Lila Almario: The Shoe Princess

When it comes to shoemaking, Lila Almario belongs to true-blue royalty.

Her grandfather, Julio Gregorio, was King of Philippine Shoemakers from the 1950s to the 1970s. Anybody who went for top quality shoes during those decades knew that Gregg Shoes was the best footwear, so proudly made in the Philippines.

Julio was originally from Marikina – the territory of the country’s topnotch shoe kings and queens – but eventually moved to San Juan. There, in the Gregg Shoes landmark store along N. Domingo Street, the crown still rests on the head of Lila’s grandmother, Francisca Garcia Gregorio, whose advice on shoemaking Lila still seeks.

Gregg Shoes was founded by Julio and Francisca Gregorio in 1937. Julio was a schoolteacher who worked in the 1930s as patternmaker for the American Hike Shoe Company. When the owner, Mr. McGrath died, his wife chose to return to the United States. Julio offered to buy the machinery. He did so by taking out a loan from the Philippine National Bank for P200, a sum so huge then that PNB required him to have three guarantors.

During the war, the Gregorios had to hide the machines from the Japanese by burying them. Through the years, the Gregorios remained steadfast in making quality shoes for Filipinos.

Lila narrates that SM retail tycoon Henry Sy fondly tells people how for a long time he was always carrying in his wallet the calling card of her Lolo Julio. "Mr. Sy says that my Lolo Julio was the first shoemaker to give Mr. Sy attention when he was a nobody then. My lolo agreed to supply him with Gregg Shoes while other shoemakers gave him the runaround."

Mr. Sy recalls that Julio Gregorio was the first shoemaker who invited the then struggling storekeeper to the Gregorio home, even offering him merienda.

No wonder that while all Gregg Shoes outlets have closed down (only the N. Domingo store still exists), SM Department Stores still faithfully carry Gregg Shoes’ popular line of shoes for schoolchildren.

Lila explains that the second- generation Gregorios decided to stop making ladies shoes in 1995. Among the third generation, only Lila and her cousin Christine Golez (who is in charge of school shoes) have remained addicted to the scent of leather.

The third among six children of journalist Ramon Almario (he was senior editor of Business Day when he died in 1978) and Lilia Gregorio Almario, Lila took B.S. Architecture at the University of Santo Tomas.

Should she be an architect or a shoemaker? Lila prayed in Baclaran for an answer, and it came in 1991 when Lila won a scholarship grant at the Politecnico Internationale Per Lo Sviluppo Industriale ed Economico (PSIE) in Ancona, Italy, where she studied Leather Design and Pattern Making. Then she worked as an uppermaker at the Polini Shoe Factory in Monte Urano, Italy, after which she worked for one year as designer and pattern maker at Gunung Sewu Pratama in Jakarta, Indonesia.

She officially trained under Gregg Shoes in 1993-94, though she actually started learning the ins and outs of shoebiz even as a child.

She started her own shoe line in 1995, with basketball star Samboy Lim and his bride Lenlen as her first clients.

Today, Lila Almario is the favorite shoemaker of brides and Manila’s most fashionable – or shall we say, well-heeled – women.

Philippine STAR: Was the knack for shoemaking a legacy or tradition you had to continue? Was there pressure from the family?

Lila Gregorio Almario: Although I grew up literally in the midst of a shoemaking business (our house was behind the factory), I was never pressured to go into shoemaking. The pressure was not on me, it was on other members of the family. I was generally left alone. I kind of found my way back into it by myself.

Or perhaps there was encouragement?

There were instances of subtle encouragements. I remember I would draw shoes as a child, and my mom would say I should go to Milan to study. I guess the idea got ingrained, but I remember once too when my eldest sister – upon seeing me coming from the factory and learning that I "made pakialam" my shoes again by putting beads and rhinestones – suggested that I work in the factory since I seem to enjoy it anyway. I answered, "Never! I will never work in the factory!" I went on to study architecture in college, after all, I wasn’t going to become a shoemaker. After college, I did some architectural projects but realized, through experience and prayers, that it wasn’t for me and here I am, going to the factory every day, sometimes even on Sundays, and designing not houses, but shoes.

