The Preview 30 Icons

It was 1993, and a young Lisa Gokongwei had just returned from New York City, the epicenter of magazine publishing, when ideas and inspiration struck her. At that point, the Philippines had a few glossies on newsstands and bookstore shelves, but newsprint publications were still the dominant medium. The magazine industry was, at most, a relatively untapped space.

Commercially, fashion made the most sense as a starting point, but more importantly, it spoke to an audience that was beginning to pay attention. “When Preview started, there was an audience that was waking up who were ready for real, local, Filipino fashion,” she recalls.

With the green light and an investment from her father, John Gokongwei Jr., Lisa assembled a team from the publishing and advertising worlds: Leah Puyat as editor-in-chief, Raymond Lontok as creative director, and Myrza Sison as fashion editor. Together, they launched Preview in 1995, which would become the pilot publication of what is now the local publishing giant, Summit Media.

Over the last 30 years, Preview has gone through multiple iterations, navigating the shifts of an ever-changing media landscape. Its transition to a fully digital brand in 2018 didn’t erode its presence, but rather, it reinforced its ability to adapt and stay relevant. “Preview is a strong brand because whoever the editor is, it’s able to understand the spirit of the era,” the Summit Media President says. “We are not bound by a certain platform. Preview will always be where our audiences are, whether that’s in a magazine, on socials, or walking down the street.”

What has remained constant are the values that shaped Preview from the beginning: a commitment to showcasing Filipino talent, a celebration of diverse forms of beauty, an emphasis on creativity and self-expression beyond labels, and a willingness to evolve.

Its longevity isn’t just because it has kept up with the times—it’s because it has helped define them.

A call from Lisa Gokongwei marked a turning point in Leah Puyat’s career. Then a contributor at The Manila Times, Leah was invited to join a new publishing project: a magazine that would bring together fashion, celebrity, and culture in a fresh, more dynamic way. She was offered the role of editor-in-chief, leading what would become the founding editorial staff of Preview.

Soon enough, the newly minted EIC would huddle together with Myrza Sison and Raymond Lontok as the lean team of Preview, who had the behemoth task of putting together a glossy fashion publication in a pint-sized office. With no assistants or interns, the team did everything themselves—from pulling out clothes for shoots to taping soles and assisting with makeup and hairstyling retouches. “It was guerrilla publishing,” she recalls. “But we had this spark. We just had this chemistry, and we knew what we wanted in the magazine.”

And while she was, in paper, helming the ship, the title of “editor-in-chief” was one that she wasn’t all-too comfortable with. “I always felt it was a team effort,” she says. “For the longest time, I would just say, ‘I worked with Preview.’ The title felt too heavy.”

From the outset, the magazine positioned itself differently. It aimed to make fashion feel less exclusive and more like a space for creativity and personal expression. “We didn’t want it to be about conforming to trends,” Leah says. “We wanted a more insider tone—less formal, more fun.” That vision extended to its celebrity coverage, which leaned away from hype and toward more intimate, thoughtful storytelling.

They also made space for emerging voices—young photographers, stylists, writers, and personalities who hadn’t yet been given a platform but clearly had something to say. Leah’s last cover as an editor featured Wilma Doesnt, a choice that reflected the team’s early commitment to challenging the industry’s narrow definitions of beauty. “We didn’t use the word ‘inclusivity’ then, but that’s what we were doing,” she notes.

The magazine didn’t shy away from feedback, even when it was critical. A letter once questioned their decision to pair Armani clothes with department store shoes. The team published the comment and responded directly, standing by their belief that style wasn’t about price points but about point of view.

Three decades later, the ethos of Preview has remained intact. “It really started as a passion project. We didn’t think in terms of legacy,” Leah says. “But even now, having stepped away from fashion and events, I still feel connected to it. Preview is always part of me.”

“One day, Raymond Lontok picked me up from my apartment and said, ‘Magbihis ka, you're going to meet Lisa Gokongwei and you're going to be the first fashion editor of Preview,’” Myrza Sison narrates from memory. “I'm like, ‘What?!’ Apparently, we were to launch the first fashion magazine of Summit Media. And my life has not been the same since.”

It was the mid-’90s and Myrza was fresh off an international modeling stint. What followed soon after was a whirlwind of makeshift shoots at guerilla locations, last-second edits before printing, and making do with what they had. Being trusted with Summit Media’s pioneering brand was a tough ordeal, but it was a task a 20-something Myrza, joined by Raymond and Leah Puyat, accepted with much gusto. 

“We were a team of three, we had very meager resources and were expected by ourselves and by the publishers to create world-class shoots. We really felt like we were on the brink of something really important and revolutionary that was about to break through.” she says proudly.

At the time, fashion magazines were all about the glamazon, gilded in avant-garde couture and black eyeliner. So when Preview launched its inaugural issue with a barely done-up Tweetie De Leon wearing an Armani bathing suit, things really took a turn, and for the better, Myrza supposes. “We were the new kids in town, and we were shaking up everything you once believed about fashion and how Filipinos should dress. We were fresh. We were pared down,” she emphasizes. 

Times may have changed, but the ideals of the title have not. What’s shifted is a matter of access. “The platforms and the methods of consumption of fashion information might change,” Myrza says, “But the story remains the same: To bring fashion to those who seek it, but in different ways.”

Tweetie De Leon was already contemplating the conclusion of her modeling career when Myrza Sison gave her an offer she couldn’t refuse. In Raymond Lontok’s home, she sat in front of a camera, wearing a floral Armani swimsuit, and with her tresses tucked behind her ear. With a flash, she had her portrait plastered on the inaugural issue of Preview Magazine. 

The advent of the Preview girl began with Tweetie, and it certainly did not end with her either. “I couldn’t pass up the opportunity to be part of something new, which had great potential to be big and a resounding success in the future,” she says. Being the face that launched a thousand (and more) Preview girls was something the model-actress knew was a big deal, but she was unaware of the sheer magnitude it had decades later. 

“I didn't understand the impact it would make at the time because whatever is available now was inconceivable at that time,” she explains. “But because I trusted in the team and I knew that they were capable of bringing the whole concept into fruition with much magic, I knew that it was going to be something in the future.”

