Rajo Laurel invites everyone to embrace childlike wonder through dressing

 

By John Legaspi

Published Apr 5, 2026 01:33 pm

Summertime dressing can be defined in three words: carefree, colorful, and cheerful. Pieces should be an invitation for joyful moments, a taste of adventure, and a celebration of easy, sun-soaked days that feel endlessly nostalgic.

Pieces from Rajo Laurel's 'Child's Play' collection (Photo from Rajo Laurel)

For noted Filipino fashion designer Rajo Laurel, all those themes are reflective of childhood, the wonder that comes from seeing the world with fresh eyes and finding joy in the simplest of moments. That’s why for Spring-Summer 2026, he crafted a collection that is a meditation on color, memory, and the quiet yet powerful language of imagination.

Dubbed “Child’s Play,” the collection is inspired by Danish-born, London-based designer Nina Tolstrup’s works, specifically the Bethnal Green Mews House. The collection reflects an environment where color is both playful and precise. Boldness exists alongside restraint, and every hue carries intention.

Pieces from Rajo Laurel's 'Child's Play' collection (Photo from Rajo Laurel)

Pieces from Rajo Laurel's 'Child's Play' collection (Photo from Rajo Laurel)

Pieces from Rajo Laurel's 'Child's Play' collection (Photo from Rajo Laurel)

Rajo translated this philosophy through a medley of colors and textures. Soft neutrals, earth tones, and quiet pastels are accented with bold hues, from electric blue to bursts of citrus and saturated primaries. These curated tones echo how the colors we encounter in childhood imprint themselves onto our consciousness, resurfacing years later as fragments of nostalgia, comfort, or joy.

“There is a certain honesty in how children engage with the world,” Rajo says. “They respond to color without hesitation or judgment. That purity of response—of simply liking something because it brings joy—is something I wanted to revisit in this collection.”

Pieces from Rajo Laurel's 'Child's Play' collection (Photo from Rajo Laurel)

Pieces from Rajo Laurel's 'Child's Play' collection (Photo from Rajo Laurel)

Pieces from Rajo Laurel's 'Child's Play' collection (Photo from Rajo Laurel)

The idea of play is also present in the selection of materials. Fabrics are chosen not only for their aesthetic qualities but for how they interact with color—how they absorb, reflect, and transform it under different conditions. The result is a kaleidoscopic collection that invites curiosity, something that is often left behind in adulthood.

Marking a significant moment for the brand, Rajo Laurel’s namesake label further expands its presence with the opening of its newest boutique on the second level of SM Aura Premier on April 6, 2026. The space echoes the collection’s philosophy—an environment where design is both intentional and immersive, allowing visitors to engage with the pieces in a setting that mirrors their conceptual roots.

“Child’s Play” will be available at The Rajo Store starting April 11, 2026, and on rajolaurel.com starting April 14. The Rajo Store is also located at Power Plant Mall, Shangri-La Plaza Mall, and SM Aura Premier.

Why a 'third place' matters in promoting reading

As it celebrates its fourth year, the Philippine Book Festival aims to turn reading into a shared habit

By John Legaspi

Published Mar 14, 2026 09:15 am

What do Filipinos like to do in their free time? Finding the answer to that question can be a daunting task and will likely produce a lot of different results. To simplify it, the National Book Development Board (NBDB), the country’s agency in charge of developing and supporting the Philippine book publishing industry, asked 300 librarians and learning area coordinators. Their response, according to NBDB Executive Director Charisse Aquino-Tugade, is somewhat reflective of many Filipinos today.

At the top of the list is social media. Second and third are bonding with family and watching movies or shows. Reading comes in fourth, while going to the mall rounds out the top five.

“We all know that the apple doesn’t fall far from the tree,” Charisse said. “We all know that kids will be similar to us, and there’s a high chance that children will be this way.”

As the country’s publishing authority, the NBDB is tasked with promoting the growth of Filipino books and reading culture. Based on the data they have collected, the challenge today is to move family bonding to the top of the list, with reading coming in second as a family’s way of spending time together.

That is something they hope to address through the annual Philippine Book Festival (PBF). Now in its fourth year, the festival is the biggest gathering of Filipino-authored books. But it is not just about showcasing Filipino voices, nor is it merely a marketplace for publishing companies. For the 2026 edition of the festival, the NBDB is once again highlighting the importance of a “third place”—a space with no entry requirement other than showing up, where people mix across usual boundaries and stay because something about the place earns their loyalty.

