Textile exhibit Showcases innovative creations
The handcrafted textiles were made from locally sourced materials, and every item was derived from Philippine tropical fabrics
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The handcrafted textiles were made from locally sourced materials, and every item was derived from Philippine tropical fabrics
Banig-weaved piña cloth.
Iunctura
Corporate Cinderella.
by IDr. Kristine Anne Muñoz.
Flora y Fibra by IDr. Gregorio Saliba.
by IDr. April Rose Frigillana.
Mayumis Prance by IDr. Hannah Galang-Dumlao.
Samantha Mendoza, Zaki Manguba, Joanna Lima and Alfred Estellena.
Ionica Abrahan-Lim and Diana Katigbak.
Prince Timoteo, Pauleen Yap and Maxine Sanchez.
A display of artistry and unconventional creations recently took the spotlight in an innovation exhibit that kicked off the Philippine Textile Congress at the Dusit Thani Hotel Ballroom Foyer in Makati City recently.
The event, organized by the Department of Science and Technology-Philippine Textile Research Institute (DoST-PTRI), featured the works of up-and-coming student-designers from 14 institutions across the country. It unveiled an assortment of fashion-forward garments made by the top 18 finalists of the Stitch-Off: Urban Vibe Competition.
The handcrafted textiles, which highlighted inclusivity in terms of style, were made from locally sourced materials. Every item was derived from Philippine tropical fabrics.
De La Salle-College of Saint Benilde’s Pasa-Hero was a chic and functional apparel that can help ease one’s struggle amid Metro Manila’s traffic jams and unpredictable travel times for a comfortable commute.
In addition, there was also a catwalk-worthy selection of naturally dyed clothes from the Fashion Design and Merchandising Program. The special showcase was spearheaded by the Textile Design Program under the existing partnership with DoST-PTRI and the School of Environment and Design.
One of the collections was of banig-weave pineapple cloth. An ideal fabric to evade the heat, piña seda was the primary material used in the classic streetwear pieces, complemented by a hand-drawn graffiti design.
“Ternohemian” was a fusion of traditional Filipino attire and bohemian fashion. To complete a modern Filipiniana look, the five-piece ensemble was composed of a bralette with terno sleeves, a tapis-inspired layering in the lower garments, pleated palazzo pants and macrame-like shawl.
On the other hand, “Personal Divine” was a heartwarming celebration of motherhood. The highlight was the bra, a trompe l’oeil of breasts in reference to breastfeeding women. The feminine skirt was likewise an eye-catcher, characterized by its free-flowing tiers.
To advocate slow fashion, “Iunctura” utilized alternative construction techniques such as crochet, patchwork and draping. It paid tribute to local craftsmanship and age-old traditions as well as empower communities through sustainable livelihoods.
The connection between nature and spirituality was the main theme of “Tempest” with the use of palaspas as a design inspiration. The upper half of the garment was reminiscent of an item which survived rough typhoon winds.
“Corporate Cinderella” was an invitation to embrace the duality of a woman who could both be formal and fierce. The coffee-dyed piña seda blazer was accentuated by its black mulberry silk lining, while the wine-dyed dress had black tulle.
The students utilized the natural dyes technology developed by DoST-PTRI, which gave the products colors from local plant-based sources.
The garments were accompanied by installations from the Interior Design Program. Part of the exhibition materials were six wooden frames, two upholstered bent plywood stools, and two floor lamps.
Deep hues of army blue yarn with the gentle shine of pearls epitomized “Liwanag ng Kanluran,” a crocheted night lamp that served as an ode to the bravery of Filipino fishermen in the country’s fight for the West Philippine Sea.
“Hibla ng Hiwaga” symbolized the protective and nurturing essence of women with its handwoven yarns wrapped around the tree. Patterns of nature were also depicted by its intricate twists and knots.
Framed in wood, “Muling Pagsibol” was an embodiment of heritage and stability. Its greenery portrayed cycles of rebirth, while the illuminated cutout was suggestive of inner growth.
Breezy summer afternoons were reimagined through Mayumi’s Prance, which incorporated handwoven piña fiber and chiffon to the curtina’s patchwork. It had earth-toned colors similar to the sunset glow, fainted wall paints, and garden landscape silhouette.
Fragments was a string art partition that mirrored the abstraction of human body and experience. It likewise explored the spatial dimensions of the physical and inner world.
An idyllic work of art, “Flora y Fibra” combined lively, bright colored flower-like embellishments with delicate yet strong tapestry to create a timeless piece with earthy brown and vivid hues.
“Nakatingala na Naman” was a dreamy creation that evoked childhood reverie with its floating, round panels. Its embroidery, half-moon appliqué and smocking brought to mind thought bubbles that stood for a child’s curiosity and imagination.
Network, marked by interrupted and fragmented lines, represented the complexity of human relationships and the struggles of having meaningful connections.
Other participating institutions included Benguet State University (Naidumduma), Catanduanes State University (Padayaw de Pantomina), Central Luzon State University (Urban Heritage), Fashion Institute of the Philippines (Kayo-d and Urban Divibes), iACADEMY (Banyuhay), Iloilo Science and Technology University (Duyan and Metro-Morphosis), and Isabela State University Cauayan Campus (Cult of Sierra Madre). The lineup also featured Philippine Science High School Central Luzon Campus (Mangan Tamu), Philippine Women’s College of Davao (Panganduy), SoFA Design Institute (Telakpak), Technological University of the Philippines Manila (Baluti de Manila), TESDA Women’s Center (Transcending Tradition), and the University of the Philippines-Diliman (Pasikot-sikot, Sitsiritsit and When Nature Takes Over).
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