Funny, it is only recently that the word "legacy" has any real meaning for me. People would often drop the word when they talk to me about Gregg Shoes. I actually didn’t think about continuing a legacy. Shoemaking just came as something I could spend my whole life doing to the best of my ability.

When I was younger, encouragement always came from my father, who thought his children were the best, of course! He died almost 25 years ago, but I guess his belief in us was so strong that I can still feel it until now. Today, words of encouragement come from across the seas, from my family and best friends who all happen to live abroad. Thank God for text messaging and e-mail.

Tell us about your exposure to the shoe industry as a child. What were the early lessons you learned?

As a child, I had the good fortune of seeing how well-built shoes were made and sold. I would watch my mother select designs and correct patterns. Although I learned pattern-making techniques from Italians and Germans, in one phase of pattern-making I would revert to my mom’s tried-and-tested methods of correcting patterns, which she herself taught me.

I must have been about seven or eight years old when I learned to sew and use the sewing machine by watching my grandmother. I learned to sew so that I could make Chinese jackstones and sell these to my classmates. She later taught me the best way to cut the shoe patterns on real leather. She is now almost 92 years old, but I still go to her when I am stumped about certain designs which I want to execute. I ask her about anything in the shoe.

She doesn’t always agree with my designs, but she tries to help me out when I ask her.

On the artsy side, as a youngster, I was fascinated by lucite heels and printed leather and my toys were buckles, buttons, gromets, laces and my make-believe hills were mounds of scrap leather. What did I learn from all that? Well, raw leather can sure make you itchy, and you can make pretty bracelets out of little pieces of leather and gromets (metal eyelets).

Playing "office-office" in the accounting office of my family’s company exposed me to the bottom line. Little did I know that all those years of hearing about payroll, sales, material purchases and the like would serve me well.

At what age did you design your first shoe?

I don’t remember actually. I must have been about seven or eight years old. Later on, I did some sketches for the Kiddie Journal section of the Times Journal. This I remember, it looked like a clog, but had a sling back.

Who were your best mentors?

I wish I could say my grandfather, Julio Gregorio, who was the founder of Gregg. He unfortunately died when I was just seven years old. Several come to mind. My German teacher, Prof. Bruno, who, besides teaching the technical aspects of pattern-making, impressed upon me his love for, and pride in his work. He told me how much it has given him back, and his satisfaction in his chosen line of work showed. Then there’s Auggie Cordero, who taught me the nuances of dealing with couture clients. Experience, of course. But mostly, I go by instinct, which is my 24-hour mentor.

Did you have other dreams? Was shoemaking always the focus of your interest?

I always was inclined towards the arts. In my youth, I studied painting and art with Cheloy Dans. I thought I would be an architect, and pursued this in college. The focus on designing shoes exclusively came much later.

Which do you consider your best works?

I can think of two bestsellers, and they’re both mules. They are quite simple but always flatter the feet. They are also very practical for today’s Filipina.

What’s the shoe design you wish you had done?

The "Vara" pump by Ferragamo. It has been reproduced in the thousands and has been sold worldwide. This is the low-heeled pump with the buckle and the gross grain ribbon. Also the driving shoe/moccasin of Tods by Diego della Valle. I wish I could make lovely, elegant yet whimsical ballroom shoes. This seems to be from another era though.

What’s your favorite decade?

The Fifties, so elegant, so daring too. And the Sixties for the fun of the square toes and big metal buckles.

Who or what influences you?

Fashion and the times. Creative designers, we have so many. Here, there’s Joe Salazar, Jojie Lloren, and many more. There are personalities who dare you to do more and design beyond the usual fad of the season.

Who are the fashion designers you make shoes for?

Joe Salazar, Auggie Cordero, Rajo Laurel, Roy Gonzales, Patrice Ramos-Diaz, Edwin Tan, Ben Farrales, Alex Bitong, Frederick Peralta, Inno Sotto, Loretto, Paul Cabral, Philip Rodriguez, Ricci Lizaso, Joel Bautista, Jun Ricaforte, JC Buendia, etc.

What’s the shoe trend you wish you could start among Filipinos?

