P-Pop Super Group BINI is on the cover of Vogue Philippines November

For its November 2024 issue focused on life’s different luxuries, Vogue Philippines has Bini on its cover. Dressed in Louis Vuitton and shot by Renzo Navarro, the Filipino super group has been making waves around the world, which they share in the story written by Gaby Gloria was a dream and manifestation. “We used to edit pictures of Bini on a stage with a lot of people watching,” says Colet, one of the main vocalists of the group. “I also said that we’ll have five million monthly listeners on Spotify by 2025. It happened, but earlier,” adds Jhoanna, the group’s leader. “So it’s working. You just need to say it.” In this issue, Vogue Philippines also launched “Closet Confidential,” a series that looks into the wardrobes of different global creatives. “Through their eyes,” Ticia Almazan writes, “we learn how these creatives honed tastes, discovered favorites, got things right, and got things wrong. For fashion editor Benjamin Canares, that’s the joy of it: ‘I look back on some things and I’m like, what was I wearing?’ he says with a laugh. ‘That’s the fun in fashion.’” After getting into an accident that left her temporarily immobile, Vogue Philippines features editor Audrey [...]

P-Pop Super Group BINI is on the cover of Vogue Philippines November

For its November 2024 issue focused on life’s different luxuries, Vogue Philippines has Bini on its cover. Dressed in Louis Vuitton and shot by Renzo Navarro, the Filipino super group has been making waves around the world, which they share in the story written by Gaby Gloria was a dream and manifestation. “We used to edit pictures of Bini on a stage with a lot of people watching,” says Colet, one of the main vocalists of the group. “I also said that we’ll have five million monthly listeners on Spotify by 2025. It happened, but earlier,” adds Jhoanna, the group’s leader. “So it’s working. You just need to say it.”

In this issue, Vogue Philippines also launched “Closet Confidential,” a series that looks into the wardrobes of different global creatives. “Through their eyes,” Ticia Almazan writes, “we learn how these creatives honed tastes, discovered favorites, got things right, and got things wrong. For fashion editor Benjamin Canares, that’s the joy of it: ‘I look back on some things and I’m like, what was I wearing?’ he says with a laugh. ‘That’s the fun in fashion.’”

After getting into an accident that left her temporarily immobile, Vogue Philippines features editor Audrey Carpio pens an essay on a, perhaps, maligned luxury of life in “The Art of Doing Nothing.” “In today’s culture of constant optimization and acceleration, much of these traditions are being sloth-shamed by productivity gurus and LinkedIn cult leaders. I know I feel guilty for losing two months of my life to an injury when I should be out there grinding like everyone else. But should I?” she asks.

Also in this issue: Pio Abad’s Turner Prize-nominated exhibit, Stephanie Syjuco’s unearthing of the Manila Chronicle’s photo archives, Completedworks’ Anna Jewsbury’s love of contrasts, and Anthony Ramirez’s work with Abel Bangar.
In Vogue Man Philippines November, NBA star and style guy Kyle Kuzma is on the cover, who talks about the parallelism of his sport and his fashion sense. “Being a basketball player is its own form of art and its players are artists,” he says. “As a player [I think] I’m very versatile when I approach games [because] I tend to look at it in many different ways, and with fashion, it’s the same thing.” Vogue Man also features chef for the people JP Anglo, musical artist, dancer, and Jungkook choreographer Brian Puspos, and the duo behind the label Construction Layers.

“Of all the many definitions of luxury, the one I find most intriguing is Daniel Langer’s, ‘creation of extreme value’ for an individual, or a community,” writes editor-in-chief Bea Valdes in her editor’s letter. “Particularly because its meaning is personal, the specific things we each find pleasure, satisfaction or the greatest comfort in, exist in limitless multiplicity.”