“A Filipino reader who has never thought of themselves as a reader is more likely to become one in a space that feels alive, that feels like it was made with care and imagination, than in one that simply stocks titles,” Charisse explained during the opening of the fourth PBF on March 12, 2026. “The argument the PBF keeps making, year after year, is that Filipino creative work deserves exactly that kind of space. Not a corner. Not a footnote. A room of its own, for a few days at a time, for as long as it takes for that to stop being something we have to fight for.”

This year, the PBF plays with the theme “Gubat ng Karunungan,” or “Rainforest of Knowledge.” Together with artist and designer Joffrey “Pepot” Atienza, the organizers have transformed the vast venue into a forest filled with Filipino books, reading areas, and cozy nooks where readers can meet their literary heroes.

The festival features its signature areas. Aral Aklat highlights books as tools for learning and discovery, featuring textbooks and teaching guides. Booktopia invites visitors to explore the breadth of Filipino fiction and nonfiction. Kid Lit nurtures early readers through interactive, child-friendly experiences. Komiks celebrates the visual richness of Filipino comics and graphic storytelling.

To elevate the experience this year, the PBF also introduces five new activations. Lugar Lagdaan is the go-to spot for book signings, where readers can meet the people behind the stories they love. Bahay Ilustrador is where illustrators, comic artists, and graphic storytellers demonstrate how images can speak louder than words. Gubat ng Karunungan offers workshops, masterclasses, and learning sessions for curious minds of all ages. Fiesta Stage serves as the main stage—the heartbeat of PBF—where grand performances and panel discussions unfold. Umpukan is the chill zone for intimate talks and idea-sharing sessions where conversations flow freely.

All these efforts aim to ensure that the festival’s mission of creating a third space achieves its goals: to make reading a habit for every member of the family, to bring Filipino literature closer to the masses, and to help the local publishing industry thrive.

“The Philippine Book Festival is positioned not only as a literary event but also as a third place that connects key players in the publishing and education sectors,” Charisse said. “By convening publishers, institutional buyers, educators, and readers in a single venue, the festival supports broader efforts to improve access to quality Philippine books and sustain the local publishing industry.”

The 2026 Philippine Book Festival runs until March 15, 2026, at the Megatrade Hall of SM Megamall in Mandaluyong City.

These Filipino designers are set to present bridal looks perfect for weddings in paradise

 

These Filipino designers are set to present bridal looks perfect for weddings in paradise

As destination weddings continue to dominate the scene, these style visionaries aim to combine style, elegance, and practicality for couples.

By John Legaspi

If there is an ongoing trend in the wedding scene, it would be destination weddings. Couples these days are taking the beginning of their married life to scenic spots, both local and international, adding culture, heritage, and natural beauty into the mix of their dream nuptial.

Of course, part of the ordeal is dressing up for the occasion. Destination weddings present many elements to consider, whether in terms of style or practicality, for couples deciding on their look. Lucky for them, Filipino designers are stepping up to the plate to present garments that are elegant and suited for any location. Among them are Filipino designers Jaki Peñalosa, Axel Que, Chynna Mamawal, and the brand Spotlight Couronne Internationale (SCI) PH. They are set to present wedding collections at “The Brides at Triton Wedding Expo” at Jpark Island Resort and Waterpark, running from March 21 to 22, 2026.

For its fifth edition, the wedding expo teams up with the International Fashion and Arts Weekend (IFAW) and embraces the theme “Promise in Paradise.”

“For me, ‘Promise in Paradise’ means a shared commitment. For the past 10 years, the runway has been my way of showing my love for fashion. This journey has brought me to places like Canada, New York, Paris, and Manila—and now to Cebu, and soon, to Milan,” revealed international fashion-show director Limuel Hayag Vilela of Spotlight Couronne Internationale (SCI). “After the success of the first IFAW in Manila in 2025, I felt inspired to continue and grow it.”

“The Brides at Triton” is gearing up to be a must-see event for fashion communities and soon-to-wed couples in Cebu, thanks to the designers’ creations. For the event, SCI PH, led by Limuel and his creative partner Alvin Masangkay Francia, will present a collection built on simplicity, elegance, and inclusivity.