While her days of fronting glossies may have come and gone, Tweetie still beams with pride to be part of something bigger than she is. Behind the camera, she also served as an editor for Cosmo Bride, rebranded later as Bride and Home, a title also housed by Summit Media. Quite literally from the onset of things, Tweetie witnessed the evolution of the company and the publishing industry, and is proud to have done so.

“Summit had exploded with so many titles, Preview being the anchor of the publishing house. And it had become the Bible of everybody. And I was part of that,” she states.

Perhaps no name is better associated with the “golden age” of  Filipino fashion publishing than Pauline Juan. A titan of the industry who was Preview’s head honcho for a monumental 16 years, Pauline is someone Summit Media President Lisa Gokongwei-Cheng describes as “an editor who comes once-in-a-lifetime.” But before her tenure as editor-in-chief, Pauline was simply a girl going to her friend’s house for “gimik.”

“I’m close friends with Lisa's sister, Marcia,” she recalls. “And one time we went to their house to hang out and saw Lisa, Myrza, Leah, and Raymond working on the first iteration of the magazine. That was the first time I saw it.” Pauline would later find herself as part of the editorial staff, styling shoots and finding her footing in an industry that was still in the process of burgeoning. “Maybe I’ll work there for a while and then go back to broadcasting,” she remembers pondering. “And then I got stuck for 16 years.”

Many refer to Pauline’s time as a pivotal period not just for Preview, but for the publishing landscape as a whole. With the dawn of digital, editors such as herself had to think quickly. It wasn’t enough to adhere to industry standards; they had to be two steps ahead of it. “We always wanted it to be more than what you ever thought it could be,” she shares.

Predating the publication’s website as we know it today, StyleBible.ph became one of the most tangible manifestations of Pauline’s gutsiness. Under her reign, Preview also became the first Summit Media title to have its own social media arm. It was imperative that she distinguished the content that got released in print and on digital, ensuring both of them attracted their own loyal audiences.

Upon taking the reins, she made it a point to breathe new life unto the proverbial Preview girl, even if they didn’t have a word for what they were aiming towards yet. “We always used to make sure that there was ‘a mix.’ When we did the Best Dressed list, which is arguably the most popular coverage that we had,” she narrates. “We really made sure that we had different styles, different body types, different complexions. Later on, the millennials coined it as diversity.”

Anecdotes of people who would use Preview as an adjective or of province-based readers who would feel seen through their content serve as Pauline’s most cherished accomplishments with the brand. The years and years of brainstorming, shooting, and closing sprouted into something bigger than the glossy itself. “It became more than a magazine. It became more than just me and the editorial team and the publishing house,” she articulates. “It expanded to include the people who read it, and the people who loved it, and the people who grew up with it.”

The visual language of Preview’s print era—layered references, cinematic color, and sly wit—was a lexicon painstakingly built by Vince Uy, who spent more than a decade steering the magazine’s creative direction.

While working in advertising, Vince began contributing illustrations to the magazine. It was a personal passion project at first—an outlet for his interest in fashion—until it evolved into something bigger. “Preview is all about creating a space for the audience to really dream and enjoy the fantasy of what fashion has to offer,” he says. 

On set, this meant treating fashion as transformation, not just polish. Celebrities known for staying in their lane found themselves styled as goth icons, Stepford wives, sea sirens, or rock stars—roles that pushed their image and expanded the visual vocabulary of local fashion. “Fashion has no rules, and I’ve always believed that,” he explains. “With our work, I wanted to continuously communicate that idea.”

Some of Vince’s most iconic work blurred the lines between editorial and spectacle. A now-legendary “It List” issue brought together 10 then-rising stars—Anne Curtis, Bea Alonzo, Bianca Gonzalez, Iza Calzado among them—each given their own fashion story, with the gatefold cover dusted in Swarovski crystals. A tribute to Alexander McQueen featured Georgina Wilson in dramatic beauty looks and sculptural pieces, shot across multiple locations after a blackout disrupted the production. For a cover with Bianca Gonzalez, Vince dove deep into research, referencing icons like Darna and Gloria Romero in a modern Filipina homage, with a shoot that ran until 4 a.m. In another milestone, Preview became the first glossy in the country to spotlight trans women in a full editorial spread—an idea Vince had been pitching for years, and would become a prototype to Preview’s monumental Pride covers.

“What I love about Preview is that it shows that fashion and style are interconnected with our lives. You can create wonderful messages through fashion,” Vince says. “With the work that we did at Preview, there’s so much meaning behind it.”

Part of that message came from who got to be part of the conversation. The team made it a point to open the doors wider. “It was just really about looking for more people to feature, looking for new talent, looking for fresh perspectives—even with photographers, makeup artists,” he says. “That has always been the push.”

Even as the industry shifted, Preview embraced change. Long before timelines and Reels became the norm, the team had already integrated augmented reality and interactive formats into print. New platforms weren’t disruptions, as they were extensions of the creative system. The visual imprint remains. Preview’s instinct to challenge, reframe, and reimagine—while holding onto the joy and fantasy of fashion—continues to define its creative DNA.

Having dedicated a decade of her life to Preview as fashion director, Daryl Chang views her role as more of a conduit than a curator. “It was a storytelling on how Filipino fashion could be seen,” she states. 

She underscores that her job was never done solo, as she was always in close collaboration with Pauline Juan and Vince Uy, editor-in-chief and creative director respectively during their time. The “magic” they cultivated was grounded on mutual respect for each other’s ideas, which resulted in some of “the most ambitious, thoughtful, and boundary-pushing work” the industry had yet to see at the time. “We pushed for editorials that merged Filipino craftsmanship with a globally editorial lens, helping local designers gain visibility beyond the traditional circles,” Daryl says, adding how utilizing the possibilities of digital was a strength of their time.

Much has changed since Daryl’s time with Preview, with the playing field widening due to the prevalence of social media. “And that’s great,” she caveats, “It's no longer just editorial or runway credentials. Creatives today can build their own audience. They can define their own aesthetic and drive trends independently.”

