Andrea Ang (General Resume) - OPTIMIZED FOR WEB

7/30/2019 Andrea Ang (General Resume) - OPTIMIZED FOR WEB

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tion in mind for its submission. Please get intouch with me so I may do the same for

you.

[email protected]+63 917 515 3381

Andrea Ang



present

FREELANCE

WRITER + PHOTOGRAPHER

2013

ATENEO DE MANILAUNIVERSITY

Published in Rogue magazine, ABS-CBN’s Chalk magazine, Rockwell’sPLANT magazine, the PhilippineDaily Inquirer, and Spot.PH withinthe last five years.

Press release writer for PR companythe Aloutta Group on a contractualbasis.

Also interested in creative writing infiction, although looking for experi-ence in publishing.

Graduated in March 2013 with aBachelor of Science in Management,major in Communications Technol-ogy.

Simultaneously earned a minor inEnterprise Development, throughparticipation in a hands-on businessincubator and accelerator programunder the John Gokongwei School ofManagement.

Dean’s Lister for two semesters.

THE GUIDON

Pitched, researched,and wrote articlesfor the Featuressection (SY 2011 -2013) of Ateneo’sofficial student pub-lication.

Covered a varietyof topics and peo-ple, inlcuding: JimParedes, the state ofimprov in the Philip-pines, socio-culturalnon-profit organi-zation Musikero,among others.

2012

Communications intern f rom June toAugust. Wrote Programme docu-ments and press releases for variousevents. Created a comprehensivecataloguing system for the UNDP’spublications. Assisted in the designand content upgrade of the web-site.

2010

RUNWAYPRODUCTIONS

Public Relations andMarketing intern forPhilippine FashionWeek S/S 2010 andF/W 2010.

Coordinated with PRfirm Buensalido asPFW’s official liason.Monitored execution ofMOA. Developed acomprehensive cata-loguing system usedby retail brands forrunway shows.

andrea angMETRO MANILA, PHILIPPINES

+63 917 515 3381

[email protected]

Chief Operating Officer of incorpo-rated food enterprise Top Dog. Cre-ated logistics plans for various sellingchannels. Sourced supplies, ingredi-ents, and materials for operations.

Founded on experience in Manila’sfood scene and backed by a sincerepassion for good food, Top Dog intro-duced quality, natural sausages us-ing the best and freshest ingredientsto Manila’s hungry and increasinglydiscriminating denizens.

Nurtured under the guidance of theJohn Gokongwei School of Manage-ment Business Accelarator program.

COLLEGIATE SOCIETY

OF ADVERTISING

Lead the organization as Execu-tive Vice President (SY 2012 -2013), Secretary-General (SY2011 - 2012), and AssociateVice President for Accounts (SY2010 - 2011).

Involved in the conceptualizationand scheduling of the organiza-tion’s projects. Executed variousadministrative tasks. Managedimportant documents and files.Represented the organization inthe Federation of AdvertisingOrganizations, the youth armof the Philippine Association forNational Advertisers.

UNITED NATIONSDEVELOPMENTPROGRAMMEPHILIPPINES

Knowledgeable of Mac and Windows platforms. Proficient inMicrosoft Office, Adobe Photoshop, Adobe InDesign. Interested inhistory, cultural preservation, photography, creative writing, litera-

ture, graphic design, and the business of doing good.

A full resume-- including more rextra-curricular activities and at-tended training programs or conferences-- as well as a transcriptof records and references can be made available upon request.



beyond the

There’s a reason people don’t walk aroundnaked. From the preppy polo-wearing jocksto lazily dressed video gamers, bowtie-toutingdandies to APC-worshipping hipsters—evenwhen a person doesn’t list fashion as one ofhis interests or priorities, clothes are an every-day necessity.

Wearing clothes, however, is only one leg ofthe race. Fashion design culminates in either anall-out runway show or even the simple ideaof putting clothes on a person’s back, but ittakes months and months of draping, embel-lishing, even acid dip-dyeing, to produce whatwill eventually be hanging in your closet.

‘You don’t understand, this is Alaia’

The Philippines’ fashion cycle is extremely dif-ferent from the norm. Maybe it’s the two-sea-son climate, maybe it’s the economic situation:

either way, it’s a stark comparison. Fashion mediaand even the designers themselves take a backseatto the influence of celebrities and fashion bloggers,who are walking billboards for fast fashion.

