Of rites and refinement: A new dawn for the Philippine Institute of Interior Designers

Under the storied archways of the Goldenberg Mansion, the Philippine Institute of Interior Designers (PIID) convened for an induction for its new board of inspiring and noteworthy visionaries. It was a tableau of creative synergy, where industry luminaries and their kin gathered to witness a sacred pledge to craft and community. The incomparable Daphne Oseña-Paez presided over the rites, her effortless poise lending a shimmering, Vogue-esque sophistication to the morning’s proceedings — a masterclass in hosting that bridged the gap between heritage and the now.

The narrative of the day transitioned seamlessly into the Glasshouse, an architectural gem transformed into a sanctuary of Filipino epicureanism. Margarita Fores’ catering was nothing short of a culinary love letter to the archipelago, serving a menu that balanced rustic regional soul with metropolitan refinement. It was a multisensory experience where the palate met the past, framed by the quiet, organic sculptures of Floret, whose greenery whispered of understated luxury and structural grace amid the sun-drenched glass.

As the afternoon matured, the air grew thick with a poignant, operatic nostalgia. Tenor Ramon Acoymo took centerstage, his voice traversing the diverse medley of six songs of Philippine languages with a resonance that left the room spellbound. When the final, soaring notes of Ang Bayan Ko filled the space, it served as a stirring reminder of the Filipino spirit and designer’s service to the nation. More than just an oath-taking; it was a grounded celebration of identity, signaling a new chapter for the PIID that is as culturally profound as it is aesthetically avant-garde.