This hand-woven leather, silk and satin bolero was constructed out of different cords and later adorned with hand-sculpted monkeys for the Metrowear Icon show

In the ’80s, Wynn Wynn Ong was a fashion forward woman who was strapped for choice when it came to jewellery. Her family were all avid collectors of such, but for the life of her, Ong could not find the bold statement pieces her heart so desired to match her inclination for donning stark, asymmetric clothing.

Instead, to her dismay, the designs du jour were traditional matching sets. “You know,” Ong says, “those tiny little chains, a solitaire, a single strand, and studs.” Frustrated, she ended up making her own. This was, essentially, the awakening of Ong’s artist within, an extension of herself that, unbeknownst to her at the time, would later be celebrated.

Born of her insatiable appetite to learn, the educator (she taught literature for almost a decade) found herself a student once more. Pushing the envelope on her own self-perceived boundaries, she dabbled in other crafts such as gold-smithing, wood carving and staining, lost-wax casting, as well as miniature painting to put her untapped talents to the test.

18k gold bracelet set with four gemstones

Expressing herself in more ways than one, she went on to create intricate heirloom jewellery and accessories, followed by minaudières, then ornamental objets d’art along with exquisitely embellished pieces such as cabinets and trays for the home. Most recently, she tried her hand at fabulous couture featuring jaw-dropping jewellery elements.

“I do not base my designs on what sells or what won’t, on which Pantone colour is in or what is trending. I decided early on what my brand was and what it stood for. I knew I was not going to make pieces for everyone. It was enough for me that the few pieces I made were chosen not just for their beauty or complexity, but because the wearer understood what it took to give birth to that one particular, singular piece,” says Ong.

Hand-sculpted in wax, the Nauty Girl depicts a deep sea nautilus in its natural shell, it is lined in suede and embedded with 688 pearls. Her eyes are made of polished fluorite

In the span of 16 years, Ong had already created quite the legacy and Jeannie Javelosa, Yuchengco Museum’s curator and a dear friend, pounced on the opportunity.

Javelosa broached the idea of an exhibition last year and Ong accepted the challenge. As the two began to formally plan, they agreed that it would be more relevant to mount the exhibition as a retrospective. That way, “It would enable a learning component —the thought or creative process—as well as provide a visual representation of growth and evolution and how design moves and mutates,” she explains.

Ong then commenced a painstaking selection process, culling pieces from her studio’s archive and personal collection, as well as from client records. Since it was a retrospective, both designer and curator concurred that it was essential to have pieces from each collection as well as to represent each major technique. “We have consistently only made singular pieces,” says Ong of her daring designs, “so we had to request pieces on loan from clients. Some were furniture pieces being used in their drawing rooms and they knew it was going to be a lengthy exhibition!”

Burda barong depicting endangered Philippine birds

As such, the Wynn Wynn Ong: Redefining Boundaries retrospective (a must-see that is open to the public until 15 June) fi lls the three stories of the museum with whimsy and those who see it, with awe. On the ground floor, you’ll find her Inspired Chaos section showcasing her one-of-a-kind jewellery and accessories (starting with wire-based work and stranded pieces from 2001 to the latest, the Burda Barong) and elaborate pieces for the home; the second fl oor features complex illustrations of her Jewelmer Joaillerie collaboration; and on the third fl oor, she proudly displays designs from her Couture: Sartorial Symbiosis, a collaboration with the Savile Row-trained designer Milka Quin for the Metrowear Icon Show last year.

“I love the [exhibition] title and I have another perspective on it,” shares Ong. “I entered the design world without any formal training in design or in gemology. My undergraduate degree was in business management and my graduate studies were in business administration and education; so when I started designing I did not have pre-conceived notions of what I should or should not do. I only knew that I wanted to create the forms and shapes I had in my mind and chased those visions. Without known parameters, I had no boundaries to restrict me.”

The back plate of this gown was created through a meticulous array of processes

As retrospectives go, these are typically once-in-a-lifetime achievements. So what is left on the to-do list of the indefatigable and iconic Wynn Wynn Ong? “When I started designing, recognition was the farthest from my mind so I’ve been fortunate to receive continuous affirmation of my work. I would like to have a little more time to do more leisurely things like read, write, cook, and to create internal spaces and gardens. I’d like to do things like take up Mandarin and brush up on my fast-eroding French.... there are still so many things for me to learn!” she says. Knowing Ong, she will flawlessly juggle all these and more.

Photography: Jinggo Montenejo | Location: Yuchengco Museum | Make-up: Apple Fara-on of MAC Cosmetics | Hair: Jaymar Lahaylahay of Cynos Inside Haircare