filipino story, the “Pamana” runway show also served a philanthropic purpose. In partnership with Consul Agnes Huibonhoa, the event's chairperson, Dennis selected Fashion Aid Philippines as the beneficiary of the show. This non-profit organization is dedicated to supporting emerging craftsmen and designers, helping them improve their skills and providing platforms for them to realize their creative visions.
“I’ve always created pieces that are wearable and timeless,” Dennis reflects. “My focus was simply to make beautiful clothes. There was a practice of restraint—I wanted each piece to connect with my audience. After 25 years, I’m no longer interested in shock value or impressing others.”