The title of “fashion stylist” in the local industry may well be synonymous with Liz Uy, who helped push the role into the mainstream eye. But before she was front and center as one of the original it girls, Liz had worked her way up the Preview staff box, starting out as an editorial assistant before becoming a fashion editor.

In the early 2000s, the Preview office was run on sheer resourcefulness. “There were only seven of us,” Liz recalls. “I was basically an all-in-one: styling, steaming, ordering food, sourcing, returning pullouts—without any assistant.” It was in this stretch-thin environment that her instincts and work ethic sharpened, becoming the foundation of her now deeply embedded presence in the local fashion landscape. “That experience honed me. It shaped who I am today.”

She came into the fold with a reverence for the publication that shaped her earliest ideas of fashion. Growing up in a traditional Chinese family, weekends were spent flipping through magazines at home, with Preview among them. “It was sharp, stylish, and ahead of its time,” she says. “From then on, it was a dream to one day work there.”

If the magazine offered a gateway to fashion as a reader, it became a mirror of a cultural moment as she stepped into the spotlight. One of the most defining covers of her tenure wasn’t about styling a celebrity but being on the cover herself. Dubbed the “It Girls” alongside her close friends, the cover—and the now-viral Call Me Maybe video that accompanied it—signaled a shift in how fashion and friendship could intersect publicly. “It wasn’t just about us,” she reflects. “It was about a shift in how women were expressing themselves, and Preview captured that beautifully.”

Beyond the labels and the virality, Liz saw her work as a platform. Alongside the fashion direction, there was a deeper mission to champion local creativity, with emerging designers, stylists, artists, and voices that hadn’t yet been given space. “We loved discovering gems and giving them room to be seen. It was important to wear local proudly and to support the community.” 

More than a label, her Preview years were a launchpad—for her styling career, for a cultural shift, and for a new understanding of fashion’s reach. 

“Preview was—and still is—a space where fashion, lifestyle, culture, art, and even pop culture come together with intention. And while we never claimed to shape it all, we were proud to be at the center of that creative movement.”

The general public had quite the reintroduction to Isabelle Daza after her first Preview cover came out in 2009. “I got an endorsement for a beer brand. That was major because they choose very specific girls for that brand. They have to be sexy,” the show biz scion shares, noting how monumental her S&M-themed cover was for her. With sibling duo Liz and Vince Uy in the team, Isabelle gained a core memory that impacted her career for the better. “It was a really raunchy, sexy cover which I was so into because it was fashionable but also daring,” she states.

The OG it girl fondly recalls the experience of opening up a subscription package from Summit Media and seeing the Preview editorials first-hand. “You opened the pages and it still smelled so new. And then you see the editorial laid out in hard copy. It was such a different feeling of pride,” she shares. A shoot that cemented itself in Isabelle’s memory is the Olympics-themed cover she shared with her fellow it girls. “And then we did the Call Me Maybe video after that shoot,” she adds, “That went viral before being viral was a thing.”

With Preview christening her and her gal pals as it girls—a title they admittedly didn’t make themselves, but willingly accepted anyway—Isabelle acknowledged how the recognition shaped her fashion sense. “I think being in the fashion and showbiz industry and working specifically with fashion magazines like Preview really helped me enhance my style,” she states. “It’s more than your face or your name. You have to be able to live up to it, right?”

In exploring the bounds of her style, Isabelle referred to Preview as her “Bible” to look towards. With insights on the latest trends and the Filipino brands worth knowing, she was able to come up with a look that was completely and authentically her own. She wishes for the title to continue this mission, for the girls who’ll inevitably follow in her footsteps.

“When you say ‘Preview,’ it’s a big deal,” she says. “And I’m so, so proud to have been a Preview girl ever since I started my career.”

At face value, Martine Cajucom-Ho has lived a life well-lived, documented through a manicured Instagram grid complete with a pleasing color palette. For the it girl and Sunnies Studios co-founder and creative director, her life has always been about putting in the work, an effort that’s constantly recognized and celebrated through Preview.

“When I think of Preview, I think of how it’s been there for every milestone in my career. I’ll never forget the email saying I’d be featured as one of the country’s Best Dressed—it was the first time I was ever interviewed and saw myself in print,” she recalls. “It was a defining moment.” Eventually, Martine found herself on the cover more than once, but she attests that nothing compared to her first one shot in 2014. 

In her routine life, Martine has redefined—for herself and for those who admire her—what it means to be the proverbial “it girl.” “It’s really just about being fully yourself,” she explains. “Over the years, I’ve seen it evolve from personal style to substance: what you stand for, what you create, and letting the work speak for itself.”

And if her work as a businesswoman and creative could speak, it would enumerate her contributions to spotlighting Filipino craftsmanship. “Filipinos are incredibly creative and full of life, and I hope the next 30 years bring infrastructure to support that talent,” she says. A staunch supporter of local craftsmanship, Martine shares in Preview’s commitment to champion homegrown talent and creativity. “Preview has always championed the work I do,” she muses. “And I will always be a Preview girl for life.”

Solenn Heussaff is a natural chameleon, as seen in her track record of Preview covers. She can be a Tory Burch muse in cobalt blue and a flat top ‘do, or a bohemian goddess sprawled on a desert landscape. Beneath these characters, however, is a woman who’s embodied a je ne sais quoi that requires little to no effort to bring out. 

First appearing on Preview’s pages as an actress and model, Solenn’s life has been documented through high-glamor editorials and compelling stories told through fashion. It’s quite a reverse from her everyday life, as she candidly quips that she “has no style.”

“When I first started in showbiz, I was experimenting a lot with different looks. I was always wearing really big bangles and dangling earrings. The more, the merrier. That was my look back then,” she shares. “And I think in my mom era, I've just stuck to plain t-shirts and jean shorts. Anything that's comfortable and that moves easily, I stick to.”

This process of style subtraction reflects how she’s let go of any pressures to appear a certain way. It’s with this realization that she’s redefined what an “it girl” even is in the first place. “I remember back then, they were like, ‘How does it feel to be an it-girl?’ and I was like, ‘What's an it-girl?’” To answer her own question, Solenn says it all boils down to hard work.  “Because if you're a go-getter and you know what you want and you work hard for it,” she articulates. “Then you're your own it-person.”