Filipinos are a conservative lot, and are inclined to play it safe. Most opt not to be different, satisfying themselves with buying the latest shoes with a hint of the latest trend in the details. We are too shy and would rather just blend in with the crowd. Watch the French and the Italians, how they can mix and match tops and bottoms and accessorize with scarves, hats, jewelry and then wear high-heeled Roman sandals or chic embellished pumps. And how confidently they strut! Everyone’s allowed their quirks and nobody minds. How fun it would be!

Which were the most difficult shoe designs you had to make and for whom?

The most difficult shoe to make, for me, is always, the basic plain pump. The lines, shape and contour have to be perfect, and the heel just so. Remember, no adornments to distract you from the beauty of the feet and the shoe. It has to enhance, flatter, and yet be comfortable. It has to work! For whom? For me, for all the ladies who care to look good.

What makes you different from other shoe designers?

It’s basically instinctive, what I do. It is my passion, and the ideas which come up in my mind’s eye I’d like to share. I’m a woman, so I can actually use the shoes. Also, I believe in the Filipino. This I cannot say enough of.

Why is it that most shoe designers are male?

This question makes me pause, and I wonder too. Is it the very complicated process of shoemaking that make women shy away from this? Would they rather just go out front and wear them rather than create them? I cannot answer about the sexes. I just know that shoemaking is a three-dimensional, esthetic as well as technical craft. It sounds like the considerations of an architect.

For you, who are the greatest shoe designers?

There are so many of course, the popular ones are Salvatore Ferragamo, Manolo Blahnik, Jimmy Choo, Charles Jourdan, Knight of Nike. My favorites are Roger Vivier, Rene Mancini, Andrea Pfister, for their beautiful, elegant designs and Diego della Valle for his moccasins.

What are the craziest or most unusual shoes you’ve made?

One of the most unusual we’ve done was for Carla Guiao. They were a pair of stiletto slides with just a diamond-shaped patch of silk which was fully-beaded, seemingly floating on top of the feet. It was held up by a see-through vinyl band. I usually make crazy designs when there’s an FDCP exhibit. One of those I’ve done was a denim patchwork boot which to my surprise, everybody liked to wear! Even my nine-year-old daughter Marielle. Hey, maybe we’re coming out of our shy mode!

What’s the worst thing about our local shoemaking industry?

Lack of available materials, lack of government support for the industry. Studying and working in Italy really opened my eyes to this. In Europe, they never stop developing better ways to do things. A decade ago, we went to a factory which manufactured machines for shoemaking, and we saw a machine cut leather using high pressurized water. Yes, water. It was mind blowing. We have so much talent, and it’s too bad that we keep exporting these, instead of our finished products.

Is it true the local shoemaking industry is dying? No more skilled laborers, no more raw materials, and everybody seems to be having their shoes manufactured in China?

I wish I could say no, but I hear about factories closing, and one department store owner even related to me how one of his suppliers has closed shop and gone abroad with her daughter to become Japayukis. Isn’t that sad?

Yes, we do have very few local raw materials, and yes everyone is having their shoes made in China, and that is too bad because we have so many very good workers! Evidence of this is how they can come up with quality shoes given our limited resources. Properly-trained and motivated, Filipinos are really reliable and creative.

Are Marikina shoemakers a vanishing breed?

Well, 90 percent of my workers come from Marikina, although not all Marikina shoemakers are katutubong Marikina anymore. Some are migrants. But there really is no formal school for shoemakers. It’s all by oido. There are seminars though, on shoemaking.

Who are the women you’d like to design shoes for? What would you make for them?

Carrie Bradshaw, the character in Sex and the City; Renee Zellweger, Nicole Kidman and more. I would love to make them sexy sandals, voluptuous pumps, elegant mules.

Tessa Prieto Valdes, we all know how daring and non-conformist she is. I’d like to match her get-up with some far-out shoes. We always see her hair, what about her footwear?

Have you ever made shoes for Imelda Marcos?

Of course. She’s really a shoe lover. She orders four to six pairs at a time. I’ve also made for President Cory Aquino, as well as Loi Ejercito Estrada.

Is the fondness for shoes a Pinoy thing? Why is this so?

Collecting shoes seems to be a very Pinoy hobby. I guess it’s because Philippine-made shoes are so affordable and good. That’s why when tourists go shopping here, they go crazy over our shoes.

Why are shoes like Blahniks so pricey? Is it the hype or the quality or what?