“For its debut bridal presentation, SCI PH is unveiling a collection that stays true to the heart of the brand. The pieces reflect what SCI stands for: simple, classy, and intimate,” Alvin said. “Our collection is designed for the modern bride. We believe luxury does not always have to come with a high price tag. That is why SCI PH Weddings is built on the concept of being an inclusive and affordable luxury brand.”

Jaki Peñalosa, the grand dame of Iloilo fashion, is set to spotlight many of the Philippines’ handwoven fabrics. “My collection pays tribute to our Filipino heritage by using indigenous handwoven fabrics like abaca, cocoon, and piña,” she explained. “It is part of my advocacy to always promote these Filipino fabrics that blend with time.”

Cebu City’s emerging talent, Axel Que, will mount a collection that merges art with fashion. “Staying true to my design identity, the pieces are avant-garde in nature,” said the young designer. “The inspiration behind this collection comes from my personal vision of the ‘paradise of heaven.’”

Manila’s seasoned fashion designer, Chynna Mamawal, will explore the idea of “Romantic Resilience” for her bridal line. “The rosette itself is a symbol of something blooming and beautiful, but it’s also intricate and structured,” she mused. “In this collection, I wanted to explore ultra-femininity through soft textures, sculptural floral elements, and fluid silhouettes that celebrate the grace of a woman.”

Apart from the bridal showcase, the wedding expo will also gather many creatives and wedding suppliers, offering more than just style inspiration but practical ideas, meaningful connections, and fresh perspectives for soon-to-be-weds. IFAW and “Brides at Triton” aim to bridge the gap between fashion and real-life weddings. They empower couples with choices and creativity, proving that a dream wedding can be classy, intimate, and truly personal.

“The Brides at Triton Wedding Expo” is set to take place at the Triton Grand Ballroom of Jpark Island Resort and Waterpark. For more information, visit http://www.scimodels.ca/ and www.jparkislandresort.com.

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Veejay Floresca on winning 'Project Runway,' showcasing at NYFW, and claiming spaces

 

By John Legaspi

Published Jan 24, 2026 01:02 pm

When Veejay Floresca returned to the Philippines during the holiday season, she came back with renewed confidence. Not that she wasn’t confident before—but returning home after becoming the first Filipino and trans woman to win the 21st season of the design competition series “Project Runway” definitely added a bounce to her step.

Veejay Floresca showcasing her latest collection at NYFW under Filipinxt

“There’s an unfinished story that I need to put an ending to—that’s why I joined,” Veejay said in between a mini Miss Universe 2026 preliminaries viewing. The moment was a tad amusing, as she previously went viral for her reaction video to the pageant’s 2010 edition.

Veejay studied fashion design and merchandising at De La Salle–College of Saint Benilde in the Philippines and later earned a master’s degree in fashion from the Academy of Art University in San Francisco. She also studied bridal wear at Central Saint Martins in London.

Her participation in the US edition of “Project Runway” was a full-circle moment for Veejay. Before that, she first joined its local version, “Project Runway Philippines,” back in 2008, where she became a finalist. Then, in 2024, she competed on Hulu’s “Dress My Tour,” a competition series where designers are tasked with creating performance-ready, show-stopping fashion pieces for major musical artists.

“The encouragement really came from the idea that I really wanted to join ‘Project Runway’ US. But I joined ‘Project Runway Philippines’ because I couldn’t join the US edition. Technically, ‘Project Runway Philippines’ was more like an alternative,” Veejay recalled.

Veejay’s shuttlecock dress is her favorite piece she showcased on the show

Veejay observed many differences between the two franchises, but the biggest change she noticed was internal—her purpose for competing again. “I think I am more prepared. When I competed before, I lacked the hunger,” she said. “This time, I have to win this because it is a lifeline. Being a designer in the US is hard—financially and in many other ways. That’s my motivation to win. I need it.”

Pursuing fashion design as a career is already a challenge on its own; doing so in a foreign land makes it even more daunting. Veejay faced these challenges while living in California for 12 years before moving to New York to take her design career to the next level.

