Filipino American cinematographer Autumn Durald Arkapaw takes the spotlight as the March cover star of Vogue Philippines, marking another defining moment in her groundbreaking career. Fresh from her Oscar nomination for her work in Sinners, Autumn fronts the issue alongside features highlighting women across film, fashion, and the arts, in celebration of Women’s Month.
Sinners smashed the all-time Oscars record with 16 nominations, and Autumn is making history as the first woman of color to be nominated for Best Cinematography. If she takes home the trophy, she will become the first female winner in the category in the Academy’s 96-year history.
Before Sinners, Autumn had already built an impressive body of work with The Last Showgirl (2024), Black Panther: Wakanda Forever (2022), and Loki (2021), among others.
Autumn Durald Arkapaw as cover for the March 2026 Issue of Vogue Philippines, photographed by Hannah Reyes Morales
In her Vogue Philippines cover story, Autumn speaks candidly about the duality of recognition and responsibility that comes with awards season. “It's very easy to talk about the film and the people that I work with, because I love them so much,” she tells Vogue. “When you do these awards, you have to do a lot of talks and do these photo shoots, and even if that part of it feels uncomfortable to me, I'm okay with it, because I'm so proud of the film, and I want to show other girls that they can also be doing the same job.”
Styled in pieces from Louis Vuitton, Celine, and Cartier, Autumn is photographed by multidisciplinary storyteller and Pulitzer Prize finalist Hannah Reyes Morales.
The March issue continues its celebration of women across disciplines. Ahead of her directorial debut in Theatre Group Asia’s A Chorus Line, Emmy Award-winning choreographer Karla Puno Garcia is photographed by Artu Nepomuceno, wearing creations by Rajo Laurel and Rhett Eala, paired with Gucci.
Karla Puno Garcia photographed by Artu Nepomuceno
Reflecting on her craft, Karla tells Rhea Dumdum Bautista, “I feel like choreographers are directors in their own right. Especially with theater, you are co-piloting with the director.”
Artist Silvana Ancellotti-Diaz, shot by Mark Nicdao, speaks with Angel Velasco Shaw about a life shaped by art and motion. “To love a work of art is to follow the life of an artist,” Silvana proclaims. Meanwhile, Filipiñana star Jorrybell Agoto traces her journey from community theater to global cinema, underscoring the issue’s theme of women carving paths on their own terms.
Silvana Ancellotti-Diaz shot by Mark Nicdao
Fashion remains front and center as Vogue Philippines associate fashion features editor Ticia Almazan sits down with five Filipina designers to discuss the evolving balance between retail and bespoke, both on the ground and online. Shot by JV Rabano, the feature includes Jilliane Santos and Paulina Dayrit of Palengke, Krizia Jimenez, Renee De Guzman of R/Studios, and Steph Verano.
Jilliane Santos and Paulina Dayrit of Palengke photographed by JV Rabano
The issue also spotlights sisters Janina Dizon, Candy Dizon, Ginny Dizon, and Lucille Dizon, who reflect lessons from their late mother and how sisterhood continues to guide the legacy they share.
Rounding out the March volume are a portfolio of emerging designers across Southeast Asia, including new faces from the Vogue Faces casting call, Jonathan Anderson’s debut with Dior, and features that delve into wellness and self-discovery — from guided hypnotherapy to sound baths that invite readers to reconnect with their inner child.
At the heart of the issue is a reflection from Vogue Philippines editor-in-chief Bea Valdes, who encapsulates the spirit of the Women’s Month volume. “The serendipitous truth about images, shoots, and storytelling is that they are human intersections, where the lived energy of our subjects meets the intention and artistry of those behind the lens,” she writes. “Through shared stories, we watch people weave the future together. To create is to assert presence, to shape perception, and to have agency in one’s own narrative.”