Nicole Therese R.

Dela Cruz
Joan Claire R. Garcera
AD2B1

Fashion Fusion of Indigenous and Modern Textiles in the Philippines

Review of Related Literature

According to the book of Fashion Design Essentials, design is as much about what you
add to the mix as what you elect not to add. The textiles, the art and the finish product must
beyond disapproval because there are no distractions— what is visible is what you gain.

Tara (2002) stated that natural fabrics are obtained from raw materials available from our
nature. They are strong and durable like earth and mildly use like river stone. Natural fabrics
from raw materials work by bringing out simplicity and beauty of something. It showcases the
hard work and talent of a man combined with our nature.

The manufacture of textiles is a major global industry. It includes vast amount of

materials for clothing and furnishings .Textile design is a process from the raw materials into
finished product. (n.a, 2015)

There is a collaboration that made by the Manila Fame between the designers, local
manufacturers and weaving communities for giving the traditional weaves a contemporary
perspective through the weaves of the Philippines. (2015)

While according to Philippine Textile Research Institute website (2013), a grand

conference that was held on June 11, 2013 was the Neo ethnic Philippine textile, it is an event
that showcased our local textile to gather some stake holders. The event provided a platform to
update on-going and continuing initiatives in S&T and innovation for this industry, link the
players, exchange thoughts and expectations with the hope of coming up with common
understanding on contemporary issues that confront the ethnicity, authenticity, sustainability and
longevity of textile production in the community level and the country’s ethnic communities.

The fusion of indigenous textiles with modern technologies is called neo-ethnic. It is

made of natural or indigenous materials that produced in the Philippines using a modern
technology and green scientific including the innovations of the spinners, dyers, weavers and
artisans. This textile was made to maintain the ethnic communities' livelihood and showcased the
glimpse of socio cultural heritage. It is not just a textile that depicts the tradition of the
Philippines because it also has the sense of nationalism and pride.

Arado (2018) stated that, Willson Limon is one of the local designers that decided to
work with indigenous people to embody their design into the fabric and the couture he is making.
In his journey, he learned that having knowledge about ethno linguistic groups is very important
because it is a way for you to apply the culture in a contemporary design and make a successful
collaboration.

A tunkshow that made by the partnership of Wilson Limon and Marco Davao which is
the fourth fashion fusion of Marco Polo Davao have featured the couture collaborating with the
Bagobo Tagabawa of Bansalan, Davao del Sur, the Blaans of Lamlifew, Malandag, Saranggani,
T’boli of T’boli, South Cotabato, and the Tagakaolo of Kityan Daku, Saranggani.

Some designers avoid including elements from their own cultural background because
they fear being stereotyped but a designer must be flexible and reaching beyond what’s expected.
Fashion can use the idea of stereotype as a starting point and let the idea move forward into a
total new expression of the origin. (2011, Calderin)

While the other countries have linen, silk and satin, the Philippines has piña, classy and
ideal for humid tropics. Piña is from the Spanish Regime, they came up with the idea of
extracting fibers from pineapple leaves, then introduced from the Americas to produce most
cobwebs. The history of piña fabric is combined with the history of Philippine costumes, the
people who used and wore the fabrics and the tradition that treasured such a peculiar cloth.

According to the book of Piña (1991), piña is the most beautiful of the multiple textiles
produced by hand in the Philippines. By this time, the industry of textile is already growing well
all over the country and piña has already reached its top production and excellence, what more if
it is already fused or combined with modern fabrics and styles that we have now nowadays.

The evolution of fashion shows us the important role that details have played on it over
the years. From time to time, they have characterized the diverse features of each period and
contrasts between social classes and groups. Each time and culture have contributed new styles
that represent bottomless sources off inspiration for designers and aspiring ones all over the
globe.

The ability to evolve is the fashion’s consistent magic intertwining new materials with
more traditional materials, innovating and reawakening past fashion styles. (Arroyo, 2011)

Warner (2017) stated that the purpose of modern day is to fuse the traditional fashion
with the modern fashion and it is a way for a country to present the brands and concepts to the
world. People don’t believe that the traditional clothing can’t wear outside the indigenous towns
and one way to make people believe that is to promote the culture and make something different
by fusing indigenous textiles with modern textiles. Knowing the traditions of the ancestors by the
younger generation is very important because creating different things is the nature of today’s
generation