“It’s more business. Moving to New York is another fresh start. I have to start again from zero, but it’s a risk I’m willing to take. I think it paid off,” Veejay said. “New York is more inspiring. Fashion is at the core of the city. When you go out on the streets, you’ll see inspiring people dressed up. There are so many things to draw inspiration from.”

Veejay with fashion designer Christian Siriano and 'Project Runway' host Heidi Klum

Her transition also allowed her to deepen her understanding of fashion, design, and her clients. Veejay sees being trans as a superpower, giving her the ability to seamlessly merge feminine and masculine elements.

“I was born male, and before, I didn’t always fully understand how women dress,” Veejay mused. “Now that I’ve transitioned, I know what women want and what makes them feel good wearing something. I include all of those things when I design my pieces.”

Part of her prizes for winning “Project Runway” includes mentorship from the Council of Fashion Designers of America (CFDA). This February, she will stage her first solo show in the US and is part of the CFDA lineup for the upcoming New York Fashion Week. The show is the cherry on top of a major milestone—opening her shop in Manhattan. As she has done in the past, the show is expected to feature trans, non-binary, androgynous, and curvy models on the runway, echoing her mission that fashion should make one “feel seen and celebrated with confidence.”

Veejay Floresca

“Growing up as a fashion designer from the Philippines, I used to watch New York Fashion Week and imagine myself on the official calendar. It felt wild. Crazy. Almost impossible—but that once-impossible dream is now real,” Veejay said. “To every artist who is still fighting for their dream: keep going. Your moment will come—right on time. And to my fellow immigrants, to my trans community: we belong. We have a place in this world, and we deserve to take up space boldly and unapologetically.”

Karla Puno Garcia on dance, direction, and 'A Chorus Line'

By John Legaspi

Published Jan 2, 2026 06:30 pm

When Karla Puno Garcia visited the Philippines in October, she was daydreaming of some fun time at the beach—Bolinao in Pangasinan, to be specific. But things quickly geared up creatively, leading her to take a rain check on that vacation and focus on the task at hand: directing and choreographing the local production of “A Chorus Line.”

Karla Puno Garcia (Photo by Kate Mollison and Ernest Gatpandan III)

“A Chorus Line” is an American musical originally directed and choreographed by Michael Bennett and his associate, Baayork Lee. The show depicts the trials and triumphs of Broadway’s unsung heroes. When Theatre Group Asia’s (TGA) overall artistic and creative director, Tony Award–winner Clint Ramos, thought of bringing it to the Philippines, it was a natural decision to tap Karla to lead the production.

With her Broadway credits—most notably as the first Filipino cast member and dance captain in “Hamilton,” and as the first woman of color to choreograph the opening number of the Tony Awards, which earned her an Emmy for Outstanding Choreography for Variety or Reality Programming—Karla is the perfect artist to take on the role of director and choreographer. But the show calls for more than technical excellence.

Karla Puno Garcia won an Emmy award in 2024. (Photo by Jordan Strauss/Invision for the Television Academy/AP Content Services)

If TGA’s most recent production, “Into the Woods,” is any indication, “A Chorus Line” may also highlight elements of Filipino culture and artistry—something Karla is deeply familiar with.

Before the curtain rises on the local staging of “A Chorus Line,” Manila Bulletin Lifestyle got the chance to sit down with Karla as she shares her life on stage, her excitement for the upcoming production, and what makes dance a powerful form of art.

Can you tell us a bit about your journey—what first drew you to dance and choreography?

I started tap dancing at the age of three. I also began with traditional folk dances—I did itik-itik and bangkô. Those were my first memories of dancing with a group. Then I went on to dance competitively, learning American dance styles like tap, jazz, ballet, and more. After that, I studied dance at New York University and earned a BFA in Dance. I expanded my training in modern dance and concert work. Dancing on Broadway was always a specific goal for me. After college, I went on to perform in Broadway shows. That was my trajectory in a nutshell.

My growth as a choreographer came after I started dancing professionally and working with different choreographers in shows like “Hamilton,” “West Side Story,” and “Wicked.” Experiencing a diverse array of movement styles infused my work with new ways of moving. I was also inspired by hip-hop and the underground hip-hop scene. Overall, my aesthetic is a culmination of my experiences as a performer. That’s where my perspective comes from, along with a sensitivity to music and musicality.

Do you look up to any artists or dancers?