This redefinition, reflected in Preview’s ethos of celebrating one’s style in its most authentic form, is key to sustaining oneself in this industry. “It's amazing that the magazine has stayed around for so long. Especially during the last few years, a lot of titles have been folding due to social media and everything that's available online now,” Solenn says. “So it's nice to see that Preview is still here to stay.”

Born into one of the Philippines’ most prominent showbiz families, Mond Gutierrez could have easily stayed within the comfort of the spotlight. But his Preview era was spent behind the scenes—first as its society editor, then as part of the team shaping the magazine’s growing footprint in fashion and culture.

It was then-editor-in-chief Pauline Juan who brought him on board. “I was already a Preview fan,” Mond says. “I’d go to the events, I was friends with Liz and Vince—it was a match made in heaven.” At the time, the role of society editor meant being Preview’s point person on the ground: curating who made the party pages, attending all the right events, and making sure the magazine stayed visible in the scenes it covered.

“It doesn’t really exist anymore,” he notes. “I think social media replaced that role.” But back then, Mond’s presence helped carve a social identity for the brand, blending fashion, personality, and scene-making into something sharper. “I had the confidence to do other things aside from show business, the world that I was accustomed to. Preview was the starting point, and it was the catalyst for me to become a creative.”

That step up came in the form of Preview Man, a men’s fashion supplement that Mond lobbied hard for alongside Vince Uy. “Preview is essentially a women's magazine. So for the first time, we were able to feature menswear. That was also a turning point.” The success of the issue would later help lay the groundwork for the local launch of Esquire Philippines, where Mond would go on to serve as fashion director.

Still, the work wasn’t all glitz. With no social media to fall back on, credibility had to be earned face-to-face—and sourcing wardrobe options meant pulling pieces straight from the mall. “Everything was pretty lean,” he says. “Sometimes, we would have cover stars come to the shoot, and they’d be shocked to see me there, not knowing that I’m part of the team. That was also the beauty of it—the mystery.”

He recalls landmark covers, iconic Preview Balls, and themed shoots that predated the Internet’s current obsession with nostalgia. “We did a Barbie-themed ball before Barbie was even a thing again,” he laughs.

“Everything Preview put out there, people really respected and took seriously. It became a fashion Bible,” he says. “Readers had a certain level of trust with Preview. If it’s in Preview, then it must be correct. It must be followed.”

Today, as a creative director and entrepreneur, Mond remains anchored to the same curiosity and energy that defined his time at Preview. And while his own path has branched out, the spirit of his Preview days lingers. “What excites me about the future is that fashion has become kind of a platform for artists—not only for designers, but for people in art, people in music. It has become a hub. And Preview still does a good job of showcasing that.”

Tim Yap, a man who’s seen it all, laid his eyes on the first issue of Preview and was immediately stunned. “I saw Tweetie De Leon and wondered ‘What foreign publication is this, featuring a Filipino personality?’” he remembered thinking. Upon learning of the freshly-launched title, he sought out its editors for a chance to work together on his first fashion show. He was to launch Kenzo in the Philippines, and Preview was to be their media partner. Such was only the beginning of many, many more fruitful partnerships.

A walking dossier of Manila’s who’s who, Tim has also appeared on Preview’s front page, sharing his first cover with fellow model and socialite Rissa Mananquil for the December 2001 issue. He’s also served the magazine as its Society editor, documenting the city’s then-emerging nightlife scene. “That  was where the city was going. The zeitgeist was there. Everybody who was anybody, and otherwise, were all there,” he states.

Alongside Preview, Tim has maintained his position as an industry magnate, noting how the community has expanded for the better. “The scene has evolved from being a really small community of people who knew each other and breathed the same air,” he expresses, “to becoming much more diverse. Before it was just one circle, but now it's a vast constellation. Many have sprouted to synergize within the community.”

With this, he hopes for Preview to continue fostering new talent, emulating the same awe-worthy appeal the inaugural issue had on him all those years ago. “I want Preview to continue cultivating the sense of community, to be there for the fashion designers and the creatives. Because the role of media is to amplify and inspire the movement of creatives.”

“It's the invisible force that needs to always be fueled and encouraged. It's a very fragile industry because you deal with artists, but we need to let them know that it's their time.”

The 10th anniversary issue of Preview was the first Filipino fashion magazine BJ Pascual bought with his own money. “Or the first fashion magazine in general, probably,” he corrects himself. On the cover were ten of the entertainment scene’s most promising names at the time, which included Anne Curtis, Iza Calzado, and Bianca Gonzalez. Each girl had their own editorial within the pages.” I was just in awe of the production,” BJ recalls. “Sobrang fantasy niya.”

Fast forward to today, and BJ is one of the industry’s most seasoned photographers, admired by his contemporaries, and kept in touch with by celebrities. His first job with Preview was as an assistant, and it was only when Vince Uy reviewed his portfolio (right in front of him, by the way) did he book his first official shoot. Looking back, BJ regards that editorial sentimentally, saying: “That's when people started looking at me as a serious photographer.”

To date, BJ has shot too many covers and editorials for Preview than one can count. His list of muses goes on and on, and now include Anne, Iza, and Bianca, the very faces he used to look at with awe. In the digital age, he continues to thrive alongside the new guard of Preview, which he professes has “come into their own.” “Kakaiba sya parati, which is what I loved about Preview before. Fresh lagi. Mas relevant to what's happening now,” he says of the brand today.

With the media landscape in a perpetual state of change, he wishes for Preview to continue discovering and uplifting new talent, the same way it did to him all those years ago. “Parang ang dami naming mga photographers na ‘Preview babies.’ So I hope in the next 30 years, ganun pa rin sya, kahit magbago na yung media or yung format,” he declares. “Because Preview really made my career, as in.”

Before the campaigns and covers, before she became one of the most recognizable names behind the lens, Shaira Luna’s foray into fashion photography came by way of Preview’s digital counterpart, Style Bible. “I wasn’t super into fashion yet,” she recalls, “so it was kind of a shock and a surprise when I was asked to do an editorial.” That first shoot marked her entry into Preview’s orbit—an unexpected beginning that would shape much of her creative identity.

