As we’ve featured some of Fred Telarma‘s creations in Stylish Magazine’s The Beauty Issue, we’re sharing the story of this young fashion designer as shared with us by him in a couple of interviews.
Bold, different, brilliantly creative. Those are three words that aptly describe the style of Filipino fashion designer Fred Telarma. The rising couturier is known for creating pieces that incorporate his love for local textiles and unique way of storytelling.
CHILDHOOD IN THE CITY OF LOVE
“My childhood was largely a 90’s suburban middle-class upbringing in Iloilo City, Philippines where you go to a Catholic school for education in a preppy vest (under the blazing sun), run after dragonflies at dusk, play with spiders and hide-and-seek with neighboring kids,” the designer narrated.
The young Telarma grew up in a traditional and conservative household, as his mother was a schoolteacher and principal while his father was in the government before entering business and politics. “Suffice to say, fashion design was not in the cards for me. I was meant to be a medical doctor or lawyer,” Fred said.
“My only tangency with the arts and design was when my mom would drag me to all drawing and painting competitions – as to why she did, I still don’t know to this day,” he said. “Fashion design as a calling only became an itch while I was already at the university taking my undergraduate degree in business. I wanted an avenue where I could marry my love for creative things to my profession, and fashion design was an easy, almost organic call.”
THE BLOOM OF HIS FASHION CAREER
While working fulltime in an oil company doing finance and accounting, Telarma pursued his creative passion by studying fashion design and marketing at the SoFA Design Institute. Later on, he was tapped to teach design studio classes in the same school.
After graduation, he opened up two design brands. He established the Fred Telarma line — a design studio that caters to editorial and avant-garde designs, and Rose+Remedy that focuses on providing bridal and special occasion dresses.
“My background in business helped put the foundation on the whole thing. Market demand was also not a problem as my contemporaries in the corporate world are exactly my target market for Rose+Remedy, while there was also no shortage of requests for avant-garde fashion for print, online, and more ‘artsy’ activities,” Telarma enthused.
CLOTHES THAT TELL A STORY
“For me, fashion design is storytelling. A Fred Telarma design is about clothing that speaks and walks with a message, conveying a story in every turn,” the designer said. “It’s not just about what a client wears, but the whole milieu– convincing your client-muse to take part in a fantasy whether she is just buying groceries, or attending a wedding, or having the time of her life as the bride.”
Once worn by his client-muses, his works tell layers of narratives that capture attention. He described his fashion design philosophy as having a balance across business, art, and advocacy. He is always looking for ways to narrate stories through pieces that embody Filipino-made design and culture.
“When I design, whether for Fred Telarma or Rose+Remedy, I make sure it is guided by a five-point ethos: elegance, depth and richness, powerful, expressive, and, most of all, being globally Filipino.” 
MAKING AN IMPACT THROUGH FASHION
While on a daily basis one can see fashion as a wearable essential, it is also meant to evoke feelings. And this is one concept this designer has always considered in his aesthetic. His goal is to provoke and make people rethink the way they take in fashion.
Dissonance, a collection that speaks about Telarma’s own mental health journey that was showcased at the Panasonic Manila Fashion Festival, shed a light on anxiety disorder.
“It was memorable as it came from a very personal point of view. It speaks of my journey from struggling with, to accepting my demons. Showcasing it at the Panasonic Manila Fashion Festival gave me a sense of peace,” he said. “For one, I was able to shed light on anxiety disorder, second, I was able to show pieces that were architecturally and engineering-wise, seemed impossible. To complete the runway experience, I chose Ili-Ili, a Hiligaynon lullaby, as background music. You could hear and see the silence and confused shock in the audience. So, for me, it was memorable as I was able to provoke, made people think, and left them feeling something.”
Telarma is a big advocate of local arts and culture. His collection, Lot 01-12, reflected his journey when times were simple and authentic. The series was also an homage to his Ilonggo heritage by using the traditional woven cloth called hablon as the main material for his pieces.
“Each ensemble in this collections depicted elements and essences present in ubiquitous traditional Filipino fine art, portraying and celebrating natural resources, industry, culture and values,” he said.
“I got feedback from those who are familiar with my aesthetic that it was a fresh departure from what I usually design, but at the same time had the perks and perils the brand is known for.”
BEING A DESIGNER DURING THE PANDEMIC
“When there is a crisis, it is up to me really, whether I wallow on it or I turn it into an opportunity. While being sensitive to the plight of millions, I can say that I’m one of those fortunate to have the resources and ‘financial resilience’ to turn this pandemic into something productive, and I am grateful and relieved.”
The quarantine period has been fruitful for Telarma as he had a fresh supply of creative juices to come up with a design that feels relevant in midst of a virus outbreak. Telarma shared that he continues to work from home with a remote team.
“The production halt was felt as all clients cancelled. Most if not all of the things we produce are driven by events. Without events or functions, there is no need for custom fashion. This has impacted our sales and made the business bleed financially. Surviving this to date is largely due to our liquidity. Having been able to buff up on current assets such as cash has helped us stay afloat. “
“Another, as I have mentioned earlier, is the safety of the people that work for and with me. Coming from a corporate background that puts premium on safety, it was important for me that everyone stays safe, healthy and sane. I made sure we stick to the quarantine rules, with everyone (including their families) being checked on regularly.”
“Many felt confined and feeling restricted when the pandemic came. From a very fluid, barriers-free environment, we suddenly are conscious, cautious, and forced to follow new rules. The seeming lack of control can be hostile to a creative mind. So, for creatives, we must keep challenging this new reality with our imagination.”
FASHION EDITORIAL WITH US
For our Stylish Magazine’s current special edition dubbed as The Beauty Issue, I’ve pulled out a couple of my personal Fred Telarma favorites. One is from Fred’s Lot 01-12 Collection, which I personally saw being launched on the Panasonic Manila Fashion Festival pre-pandemic. It’s the orange sun jacket made of hablon fabric from Iloilo. I love that a Filipino indigenous fabric is being used, plus the jacket is very much reminiscent of Pierre Cardin‘s retrofuturistic aesthetic in the ’60s, which defined the Space-Age Fashion in that decade. Space-Age Fashion of the ’60s is the main theme of what we’re going for in the ish fashion-wise.
The other one is this outlandish off-shoulder creation woven from another Filipino indigenous fabric:
You may watch Fred Telarma talks about his Lot 01-12 Collection in our exclusive Stylista TV interview with at the Panasonic Manila Fashion Festival here.
Fred Telarma is a unique gem in the Filipino fashion scene. His avant-garde designs proudly reflect the Filipino culture, the same way his overall art can offer thought-provoking experiences. All these make him a true style visionary, one that can define his generation of Filipino fashion designers.
For more information about the designer and more photos of his collection, you may visit www.fredtelarma.com.