Philippine Fashion Week is also lacking an influenceon fashion trends. While Fashion Week has givenyounger designers the opportunity to get their namesout there and clients in their studios, it also shows adeficiency in directional fashion.

In the September 2012 issue of local magazine Rogue,writer Gabbie Tatad questions why mass-marketretail brands such as Penshoppe participate, “a rarepractice in international Fashion Week counterparts.”Given that Fashion Week is supposed to be a point

of confluence for true design concept and innovation,it becomes difficult for emerging designers to developtheir brands into something more than a bi-annualrunway show.

CUT

RajoMan brand manager Martin Yambao (ABEU ’10) was also surprised to find there isn’tmuch wiggle room for the new breed of de-signers. After a brief stint under family-ownedaccessories retailer Aranaz, Yambao has sincebecome indispensible in Rajo Laurel’s House ofLaurel empire. It was then that he learned put-ting clothes on a person’s back isn’t as straight-forward as it sounds.

“The journey should be, you present a collec-tion, buyers buy it, and then when you get bigenough, you have your own store na,” he shares.“Here kasi in the Philippines, the design directionis, mostly, made-to-order. And then if you’re bigenough, you have your own store.



“Parang yun yung growth and yung direction,which is kind of weird. There are no high-end re-tailers [like Lane Crawford or Neiman Marcus]that would buy you and stock you in their store.I mean if there are, very little lang, mostly in con-signers. It’s harder to survive.”

Expanding horizons

It doesn’t help that the industry is getting crowd-ed. In between mass-market retailers like Benchand couturiers like Cary Santiago, there are alot of local “brands” with ready-to-wear offer-ings manned by people who have no real back-ground in fashion other than a burning interestfor it.

Many of these people choose to work by imitat-ing or altering existing designs, without having togo through the cycles of true fashion design, suchas creating a pattern and fitting on a dress formor model—and yet they call themselves fashiondesigners. Because of this, there is a distorted per-ception of fashion, popular particularly with theyouth: those who have had no real exposure tothe fashion industry think it’s an easy job thatanyone can do.

Management engineering senior Andy Wongshares that it took a Marketing and Law depart-ment class on Fashion Merchandising Manage-ment to completely comprehend the complexity ofthe fashion industry. While she enjoyed fashion asa consumer, “the industry itself to me, seemed in-timidating borderline untouchable,” she explains ofher attitude toward fashion. “I had no family in theindustry, no nitty gritty know-how, and no formalclasses.”

From forecasting trends to dealing with inventory, vi-sual merchandising to store layout, the class openedWong’s eyes to how business and creativity mustintersect in order to be successful in fashion.

The big leagues

Let’s compare and contrast. On one hand, there’syoung fashion designer Martin Bautista who manyin the industry believe to be the next big namein local fashion design; on the other, there’s Inter-disciplinary Studies junior Adi Amor and her lineAveadena.

Bautista details his creative process for a run-way show. “I gather all my thoughts and inspi-ration and emotions and also in what directiondo I wanna go with for a collection. And then,basically that’s where the challenge comes in.How do I make these into a collection?”

Bautista pauses to look at his hands, as if toimagine them sewing together a gown for hisclient—the empowered woman—before continu-

ing, “Like yung inspiration, yung mga naiisip koat yung mga gusto kong gawin. The challengeis how to make it marketable to people, makeit wearable, make it into a piece of garmentthat’s going to last for a while.”

This is where his preferred aesthetic shows. Bau-tista’s own minimalist approach goes hand inhand with what he wants for his clothes: lon-gevity. “Parang, after twenty years, they couldstill wear it. And then of course, my team andI work on the collection, have fittings with themodels and then on the day of the show… ofcourse it’s not easy. One day before the showwe still edit,” he reveals.

Communication senior and Preview magazineintern Samantha Sadhwani is sympathetic:

“I can’t even begin to imagine how tough a

young designer’s journey is. There is so much that is

required—keeping up with the daily trends, conjuringup numerous unique ideas, making seasonal collec-tions, to name a few. It’s a really long and laboriousprocess.”