Her most memorable assignment was a ’70s-inspired Gucci editorial at the Philippine International Convention Center. “I remember at that time, around 2015, I was so heavy on doing eras. So when I was approached for that concept, it was really funny. Everything just came together.” She remembers the aesthetic vividly: reds, pinks, browns, and hazy light. “If you look at my photos even to this day, there’s still a tinge of that.”

Though she’s since been paired with words like “nostalgic” and “cinematic,” Shaira credits Preview with helping her break out of just one visual box. “They didn’t just give me ’70s shoots. They actually gave me shoots that weren’t retro after that.” From street style to slick modern features, the work pushed her technically and artistically. “I learned a lot shooting editorials for Preview because it’s such a household name. It’s challenging, but it’s a really great learning experience because you work with so many creative people and you're pushed to go out of your comfort zone.”

Preview’s shift from print to digital also came during her early years as a contributor, something that subtly altered the technical details of her approach. “Before we used to think about the bleed and the centerfold or where the page would cut,” she explains. “Suddenly, we had to shoot stuff more portrait… I couldn’t put as much grain or effects on the photos because digitally it would not register.”

But when it comes to the actual storytelling, Shaira insists her approach hasn’t changed. “Even if the photo is small and with the time they spent looking at it, it’s still the same as when you're looking at the big page.”

Asked what she hopes for Preview’s future, her answer is grounded in experience: “Just to keep honing talents, especially young talents,” she says. “I remember I was quite young when I started, and they've always believed in fresh talent by pushing them, seeing what else they can do. Preview has always been good at nurturing them.”

Paolo Pineda still considers himself a “Preview baby.” It’s not just nostalgia—it’s a matter of fact. “I blame my career on Preview,” he laughs. “I started shooting for Preview without a portfolio.”

Back then, he had been invited to shoot a simple product layout inside Robinsons. It was quick, improvised, and far from glamorous—but it opened a door. “After that, sabi nila, ‘Well, I’ll introduce you to Pauline.’” That meeting with then-editor-in-chief Pauline Juan led to shoots for events and lifestyle pages, and eventually, people. “And then it progressed. After a year, I think I shot my first cover.”

That first cover came by accident. The original photographer had an emergency, and Paolo was sent to Batangas at 7 p.m. “We shot a cover from 1 a.m. to four, freezing cold. But for me, parang may adrenaline of shooting my first Preview cover.”

Since then, Paolo had become a constant presence. “Even if we would go to Boracay, even if they get a guest photographer from Hong Kong, I was still part of them,” he says. “It’s a tradition for how many years I was with them during summer.”

One of the most defining relationships of his career began at Preview as well—with then-creative director Vince Uy. “He was telling me, ‘Pau, can you do this? Can you do this lighting?’ I didn’t understand it yet,” he says. “And then when I saw the print, that’s when I understood. Okay, there are so many things that I don’t see that he does.” Working with Vince, Daryl Chang, and Liz Uy, he says, was like entering “a playful playground.”

Though the platform has changed, from long lead print to instant digital, Paolo says the work ethic remains. “The process is the same. I think it’s just people are more serious now.” What’s different is the speed. “With print, we shoot three months in advance. You kind of forget. But now with digital… It’s out next week.”

He credits Preview not only with giving him his start, but also with giving creatives a rare, collaborative stage. “Working for Preview, this is the only time that you get to work with the best stylist, the best makeup artist, best hair stylist, model, and then the best concept.”

Today, Paolo continues to evolve, inspired by the new generation. He puts it plainly: “A lot of people really started with Preview. And Preview, up to now—they’re really good at finding great talent, taking care of them, nourishing them, and educating them.”

Photography duo Cenon at Mav have been close collaborators of Preview in recent years, particularly for the title’s annual Pride covers. Stylish individuals who have been named in the Best Dressed list in the past, the couple has become integral to the visual positioning and storytelling Preview aims to push forward.

Glossy skin, dynamic movements, and touches of humor are somewhat touchstones of a Cenon at Mav piece. However, their artistry extends beyond what one sees within the four corners of a photograph. It was an intentional and essential decision to have queer photographers capture queer subjects for Preview’s June covers. For such a task, Cenon at Mav proved to be one of the prime choices among the sea of talent in the country. What you see annually is a commemoration of the LGBTQIA+ struggle and a celebration of the community’s talents, captured sincerely by individuals who understand the importance of highlighting both.

Rajo Laurel has long been part of Preview’s story—not as an outsider looking in, but as someone woven into its very beginnings. The fashion designer recalls the early days when the magazine and the local fashion scene were still finding their footing. “Leah, Myrza, Raymond... I think we were of that generation.”

From the outset, the energy was electric. “We were all very young, we were all very idealistic, and we were all hopeful and optimistic about what we could actually contribute to the creative community.” In that spirit, Rajo became a regular fixture, contributing not just his work, but his presence and perspective.

Among his most memorable milestones was seeing his entire The Leaf collection featured across a sweeping gatefold. “That was particularly a life highlight for me,” he recalls. “Seeing all of those women in my dresses in that particular period.” Another standout was an early shoot with Judy Ann Santos, whose strength and unconventional beauty, he says, reflected a shift in how Filipino identity was beginning to be framed in fashion.

Preview’s approach resonated deeply with Rajo’s own creative values. “I would like to think Preview is the thinking fashion woman’s magazine—primarily because they were always 10 steps ahead of everybody else, in terms of styling and in terms of the conversation.” He credits the magazine with offering something braver, bolder, and more nuanced. “It created some of the most memorable images in terms of Philippine fashion to this day.”

For Rajo, the platform offered more than exposure. “By virtue of just being there, I was essentially propelled and given a voice,” he says. “I felt seen, I felt heard.” That kind of visibility mattered—not just for the sake of ego, but for survival in a competitive industry. “I always believe that it’s important to be constantly seen because that’s one way to actually create business.”

After three decades in fashion, he still believes in the value of looking back. “Fashion, by its very nature, is cyclical, so it’s always important to remember what we’ve done in the past.” What excites him is how Preview continues to be both archive and touchstone: a publication that’s evolving with the times while never losing sight of its origins—or the many conversations it helped start.

