Group fashion shows in the past often came across like an unspoken competition among the participating designers. The more flamboyant and outré the outfits, the better. Long-time fashion watchers might recall how veteran designer Frederick Peralta once presented an all-giraffe print collection punctuated with heavy, organic-looking jewelry. Although there were others who presented pocket collections before and after him that evening, all anyone remembers was his safari-inspired set. In group shows now, designers have become more introspective, more deliberate. They are grateful for the chance to come up with collections that distill their aesthetic and show where they’re headed. Designers who are invited by Bench to present at the biannual Bench Fashion Week (BFW) see it as an opportunity that is not to be taken lightly. For the holiday edition of BFW 2026 held Sept. 26 and 27, Cebu-based designer Edwin Ao turned street photos he had taken with his phone into a series of deconstructed looks that still managed to highlight expert tailoring. Ao is credited for being one of the designers who updated the look of the barong Tagalog by embroidering playful graffiti on it instead of resorting to the traditional designs. The long-time designer used to work with Arcy Gayatin, another Cebu designer, on clubwear looks popular during the early 2000s. He then worked with academe for close to two decades before becoming a faculty member under the product design program at the University of the Philippines Cebu. In an interview with The Manila Times prior to the show, he said he experimented with solar dyeing and rust techniques for his collection. Dubbed “Chlorophyll Hexagons: The Body in Impermanence,” it features separates with exposed stitching and unfinished hems. He embellished a vest and asymmetrically cut skirt with a mix of matte and shiny buttons that looked like paillettes from a distance. “[But] central to the collection is solar printing, where sunlight and chlorophyll become agents of imprint and change,” Ao wrote in his show notes. TernoCon 2025 Gawad Pura Escurdia award winner Bryan Peralta veered away from the structure required of the terno and came up with billowing, color-drenched pieces. There were unlined trenches and blousy pants made with parachute-like taffeta. He also played around with proportion — short, kicky outfits under those large, jewel-toned jackets. His collection, “The Golden Record,” was inspired by the 1977 NASA Voyager space probes that housed golden discs. Each disc contained recorded sounds and images of Earth that the space agency hoped would connect with extraterrestrial life. Peralta said his “boldly optimistic color palette... is a celebration of dressing up and proudly wearing your curiosities on your sleeve.” Reese de Guzman of R. Studios was inspired by Picasso’s 1957 Pigeon series and came up with a collection that ranged from oversized blazers and jackets to feathered tops and draped skirts. In her show notes, she described her “Paloma” collection as “a playful mix of colors, draped silhouettes, and unconventional textiles.” There were a few tweeds and tops with feathered fringe with many of the pieces sharing a boxy look. Even a vest that is usually worn snug was manipulated to hover just over the shoulders. “[It’s] a breath of fresh air and the idea of fleeting times,” de Guzman said in her show notes.