Dipping your toes in

Amor, however, operates on a completely differentlevel. She buys cloth, then sits down with a seam-stress to discuss what she wants. “I sketch it, andthen I tell her I want a detail here or there, and she’llmake it happen,” Amor explains. “Sometimes I getthe actual cloth and I show her how I want it [to]fall. Or because I don’t know the terms for it, I haveto show them a picture.”

After a loose version of it is completed—Amor esti-mates roughly 80%—they meet again for Amor tocheck if the seamstress understood her vision. Thenext time they meet, Amor will have in her handsany number of pieces, at whatever measurementsshe specified.

This also lends some insight on labor in the Philippines:many people get clothes made by seamstresses fornext to nothing, when in other countries, such skilllevel would demand a higher price point, especiallygiven that these brands are supposedly able to com-pete on the same level as real fashion designers.

This divide in such an important dimension of fashiondesign is telling. “Gucci keeps it in Italy. [It’s about]craftsmanship talaga. It’s found where you are, kasiyou control it, ” Yambao points out. “Especially the morehigh-end you go, keep it home. Keep it at home be-cause that’s what you’re selling: the craft, the quality.



Though the retail aspect talaga, you can’t beat China. You can buy a finished dress[there], wala pa yung labor dito. That’s insane.”

A call to arms

In a mix of English and Filipino, Bautista lends a democratic voice to the definition offashion design. He brushes aside technical skill or a fashion school pedigree in favor ofthe translation of emotion. “I consider a person a designer if the clothes have soul. If theyhave depth—and not just simply clothes,” he emphasizes. “Real designers are the oneswho make clothes they a person can really wear. For me real clothes should be like alanguage everyone could understand. For me, that’s the real designer.”

Getting clothes made won’t make you an industry leader, though it’s a step in the rightdirection. While there is nothing wrong with a can-do approach toward fashion, onemust give credit where it’s due. As seen in 2006’s The Devil Wears Prada, a multi-billion dollar industry doesn’t become one for nothing.

After all, everyone wears clothes.

THIS PIECEWAS WRITTEN FOR

THE ATENEO DE MANILAUNIVERSITY’S THE GUIDON,HENCE COMPLIANCE WITH

THE NEWSPAPER’S STYLISTICREQUIREMENTS. IT WAS PUB-LISHED IN THE NOVEMBER

2012 ISSUE, UNDER THEFEATURES SECTION.



lest we forgetIn the months leading up to his second ready-to-wear collec-

tion for Yves Saint Laurent, creative director Hedi Slimaneannounced that the “Yves” would be dropped. Despite thedivided opinions, one thing was for sure: the iconic fashionhouse was taking a new direction.

Unbeknownst to many, Slimane had already spent a fewyears at YSL, until the Gucci group bought the house in2000. Tom Ford took over the ready-to-wear brand, andinjected his own preference for the overtly sexy. From thenuntil 2004, the house’s aesthetic was at its most provoca-tive—and its most lucrative. Ford brought the nearly bank-rupt YSL into the mainstream; by the time he parted wayswith the Gucci group, it was valued at $4.3 billion.



Stefano Pilati’s grip held YSL for more than a decadeafter, as he rose from ready-to-wear designer to headdesigner to creative director. Despite Yves Saint Laurenthimself closing the couture house of YSL in 2002 dueto his failing health, the brand moved away fromFord’s risqué influence and rediscovered its Frenchheritage through Pilati’s guidance.

Meanwhile, Slimane found himself at the helmof another industry icon, Dior Homme, de-signing game-changing collections that

pushed the envelope of menswear. Ex-pectations were high to do the same forwhat is now simply Saint Laurent.

It would be an understatement to say thatSlimane’s follow-up to the well-receivedSpring 2013 ready-to-wear collection fell short ofthose expectations. The sophomore showing at thefamed design house left a bad taste in the mouth:a total departure from Spring, when he paid hom-age to all things YSL—the signature smolder, thepussy bows, the pantsuits, and of course,le smoking—with the distinctly LosAngeles vibe champi-

oned by Slimane. Theenergy was decid-edly grunge, keep-ing with many ofthe other Fall collec-tions, but poorly ex-ecuted. The remarkswere catty, the criti-cism fast and furious:some even likenedSlimane’s collectionto high street brandssuch as H&M, qual-ity and craftsman-

Despite its poor reception, however, it seems to be part of Sli-mane’s larger strategy. One recalls a similar story, set in the70s, with an all-too-familiar name: the designer Yves Saint

Laurent himself.

