02    INTO THE ABYSSIn Opulent Times

’Tis a struggle to edit down six selects to fit what I imagine a velvet-lined music box (a.k.a. this website). Still, this penchant for soft grandeur, excess, attention to detail, and ornamentation has never left since Sofia Coppola debuted Marie Antoinette in 2006. Adjacent to a Filipino’s love for horror vacui (a term coined for fear or dislike of leaving empty spaces, especially in an artistic composition) and hosting because hospitality is a love language, nothing is as synchronized with this fetish of the rich and wealthy.