Shoes using top quality materials really do not come cheap. What makes a good shoe is not seen, but felt by the wearer. Unknown to the public is the fact that factories have to pour out a lot of money into well-engineered shoe lasts – these are the forms from which the shoes take their shape – and in the other materials which are used inside the shoe to ensure durability and comfort. Then of course, there is the pricey, soft supple hides which we use on the top part which the customer can see. In Blahnik’s case, you are paying for good quality and the designer’s talent. It becomes so expensive for us because of our peso-dollar exchange rate.

Name your 10 best-dressed customers.

Mrs. Mellie Ablaza, the late Inang Paras Gonzales, Sen. Nikki Coseteng, Imelda Marcos, my aunt Pacita Almario.

In terms of flair for shoes, name 10 of Manila’s most well-heeled women.

Angel Jacob, Daphne Oseña Paez, Mandy de la Rama, Josine Elizalde, Imelda Marcos, Susan Laudico, Ambassador Regina Sarmiento.

You’re also into bags. What made you go into it?

Ever since I started on my own, I have always had a bagmaker. I grew up thinking they just really go together.

Does the terno mentality still prevail? Same shoes as bags? What’s your rule?

Yes, especially for formal affairs. How can you go wrong? It’s also fun doing bags which have details that echo the design of the shoes, or the dress. And that is why I consult with designers like Joe and Auggie, so that we can come up with a total look.

But there are no rules. For casual clothes, practicality prevails, and as long as it doesn’t hurt the eyes, the different shades or textures when choosing your accessories can enhance your look.

Which bagmakers do you respect?

Judith Leiber, they’re really not only bags, but little treasures. Bottega Veneta, Nazareno Gabrielli, Courrege, Roberta di Camerino, Prada, Chanel. Hermes for the sheer status symbol their products exudes. Louis Vuitton for endurance with style.

Why are women being asked to pay so much for certain bags? Like Hermes’ Kelly bag? Again, is it all hype?

Probably, but in some cases, some handbags are really difficult to make, and they can consume a lot of leather. The pricey ones do use only the best skins, and are usually handmade, which can cost you a lot.

Your advice to shoe and bag freaks.

A daughter of one of our good clients tells me that her mom goes to me to have her shoes done as her therapy. I say, if it makes you feel good, go for it. You probably deserve it anyway.

What’s your ultimate dream? Build a shoe museum?

Funny you should ask that. That was my thesis in college for my degree in Architecture. I designed a Shoe Center with a factory, a store and a museum. My ultimate dream is to be able to sell my shoes in the international arena. Not a very original dream.

Your favorite shopping and shoe-hunting places? Your best finds? Your favorite shoe-watching places in the world?

Shoe-watching places: Milan, Paris, touristy Rome, New York. Shoe-hunting anywhere in Italy, even the small quiet towns. Best finds for me with the diminutive feet (size 4 1Ú2), it is a challenge. Soft, handmade moccasins and suede boots from Italy. I usually end up getting the store display because of the small size, and sometimes one foot is faded from being in the show window.

What shoe trends are you pushing right now?

Strappy wedgies for casuals and evening mules or sandals using rich, elegant fabrics.

What’s "in" now?

Round toes, a bit squarish, for casual wear. But everybody’s still hooked on strappy sandals.

What do you do when you’re not working on shoes?

I am starting to play badminton, but there’s actually one thing I love doing, and that’s cooking. I love to cook Italian, Thai, Japanese and so many others. I enjoy experimenting on new dishes for my family and friends. Whenever I go to the States, I know that from Day 1, I would be cooking for my brothers and sisters. We all look forward to the buying, cooking and partaking of our old favorites and new dishes while enjoying each other’s company.

You belong to the third generation Gregorio shoemakers. Any budding shoe artists among the fourth generation?

My son Monty, when he was about 10 years old, surprised me by just gathering little bits of leather and making miniature shoes. Can’t help but think he will take over one day. He’s now 18, is into the usual things boys of his age do now, and feigns disinterest in making any more of his little creations.

* * *

Lila Almario’s shops are located at the second level of Rockwell’s Power Plant Mall (tel. no. 898-1838) and at 151 N. Domingo Street in San Juan (724-4732).