Saint Laurent continually pushed the boundaries offashion. He was not without critics. Many saw histreatment of French haute couture as tawdry,even blasphemous—but he carried on, sendinglooks down runways that went against thetide of corseting and whalebone construction.

While many of today’s classics—from navypeacoats to safari jackets, trapeze dressesto mousselines—owe their conception to Saint

Laurent, it took years before the genius of hiswork was recognized.

But more so than redefining silhouettes, he redefinedthe woman who wore them. In the 1970, that woman,the “woman of the moment,” was the elegant jetsetter

dripping with glamour and allure who followed noagenda but her own. Now, in 2013, who is

this woman? Slimane’s answer seemsto be embodied by his Fall

collection—dishelved,

unkempt girls whoseheels pound thestreets of concretejungles on a day today basis.

It certainly explainsSlimane’s otherchoices. A boutiqueopened late 2012 inShanghai, craftedalmost entirely inglass and marble—the design is con-



contemporary and sleek, a stark contrast to previous stores’minimalist baroque detailing. The label’s 2013 campaignsare black and white portraits of alt-folk singer-songwriterBeck and 17-year-old pop sensation Sky Ferreria, over thesupermodels they typically feature. Most telling, however, isthe relocation of its studio on upscale Avenue George V tothe more subversive Left Bank area, whose beatnik subcul-ture heavily influenced Saint Laurent’s designs in the 60s.

Slimane’s message seems to be loud and clear. Saint Lau-rent’s name, ambassadors and aesthetic may change, but

its direction will always be the same: forward.

An edited version of thisarticle was publishedin Rogue magazine’sApril 2013 issue underthe title “Saints & Sin-ners.”



WALKING ONA DREAMYou’d expect even some sort of friction from a23-year-old artista.

Perhaps the occasional brush with authority, or araging alcohol dependency. A history of abuse, orlinks to black channel dealings, maybe. Unresolvedchildhood trauma, commitment issues, a total lackof work ethic?

Not even.

As far as the eye can see, Gerald Anderson isthe anomaly of a generation that defines itself bythe colloquialism “YOLO”—that is, a conflict-freezone.

Foundations

In his capacity as an actor, there are no behind-the-scenes whispers about diva demands, mal-treatment of backstage crew, or locking a fellow

cast member in a bathroom stall. In his romanticlife, there are no overtly complicated love quad-rangles, questions about his sexuality, or treacher-ous two-timing. In his relationships with his family,there is no Lindsay Lohan-type crazy brewingunder the surface, threatening to ruin his career.

Do a quick Google search, even : the most scandalousitem that pops up will be a rumour that he recentlytalked to former flame Sarah Geronimo’s mother.

The truth is, Gerald’s own personal relationshipsare truly solid. He recently built a house for hismother back in his native General Santos, andflies back to see her when he can. He giveslife advice to his younger brother, Kenneth. Hismanagers and handlers seem fond of him, shar-ing more than simple pleasantries at the Star

Magic office. His showbiz BFF is Rayver Cruz,

ex-boyfriend of Sarah. He goes on boys-onlytrips with friends in the industry, such as En-chong Dee.

A fixture on the local showbiz scene since heshot to fame on local reality show Pinoy BigBrother: Teen Edition, you’d expect the so-calledZac Efron of the Philippines to have some ofa rockstar complex. Instead, you have Geraldsprinkling “po” throughout every sentence, andnothing less than grateful for everything he’sachieved so far.

Hype beast

As he sits down for the interview, there is noair of pretension, no name-dropping, no throw-ing his weight around. Gerald is easygoing andunassuming—to the point that you realize thatan impressive filmography is the only thing thatdifferentiates him from being just a name in

your cell phone.

When he isn’t killing it at the box offices withevery kilig-inducing Star Cinema offering, Ger-ald is really a guy’s guy. His eyes light up whenhe mentions his recent video game acquisition2k13, and his terminology gets technical whenhe lays down the details of his workout routine.He’s learning a martial art for a new showhe’s working on—a task that would be for-midable for some, but Gerald only expressesdisappointment that the originally scripted jiujitsu was changed out for the more cinematictae kwon do.