The person I looked up to at a young age was my godsister, LaMae Caparas. She went on to perform in “The King and I” national tour, “Fosse on Broadway,” and “The Lion King.” I literally watched her go from my hometown and dance studio to Broadway and work professionally. Seeing that made me believe that if she could do it, I could too.

What are the common misconceptions people have about dancers and choreographers?

I think choreographers are directors in their own right. When working on a musical, the choreographer and director are often co-piloting the show. My job is to help stage the production in tandem with the director’s vision. Taking on the role of a director isn’t that different from choreographing a piece—I’m still supporting the story and conveying it through movement and space.

People often think choreographers are just making up dance steps, but we’re also responsible for how the piece feels and how the show moves overall.

Karla Puno Garcia (Photo by Kate Mollison and Ernest Gatpandan III)

Let’s talk about ‘A Chorus Line.’ Can we expect a Filipino flair in the upcoming staging, much like in ‘Into the Woods’?

There has been a lot of thought and intentionality put into incorporating Filipino elements into the piece, and I’m excited for everyone to see how we do that.

For you, what makes dance—often seen as a form of entertainment—a unique form of art?

Dance has power because there are no words. It’s a visceral way of communicating and expressing how we naturally feel. My nine-month-old, whenever she hears music, immediately starts to move. That alone shows that we’re born to dance—it’s in our bones.

A Chorus Line will feature a stellar ensemble of Filipino performers and will run from March 12 to 29, 2026, at the Samsung Performing Arts Theater in Makati City, with performances on Thursdays and Fridays at 7:30 p.m., and Saturdays and Sundays at 2 p.m. and 7:30 p.m. Tickets are now available via TicketWorld.

'Lahi' to bring the many faces of Filipino identity to the global fashion stage

By John Legaspi

Published Jan 2, 2026 09:11 am

When we talk about Filipino fashion, what often comes to mind are visions of the terno and barong. In many cases, contemporary iterations of these traditional garments also surface. But the thing is, Filipino design is an ever-evolving medium—it often reflects the style dialogue of the present while also celebrating the materials, hands, and craftsmanship that bring these creations to life.

Pieces from 'Lahi' collection

That’s exactly what the Department of Trade and Industry (DTI), through the Philippine Creative Industries Development Council (PCIDC), is presenting early this year with “Malikhaing Pinoy: Lahi.” Crafted by noted Filipino fashion designer Rajo Laurel, the 30-piece couture collection explores every facet of Philippine identity, history, community, and geography, culminating in a grand display imbued with cultural pride.

“‘Who is the Filipino?’ This is the question I explore in this collection, ‘Lahi,’” Rajo reflects. “Being Filipino can mean many things. There is no single definition of our culture. With ‘Lahi,’ my perspective bridges who we are and who we can become. Understanding our roots empowers the future.”

Set to be staged on Jan. 30, 2026, in Bangkok, Thailand, this grand Philippine fashion showcase is part of the landmark partnership PCIDC established with Thailand’s Creative Economy Agency (CEA)—a milestone alliance that not only enhances cross-border collaboration but also provides a platform for strategic trade.

Arnel Papa, Maxine Santos Tuaño, Rajo Laurel, Celestina Maristela Ocampo, and Monchét Olives

Rajo is not alone in taking on the herculean task of presenting Filipino fashion on the international stage. Joining him are some of the country’s most celebrated creatives, such as Arnel Papa, Celestina Maristela Ocampo, Cholo Ayuyao, Monchét Diokno Olives, and MX Studios by Maxine Santos Tuaño. Together, they complete the design narrative with head-to-toe looks that crystallize the collection’s vision.

Manila Bulletin Lifestyle got a chance to preview the initial looks of the collection before it heads overseas. During an event last December, the creatives spotlighted several key ensembles. First is the “Mestiza,” a reinterpretation of the traditional palma and camisa/blusa ensemble using woven and dyed jusi from Iloilo, paired with a skirt in raw silk and abaca from Abra. The look is accentuated by black silk royal blooms with coq feathers crafted in Pampanga by Cholo Ayuyao.