The first time Vania Romoff was featured in Preview, her designs had to travel without her. She was still based in Cebu, sending out pieces for shoots she wouldn’t witness, only to spot them weeks later on the newsstands. “I would just wait until the issue would come out in bookstores and pick it up,” she says.

Her earliest appearance was part of the first-ever Preview Emerging Fashion Talent Awards (PEFTA) lineup in 2010. Years before Instagram made fashion hyper-local and hyper-visible, Preview served as a bridge, connecting her work to the Manila scene and introducing her to a new audience.

Over the years, the designer would become a recurring name in Preview pages and covers. One editorial pushed her beyond her usual romantic, ultra-feminine aesthetic. “There was one feature where I had to do a version of goth,” she says. “That was especially interesting for me because that is the exact opposite of what I do… It pushed the bounds of local designers and encouraged them to step out of what they were used to—doing editorials that were so fashion-forward.”

In the pre-Instagram days, that kind of platform meant everything. “To be able to post and share with family and friends that I have been featured in a local magazine as big as Preview really did something for my sense of confidence,” she says. “And for them to even tap someone outside of Manila was especially meaningful for me.”

She’s now seen how much the industry has changed: more schools, more access, more global visibility. “When I started out, what I had learned was really from what my family was doing in Cebu,” she says. “Now you can get that through TV, social media… it’s such a big shift.”

What hasn’t changed, in her view, is Preview’s commitment to emerging talent. “The same support that I felt over a decade ago,” she says, “it’s the same way that I see Preview continuously shine a light on all the upcoming talents.”

What stands out to her most is Preview’s ability to rally a community around creativity. It’s not just about spotlighting new names—it’s about making space for all kinds of expression to be seen and celebrated. “When you feature someone, you see the whole community get together and appreciate the different kinds of talents in the industry,” she says. “I hope that Preview continuously does that and continuously becomes a point of inspiration for a lot of us.”

In 2017, former Preview fashion editor Andre Judd Chang saw great potential from College of Saint Benilde students Abraham Guardian and Mamuro Oki. He nominated the duo to take part in the Preview Emerging Fashion Talent Awards (PEFTA), for which they were recognized as the next contemporary fashion brand to watch. The issue featuring their work came out around the same time as their graduation day, punctuating their years as novices with an exclamation point.

And with that, HA.MU., a portmanteau of its founders’ names, was born. Coded by intentional color clashes, larger-than-life silhouettes, and zany designs reminiscent of childhood doodles, the brand began as a safe haven for the maximalist. Seeing their work in Preview’s pages gave them a sense of validation. “It gave us an idea that HA.MU. will be legit someday in the distant future,” Ham narrates.

Six or so years later in 2023, and with numerous collaborations sealed in Preview’s digital spaces, HA.MU. was legitimized as part of the first batch of the Best Filipino Fashion Designers (BFFD). The honor couldn’t have come at a better time for both Ham and Mamu, who saw the recognition as a sign of the times. “I feel like fashion is more noticed now. Because before, people thought of fashion as just art, but now they see it as something that has a purpose,” Mamu ruminates. “And people really use it in their everyday lives. I feel like they take it more seriously than before.”

The stamp of approval from Preview also solidified Ham and Mamu’s vision for the brand as a business. “It gave us credibility in the fashion industry,” Mamu says, “in a way that we’re taken more seriously. It's very humbling also. It made me think that, yes, we're a business. So we need to make everything move.” And with new clientele pouring in with each dynamic design they put out, it looks like they haven’t stopped moving since.

Martin Bautista remembers the exact issue that started it all: September 2005, Heart Evangelista on the cover wearing a sculptural Cary Santiago creation. “That was a very iconic issue,” he says. As a fashion student then, he made it a ritual—heading to the bookstore on the first of every month to see who was on the cover, flipping through the pages, soaking in every image and byline.

Less than a year later, his name appeared inside Preview for the first time.

He had bought the June 2007 issue like he always did, but this time was different. “Opening the pages and seeing my work for the first time in Preview was a defining moment,” he recalls. “[It felt like] a few months ago, I was just someone watching the industry from a distance.”

That moment—his inclusion in Preview’s Best Collections for Philippine Fashion Week—was the first of many. By September of that same year, he was named one of Preview’s Designers to Watch, a list he had followed faithfully in the years before. “Every year, I would wait and see who’s on the list,” he says. “And then biglang, oh my God—ako na ’yung next na nandoon.”

That blend of reverence and disbelief has stayed with him, even as he became a regular fixture in the industry. In 2024, he was named one of Preview’s Best Filipino Fashion Designers, a full-circle moment capped by designing an outfit for cover star Kathryn Bernardo and presenting at the Preview Ball’s fashion show. “It was really so special. So what an honor to be part of it.”

His work in the publication didn’t just signal creative validation, as it also opened doors. “Having my work featured gave me a lot of opportunities,” he says. “It was a gateway for me to connect with the girls who were interested in having a creation made by me.” It also introduced him to editors, stylists, and collaborators he continues to work with today.

As fashion evolved, so did Preview. “Fashion used to be just on the side,” he says. “Now, it’s more popular—and Preview moved with the times. They have a strong presence online, on social media. Sumabay siya with the popularity of fashion nowadays.”

Looking ahead, he doesn’t predict where the industry—or the publication—might go. “I did not expect that Preview would become how it is now,” he says. “Same thing with my career. Growing in this industry with Preview, it’s always been a surprise.”

Janine Gutierrez was born a Preview girl. “Ever since I was a kid, I was already a fan of Preview,” she gushes. “As in, dream ko talaga maging Preview cover girl, which I never admitted to anyone.”

Such juvenile aspiration would come to fruition in 2015, when BJ Pascual shot the then-budding actress aboard a boat in San Vicente, Palawan. The team was moving in between layouts, and the lensman simply prompted a maillot-donning Janine to face towards him. The in-transit shot made the cover. A year prior, a fresh-faced Janine was featured in a line-up of the next generation of stars, introduced to the Preview team by her close friend and former editor MJ Benitez. Being a Preview girl, and by extension, a fashion girl, gave Janine something that she felt was hers and hers alone.