His vice—and the only one, at that—howev-er, seems to be adrenaline. A recent trip toLas Vegas found Gerald and friends bun-

gee-jumping, sky-diving and riding extreme

rollercoasters all in one day. Gerald is no stranger tothe thrill: he’s gone snowboarding in Alaska and div-ing with sharks, and, he adds, “if there’s somethingthat comes along na extreme din, I’d want to dothat.”

Booking it

It’s no surprise then that Gerald is steering his careerdown the path of action movie star. While his careerpegs are Tom Cruise and Brad Pitt, Gerald is alwayson the lookout for a challenge. In choosing his roles,he looks for “something that, you know, kakabahanako, yung I’d doubt myself. That’s where you workbest, eh, kapag you’re under pressure and you’rechallenged. Kasi ayaw mo naman yung paulit-ulityung ginagawa mo.”

Gerald focuses on making smart career choices, nottaking for granted even the idea of being in the busi-ness five, ten, twenty years from now. This focus is

perhaps the reason why 2012 proved to be his year,with a starring role in ABS-CBN primetime dramaBudoy and his appointment as a Malacanang am-bassador to the Mindanao peace process.

“I get to inspire a lot of people,” he shares, referenc-ing the mentally challenged Budoy he played on thesame-titled show. He then used his celebrity for thebetter cause of peace, surprising himself at the im-pact made by his presence at the framework agree-ment to create a Moro homeland.

“Yung mga Muslims sa Mindanao… kasi that wasthe first time na maraming pong Muslims na nan-doon for the signing,” he elaborates of the role heshares with Anne Curtis. “Sobra po silang natutuwana andun ako kasi they were just really happy napart ako ng… yung nangyayari, yung



Bull session

At a certain point during the in-terview, Gerald has answered allof your questions—and you real-ize that every single one of these

answers was the perfect one.

When you point out his lack ofrelationship drama, he repliesthat he has some, “just like anormal person.” When you askhow he figured out so early onthis is what he wanted to do, ascompared to most people his agewho normally don’t have a clue,his answer is that he just wentwith the flow and eventually “re-alized na I like what I’m doing,yung passion ko is acting.” When

you ask if he feels that he missedout on being young, he flips thequestion and says with a know-ing smile, “siyempre sa trabahopo namin, you get to experiencea lot of things. Siguro I just do thethings in a very fun way.”

And yet despite the controlled, cautious, al-most calculated responses, you realize thatthere is still an air of honesty about him.You realize that he really believes in his an-swers, that they most likely do come fromhim, that what you see is truly what you

get. Just because an artista isn’t a train-wreck doesn’t mean that they’re beingbrainwashed by management—Geraldis that rare combination of guarded butcharismatic, reserved but playful, discreetbut clever.

It’s exactly this talent for push and pull thatleaves people wanting more. Gerald, whoseonly online presence is a healthy addiction toInstagram, seems to know when to step inand out of the spotlight, baring just enoughto keep people interested but at the sametime, maintain a certain mystery.

It definitely works: if more than 22,000Instagram followers is proof of anything,it seems like everyone wants to keep upwith Gerald Anderson.

THIS PIECE WAS THE COVER STORY OF CHALK MAGAZINE’S DECEM-BER 2012 - JANUARY 2013 ISSUE. IT WAS ACCOMPANIED BY TWO SIDE-BARS, AS INSTRUCTED BY THE CHALK EDITORIAL TEAM, BOTH WHICH HAVE NOT BEEN INCLUDED HERE.



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i m a g e C R E D I T S

BEYOND THE CUT

All photos taken by myself. The vectorizedpair of scissors was sourced from http://cli-partist.info, although it was edited to meet

layout needs.

LEST WE FORGET

All photos taken from the Saint Laurent Par-is Fall 2013 campaign, sourced from variouswebsites, except for the photos of Rogue’spages-- the G Tongi cover was taken fromthe Rogue Facebook page (http://fb.com/rogue.magazine), while the published articlespread was taken by myself.

WALKING ON A DREAM

The profile of Gerald came from the Pre-view Men November 2011 shoot, although

the photo itself was sourced from FashionMedia PH (http://fashionmediaph.blogspot.com). The Chalk cover was taken from themagazine’s official Tumblr account (http://chalkmagazine.tumblr.com).

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