Clothing andfashion aresignifiers of identity,the social fabric of society, and markers of cultural beliefs and historical change.Filipiniana clothing such as the Maria Clara gown, the terno,and culturaldress have played important roles in theheritage of the Philippines. Many historical books and museum records mark the evolution of Filipiniana clothingand how it has shaped personal and community identities of the country.
The Filipiniana is a traditional outfit with puffy oversize sleeves, a blouse (baro or camisa), a long skirt (saya), and a panuelo (a piece of fabric worn as a head covering or as a scarf around the neck) draped over the shoulders.But Filipiniana did not always take on such an appearance. Looking at a briefchronology of how the Philippine dress evolved, we can see transformation of garments from previous generations to current-day modern Filipiniana.
The Tapis
In early centuries pre-dating Spanish colonization, women wore garments called tapis, an unstitched cloth wrap-around skirt knotted at the waist or below the bust—much like other Asian and Southeast Asian garments like the Indian sari and Indonesian songket. It wasa simple yet effective means incovering the body from the harsh weather. Tapis garments are still worn as cultural attire especially in northern Luzon. In other parts of the Philippines, tapis-like garments are known in other languages as the patadyong and malong, similar skirt-like garments yet sewn into a tubular shape.
Photos:Philippine Folklife Museum Foundation
Photos:The Baro't Saya
Influenced by Spanish tastes, parts of Philippine society adapted to clothing that was made from finer and lighter materials such as the pineapple fiber or piña.Pineapples were imported from South America to the Philippines during the Manila Galleon trade, and weaving and embroidering pineapple fiber became a distinctly Filipino artform. Visual inspirations took cues fromreligious ornamentation such as sculptures of the Virgin Mary and European fashion of the day.The Hispanicized Baro'tSaya (baro at saya) had a camisa-style bodice and a floor-lengthtapis-style saya or skirt.
19th Century Baro or Camisa Blouse at the Metropolitan Museum of Art
Photo by thePhilippine Folklife Museum Foundation
The Balintawak
The Balintawak isthe more relaxed variant of the baro't saya,often depicted in use in the country-side.It has a shorter length, puffy sleeves, and ahigh-waisted bodice with a checkered motifs.The Balintawak isoften associated with celebration,carefree country atmosphere, and summer pleasures.
Photo by thePhilippine Folklife Museum Foundation
Photo by theThe Maria Clara
The baro't saya continued to transform with the significant influence of Spanish colonizers and contributing factors ofa risingeconomy and exposure to Western design.A new ideal of Philippine fashion called the Maria Clara, after Jose Rizal's female heroine, became theimage of elegance and beauty.
Photo by thePhilippine Folklife Museum Foundation
Photo by theThe Maria Claratypically was comprised of four components: the light and delicatebaro or camisablouse of jusior pineapple fiber; thesayaorlong skirt made of paneled cloth; from Spanish influence, thepanuelo scarf, also known as an alampay, a stiff triangular shawl or veil worn to demonstrate modesty; andthe tapis, an opaque rectangular cloth thatwrapped around the saya.
The Traje de Mestiza
During the early 1900s after the US acquired the Philippinesupon winning theSpanish-American War in 1898 and 1899, a newer version of the Maria Clara emerged. The baro sleeves morphed into larger, extravagant butterfly sleeves. The panuelo was a scaled-down version of its predecessor. The boxy design of the bodice gave way to a more shapely and fitted silhouette. The skirt became narrower and more ornate, with a lengthy train known as a saya de cola.
Photo by thePhilippine Folklife Museum Foundation
Photo by theThe Terno
As time passed, the traditional traje de mestiza wasreplaced withdesignsyielding to the modern fashions of the day. The terno--especially with its iconic arched, flat sleeves--was embraced, leaving behind the panueloshawl and tapis overskirt of previous Filipiniana iterations. Originally, the term "terno" meant "matching," referringto matching set of top and bottom garments. However, its meaning shifted throughout the 1940s, and it now refers to the single, classic Philippine outfit.
Photo by the Philippine Folklife Museum Foundation
Photo by the Although Filipiniana isoften associated withtraditional Philippine clothing beginning with earlier pre-colonial garments to the elaborate dress of centuries before, wearing contemporary or modern Filipinianadesigned fortodayis an aspiration of many Filipinos around the world. Modern Filipinianaretains thegrace and sophistication oftraditional Filipinianaandincorporates Filipiniana into everyday clothing.
Integrating Filipiniana has been challenged especially by the belief it is only appropriate for Philippine cultural activities or more formal gatherings. Yet modern Filipiniana designed for everyday fashion, blended with classic Filipiniana styles,is the perfect way to bring our cultural heritage into our wardrobe. This includes in our daily wear such as work attire and school, to special moments such as weddings, graduations, events, and parties. As history as shown, Philippine fashion--from the traditional Filipinianato modern Filipiniana--has been flexible and ever-changing--an evolving idea that combines the cultural mores of the day with the elegant silhouettes worn through the centuries. Modern Filipiniana pieces, like those here made at Narra Studio, integrate traditional techniques and fashions in a collectionofcurated pieces madefor all those who appreciate and proudly wear Filipinx heritage.