“Coming from a family that was all actors, I was always hesitant to step into show biz because I felt like they've done everything in the industry. So how can I do something that feels authentic to me?” she recalled thinking. “So when I was able to do that Preview cover, it opened up a lot of doors for me. I had so much fun being a fashion girlie and meeting all the cool Filipino designers and just connecting with that community. I felt like I was able to have my own path.”

Her path as a fashion muse blossomed into several other covers and editorials that followed. She acknowledges that she and her contemporaries would be nowhere without the Preview girls that came before them. “I feel like the generation now is more brave because of everything that the Tweetie De Leon’s and Jo Ann Bitagcol’s have done before,” she illustrates. 

For Janine, her career is about cultivating the same safe space Preview nestled her in more than a year ago. With that same sense of wonder intact, she eagerly looks forward. “I hope Preview continues to show everyone all the special little things about fashion in the Philippines,” she says.

The concept was simple: transform Marian Rivera into someone no one had seen before. No gowns, no soft curls, no femme-fatale styling—just Marian, reimagined, in a more androgynous form. She was game. “’Yung parang naging lalaki ako,” she says, flipping through past covers, in response to a question about her favorite one. “Kasi ’yung mga beauty-beauty, ginagawa ko na ’yan..”

She points to the November 2012 issue, one where she’s styled in crisp tailoring and slicked-back hair. That cover became a marker in her long-standing relationship with the magazine—proof of how Preview has always known when to push and when to pause. “Minsan out of the box ’yung gusto nilang ipagawa sa ’yo,” she says. “Pero as an artist, gusto mo rin mag-try. Nakaka-excite kasi may naiisip sila na hindi mo aakalain na magagawa mo.”

Long before being bestowed the first-ever Style Icon title in 2023 and long before any accolades, Marian was flipping through the pages just like everyone else. “’Pag sinasabi mo kasi ’yung Preview, d’yan ka mayroon makakakuha talaga ng mga ideas—na ano bang trending lines, ano bang hot topic ngayon,” she says. “Para sa akin, parang very bagets na magazine.”

Her shoots with the publication are seemingly countless since her debut in show business, but she remembers how each one made her feel: excited, challenged, taken care of. “Very accommodating sila,” she says of the team. “May palaging something new for me na hindi ko pa nagagawa… Isa sila sa pinaka-favorite ko.”

The admiration goes beyond aesthetics. It’s about how she’s seen and heard. “Gusto pa rin nila ’yung bilang ikaw,” she explains. “Siguro maiiba man ’yung cover, pero ’yung laman noon—very you. Still you.”

Even now, she still feels the thrill. “Bago ako mag-artista, ang dream ko talaga is maging cover,” she says. “Kapag naging cover ka ng magazine, sinasabi nilang parang 'it girl' ka na. Ganun pa rin ’yung feeling ko—palagi kong nilo-look forward.”

That mutual trust—between muse and the publication—has turned the professional into the personal. “Every time nakikita ko sila,” Marian says of the people behind the brand, “hindi trabaho ’yung tingin ko, kundi friendship.”

With a surname that transforms into a verb in contemporary lexicon, Dr. Vicki Belo is undeniably one of the country’s foremost beauty experts. The Belo Medical Group was established a mere five years before Summit Media and Preview were launched, and both parties bore witness to the industry’s humble beginnings.

When Preview came along, Dr. Belo was happy to have copies placed on the waiting tables at her clinic. Whenever the magazine would reach out to her for tips on how to derail aging skin or to avoid acne, she would feel a sense of pride being a Filipina doctor collaborating with a Filipino title. However, being a pioneer came with its own set of challenges, especially from conservatives who didn’t quite understand her work. 

“When I started in 1990, I was alone, and I was really persecuted and vilified for doing what I was doing. There was a level of ignorance, I think, or fear that people had with my practice. I had to educate people about the things I was doing,” she illustrates. Resolving such issues meant making good public relations, which translated to working closely with magazines like Preview. “Preview always wanted to be ahead. They wanted to tell people what’s available,” she says.

It’s a push-and-pull that she hopes continues as a new era of beauty takes over. “I think Preview should keep its space, where they're always ahead of everything, and are explaining things properly,” the doctor says. With aspirations of turning the Philippines into the most beautiful country in the world—and possibly a beauty tourism destination—Dr. Belo aims to push forward a brand of beauty that places a premium on wellness and longevity.

The sun hadn’t even risen, but Jigs Mayuga was already on his feet, brush in one hand, curling iron in the other. Somewhere in Mindanao, surrounded by the stillness before a Preview shoot, he was doing both hair and makeup before daybreak—chasing golden hour before it disappeared.

“We had to wake up at three or four in the morning to do makeup so that we could catch the first rays of the sun,” he says. “Back then, if it was an out-of-town shoot, it was a plus if the makeup artist knew how to do hair, because we had to do both.”

This was 2005, long before social media democratized beauty. Jigs had just left a career as a flight attendant, pivoting into an industry that, at the time, still relied on print credits and tight-knit creative circles. “Preview took a chance on a then-26-year-old makeup artist who was pivoting from being a flight attendant into makeup artistry.”

It’s a collaboration that has spanned nearly two decades. He still remembers his first assignment: a Girls of Summer editorial. “We traveled all over Mindanao. We drove from Davao to Cotabato, to Bukidnon, and Sarangani, and back to Davao. We featured all these women… who actually are still some of my clients to this day.”

Since then, there have been shoots in Batanes and Bicol, editorials that merged local and international designers, and mood boards that always welcomed his perspective. “They would have a mood board for the shoots, but they would always ask for the input of the makeup artists when it comes to the execution.”

Before Instagram portfolios and TikTok tutorials, Preview was the runway for Filipino creatives. “Back then, in the mid-2000s, we didn’t have social media,” he says. “So to put your name out there, you had to have credits. If it says ‘Makeup by Jigs Mayuga,’ that would be your equity.”

The beauty scene is different now—faster, more open, and fiercely self-taught. “A lot of the young make-up artists… they’re incredible, they’re really talented, they’re self-taught,” he says. “Even non-professional make-up artists are really good at doing make-up nowadays.”

