A framed photo of Jon Santos hangs on the third floor of RCBC Plaza. Shot by Mark Nicdao, it shows Jon looking dandy from a bygone era. 

The portrait is part of the Inclusivity and Diversity wall in Vogue Philippines’ seven-day interactive exhibit called “Vogue Threads,” which runs from 21 to 27 September.

DAILY TRIBUNE caught up with the comedian on the exhibit’s opening day. The impersonator, actor, host and theater performer — known for mimicking politicians, public figures and celebrities — was with his husband of over two decades, West Stewart.

The photo shoot, Jon admitted, felt almost unreal. 

“I had my quote-unquote pinching myself moment before, during and after. So truly surprised and honored and inspired that Vogue put so much importance in inclusivity, and that anybody with a story to tell can have a fashion story to tell,” said the actor, who more recently starred in theater shows such as the one-man play Bawat Bonggang Bagay and Side Show: The Musical, where he plays “The Boss.”

“I was in good hands,” he said, looking back at the shoot for Vogue. “I was really in good hands. And from the pre-shoot interview, to the bonding in between locations, to the post-launch follow-up, I was so surprised that they were so thorough in capturing every angle of the theme.”

Jon said he was grateful that the glossy saw him as more than an impersonator and felt that they captured him as Jon Santos.

“At that time, [the theme] was Dandyism and, of course, joy, which is something very important in my world. And also, it came at the time when I was starting to figure out what I could do outside of the masks, outside of the celebrity impersonations, outside of the quote-unquote kino-copya ang artista impersonation. And they saw me without all of that. They saw me in my own skin. I really, really felt honored and thrilled.”

Following its Paris debut, “Vogue Threads” arrived in Manila this September, turning the third floor of RCBC Plaza into a week-long gathering of art, fashion and conversation. The opening day brought together established and emerging voices whose works speak of Filipino craft and identity, filling the space with an energy at once celebratory and forward-looking.

On the walls hung more than 50 images — portraits and moments captured by artists such as Sharif Hamza, Mark Nicdao, Mark Seliger and Archie Geotina — curated by Miguel Rosales to reflect the breadth of Filipino perspectives. The works are available for purchase, with proceeds directed toward initiatives that sustain new talent in fashion, art and culture.

Over the course of the week, the exhibition opens itself further: six days of panels and masterclasses, where designers like Inno Sotto and Rajo Laurel speak alongside photographers Neal Oshima, Artu Nepomuceno and Shaira Luna. Members of Propaganda — the pioneering collective of the 1990s — reunite to revisit their beginnings and reimagine Manila’s creative landscape.

Opportunities for discovery are woven into the program. A portfolio review offers emerging designers, stylists, photographers, illustrators and writers the chance to present their work to seasoned mentors. A casting call welcomes aspiring models to step into Vogue’s lens, their individuality forming part of the stories yet to be told.

What threads these encounters together is a sense of “creative bayanihan,” a spirit of shared growth and mutual support. As Vogue Philippines editor-in-chief Bea Valdes reflected on opening day, the space is one where identity is not imposed but authored, and where the collective imagination of a community makes room for each singular voice.