"Paradiso"

"Manileña"

“Mestiza”

“Bagong Barong”

"Datu"

"Kadayawan"

"Ugnayan"

Inspired by Mindanao’s festive celebrations, the “Kadayawan” highlights the country’s regional weaving heritage. Its bodice is made of handwoven straw from Sorsogon, paired with cropped culottes using a “jut”-inspired technique crafted from rayon and silk woven in Ilocos.

An ode to the T’boli tribe, the “Datu” ensemble combines paper silk with ramie linen trousers and the traditional malong, accented with a tampipi from Benguet and a giant bead tassel from Dumaguete—a true celebration of indigenous craftsmanship.

“Manileña” and “Bagong Barong” offer fresh takes on the barong tagalog, crafted in jusi and styled with farmer-inspired silhouettes and jute bibs. The ensembles are completed with handmade stampitas by Cholo Ayuyao and lanyard abaniko by Monchét Diokno Olives of Casa de la Mercedes, emphasizing the collaborative spirit and regional craftsmanship of Filipino artisans.

Inspired by world-renowned Baguio weaver Nada Capunan, “Ugnayan” brings together the earthy hues of the Mountain Province and storytelling through weaving techniques. It is paired with a crocodile bag by Masbate-born Celestina Maristela Ocampo, creating a multidimensional visual showcase of texture, color, and Filipino creativity.

Lastly, “Paradiso,” developed in collaboration with Arnel Papa, pays homage to the natural beauty of Palawan. The gown incorporates the province’s world-class pearls with capiz shells from Bacolod and is paired with an oversized raffia straw clutch, creating a striking, ethereal effect.

“‘Lahi’ is a storyboard of Philippine fashion developed through collaboration,” Rajo muses. “Bayanihan is a core Filipino value. There is strength in creating a point of view together with other Filipino creatives. This dialogue opens up, deepens the conversation, and allows us to experiment, direct, and define new ideas and voices. The process was truly exciting and enriching.”

See the collection in motion:

Pantone announces its 2026 Color of the Year: Cloud Dancer

 

By John Legaspi

Published Dec 4, 2025 10:28 pm

Every December, the Pantone Color Institute leads the way in predicting the trending hue for the coming year. For 2026, it veers away from deep and vibrant tones as it announces Pantone 11-4201 Cloud Dancer as its top pick.

A lofty white described as “a symbol of calming influence in a society,” Cloud Dancer promotes deep calm and concentration, giving the mind space to drift and creativity to flourish, opening the door to new ideas.

“At this time of transformation, when we are reimagining our future and our place in the world, Pantone 11-4201 Cloud Dancer is a discrete white hue offering a promise of clarity,” said Leatrice Eiseman, executive director of Pantone Color Institute. “The cacophony that surrounds us has become overwhelming, making it harder to hear the voices of our inner selves. A conscious statement of simplification, Cloud Dancer enhances our focus, providing release from the distraction of external influences."

According to the Color Institute, Cloud Dancer “invites a space where function and feeling intertwine to build atmospheres of serenity and spaciousness, providing a refuge of visual cleanliness that inspires well-being and lightness.”

In selecting the Color of the Year, Pantone’s global team of experts studies color influences from various fields such as the film and fashion industries, travel destinations, design trends, and socio-economic conditions. More recently, they have also considered new technologies, materials, textures, and social media, among other factors, to determine the perfect hue for each year.

Here's what went down during Blackpink's 'Deadline' concert in Bulacan

From high-energy anthems to intimate solos, Blackpink delivered a show that showcased both growth and gratitude

By John Legaspi

Published Dec 1, 2025 05:25 pm

It started with a countdown. And as the numbers came close to the end, all I could think about was: after years of listening to their songs and writing about their journey, I’m about to witness Blackpink perform live. When Rosé, Lisa, Jisoo, and Jennie emerged onstage with their anthem “Kill This Love” in the background, the Philippine Arena wasn’t just filled with pink twinkling lights, but with pure joy and a celebration of how music moves people and transcends language—and I couldn’t believe I was part of that moment.

Blackpink members Rosé, Lisa, Jisoo, and Jennie send hearts to Blinks.

Pre-concert excitement

This is the third time South Korean girl group Blackpink has included the Philippines as one of its stops for their world tour, the first one in 2019 with “In Your Area,” followed by “Born Pink” in 2023. Like their last show, the “Deadline” World Tour was a two-day event, much to the delight of Filipino Blinks. I was lucky enough to be part of the first day of the concert on Nov. 22, 2025.