That’s why he still scrolls through Preview’s feed to see who’s next. “I love it when I browse through the website and through Instagram—Preview features a lot of young and upcoming makeup artists, which I think is great. That’s how I got my break.”

And his hope for the future? That Preview continues championing local creatives for another 30 years and beyond, giving new artists the same chance he once got.

Long before the Internet coined “clean girl beauty,” Dr. Aivee Teo was already living it—immaculately dressed, flawlessly made up, and quietly reshaping how women saw themselves. But one of her first features in Preview wasn’t about dermatology. It was about style.

“I think my very first big shoot with Preview was for the 2010 Best Dressed,” she recalls. “Every woman always wants to be part of the Preview Best Dressed list because they always have a good lineup.” The timing was poetic—her flagship Aivee Clinic in Bonifacio Global City had just opened. “I was excited that I was opening a new clinic at the same time being featured as Preview’s Best Dressed… I felt recognized for something that I love to do, which is dressing up.”

That moment of recognition—rooted in style—has since evolved into a broader philosophy of beauty: one built not on reinvention, but refinement. “Women are more aware of what treatments they can do and… they’re proactive in really making sure that they make or be the best versions of themselves,” she says. The shift, she believes, is cultural as much as clinical.

She credits media—and Preview, specifically—with helping shape that evolution. “Preview has been very active in talking about beauty and the latest trends in beauty… and encouraging women to really be active in terms of being confident of who they are, looking good, and making sure that they take care of themselves.”

One idea has remained constant across years and algorithms: that Filipino beauty is its own kind of power. “Preview promotes self-love and embracing yourself—your flaws, your uniqueness. The reason Filipinos are very beautiful is because we have unique features. I feel it’s important that we stand out, and that we’re simply enhancing how we look, not necessarily trying to change who we are.”

And as Preview turns 30, Dr. Aivee reflects on what makes its presence vital—not just to fashion, but to the wider culture of beauty and self-worth. “You continue to be true and always updated on what’s happening, what’s new… You’re always bold and always putting everything out there,” she says to Preview. “I hope that we can continue to be your partner in bringing out beauty to the Filipino world.”

Juan Sarte III began his makeup career at the same time Preview entered the scene, an alignment that would prove to be pivotal. “It was the '90s, and magazines mostly were in newsprint. Preview was among the first glossies, and I was starting out in makeup. We were a lucky match because all of a sudden, we had a venue to showcase our work.”

By the time the first issue came out, Juan was already in its pages, thanks to a beauty feature on a runway show. Though he didn’t work on the debut cover, the early inclusion set the tone: his career would grow alongside Preview. “We all grew at the same time,” he says, recalling a time when beauty creatives were just beginning to get national exposure—not only within the fashion world, but in entertainment, too. 

Of the many covers and shoots he’s done, one that resurfaced recently stood out: the November 2011 issue, which featured the late great actress Nora Aunor on the cover. “That was really something that I was proud of because, of course, Nora was the superstar of my youth. So, when I finally got to do her face, her sitting for Preview, it was like a dream come true for me.”

Back then, the stakes were high and the tools were few. Pre-digital shoots meant no instant reviews, no back-camera glances. “You would only see the photo from the Polaroid,” he explains. “Once the Polaroid is approved, it was only the photographer who can see what was happening through his lens. When the Preview issue came out, we ran to the newsstands.”

And while today’s makeup artists can create a portfolio from their phones, Juan is in awe of how much more layered the craft has become. “They’re very experimental… not only are they good at makeup, they’re also good at photography. It kind of trains your eye with what’s beautiful.”

Looking ahead, he’s hopeful Preview remains part of that evolution. “My wish for Preview is to continue. Thirty years is not a joke, but it has adapted to the change.”

Each equipped with unique styles and perspectives, Camille Co, Tricia Gosingtian, and Laureen Uy all credit Preview as a touchstone to their journeys. Laureen, in particular, was exposed to its pages early on, as her siblings Liz and Vince were both members of the editorial team at different points. All three of them have fond memories of collecting every issue, absorbing sartorial wisdom with every turn of the page.

The trio shared the digital realm with Preview as they launched their respective fashion blogs. Navigating the space had its own sets of challenges, specifically when it came to appealing to readers and getting them on board with the new set-up. To this, Camille cites how Preview helped drive the conversation further. 

“Bloggers speak a certain language that’s complementary to how Preview speaks,” she explains. “Parang that's the reason why there was a rise of bloggers, because we were speaking in a language that was relatable” Laureen backs this up, adding how the editorials in Preview served as a springboard for her own ideas. “I feel like bloggers get inspiration from magazines [and translate it in a way that] it also can be worn every day.”

As a unit, the three represent the diversity of Filipino style, a concept they try to capture with every OOTD, and a principle Preview champions with every release. “There's something for everybody,” Tricia puts it. “I think that's what Filipino style is. There are people who want to dress relaxed or super chill, and there are some people who are super extra. That's something I appreciate about the scene here. I see so many different styles now compared to before.”

Mimiyuuuh has emancipated herself from solely being a viral internet fad to claiming her space as a bona fide fashion girl. Having debuted on Preview’s digital cover in 2019—in head to toe Off-White, no less—Mimi has become a firm representation of how fashion knows no labels.

Ever since she landed on the cover, the content creator has noticed how more queer people like herself have learned to love fashion and its liberating qualities. “I feel like nung nag-introduce ang Preview ng mga LGBTQIA+ na cover stars, ang daming na-empower na mga batang bading to express themselves through fashion,” she shares.

In Mimi's eyes, the fashion scene in general has become more accepting in, and has placed an emphasis on spotlighting local craftsmanship. As someone who’s thrived on social media and knows firsthand how it can influence multitudes, Mimi views platforms like Preview as key players in shaping perceptions today. “I feel like inclusive na talaga ang Preview,” she says. “I hope na tuloy-tuloy pa rin siya in empowering and inspiring people in the community.”

For our girl, fashion is a tool in bringing the best out of everybody. “Tayong mga bading talaga, we always want to feel empowered even in the simplest way,” she candidly puts it. “I think fashion helps us to be powerful.”