That day, the Philippine Arena in Bulacan was dressed in pink and black courtesy of the creative ensembles of fans. Despite the heat, everyone was all smiles, checking out their looks and applying makeup while sitting on the grassy lawns. Their giddiness was hard to hide, which eased my nerves as it was my first time attending their concert—and doing it alone.

Purchasing Blackpink merch made easier with Maya Black Visa Credit Card and Pink Glitter Edition Maya Visa Card

Visa and Maya’s photobooths

Visa and Maya’s photobooths

When the gates opened, some ran as fast as they could to get into the arena. Others, like myself, took time to check out the different booths in the venue. Visa and Maya set up various booths where Blinks could take snaps of their “Deadline” weekend and score a Vee bag charm after. I also made sure to visit the merchandise stall outside the arena and got a shirt, which I easily purchased with my Maya Visa card.

An ocean of pink hearts lit up the Philippine Arena.

Inside the arena, fans gathered to take photos and share stories and laughter. The perfect pregame, of course, was listening to Blackpink’s hits, which were played in the arena, hyping up everyone’s energy. Come 6 p.m., everyone in my section was seated, phones ready, and light sticks glowing, creating a sea of pink hearts. Then the lights dimmed and the countdown began.

Special moments on stage

Blackpink kicked off the concert’s Act 1 on a high note with hits such as “Kill This Love,” “Pink Venom,” and “How You Like That.” Flames, pyrotechnics, smoke machines, graphic backgrounds, and laser lights added spectacle to their performance.

Act 1 of the ‘Deadline’ concert featured many of Blackpink’s iconic anthems.

Act 2 put the spotlight on Jisoo and Lisa, as they performed their solo hits like “Earthquake” and “Your Love” for the former, and “Thunder” and “When I'm With You” for the latter.

The girls gathered again onstage for Act 3. It started with some of Blackpink’s fiercer, high-energy hits. But for me, the highlight of the act was their performance of “Stay” and “Lovesick Girls,” which presented a softer side of the members, somehow setting the tone for the upcoming moments.

Blackpink members sharing a moment onstage.

Jennie took the stage on her own to begin Act 4 with her “Starlight” and “Like Jennie” performances. Rosé’s solo set was more stripped down. Before taking the stage, she tried a Filipino snack, turon, and gave it a thumbs up. Perhaps the most vulnerable part of the concert was when Rosé powered through her “Number One Girl” with the help of Filipino Blinks. The singer confessed to being sick the night before and not having the confidence to be onstage.

“We took a little break, but now we are back,” Rosé said. “I must say, sometimes, I forget how to do things live. Some days, I don’t feel like Blackpink… But as we are rising, and you guys are cheering for us, it reminded me. You guys made me feel like Blackpink.”

Act 5 brought the girls back to the stage to perform their latest hits.

That was one of the many moments of the evening when Filipino Blinks were able to show love and support to Blackpink. Sometimes, it is not about them hitting every note or executing every move flawlessly onstage. Rosé, Jisoo, Lisa, and Jennie have touched their hearts beyond music, inspiring fans with their authenticity, resilience, and passion.

Act 5 was a party with their “Jump” song. In these last moments, the members took time to acknowledge the crowd, looking at the unique and quirky signboards, getting closer to fans, and waving as high as they could to make everyone feel seen. And when everyone thought it was over, the girls returned to the stage to give everyone a proper goodbye and thank you with “See U Later.”

Back together, stronger than ever

The “Deadline” World Tour was a special moment for Blinks as it marked the reunion of the four members after briefly pursuing solo paths. Each act of the concert was woven together with short videos of the girls on a road trip, from the urban jungle and Las Vegas to the Wild West. Throughout the concert, Blackpink also took fans on an emotional ride—one that reminded everyone of the power of music and coming together, no matter the situation.

Jennie, Rosé, Lisa, and Jisoo taking a bow and bidding Blinks farewell.

The Philippine Arena glowed in pink to celebrate the success of the ‘Deadline’ concert’s Day 1.

The concert’s first show in Bulacan was a shared space and moment filled with cheers, chants, and moments of pure bliss, proving that the bond between Blackpink and their fans remains unshakable—and I’m sure nobody can kill that love.