Fashion has taken a second-row seat — almost so overlooked — on how cultures historically cross and overlap, blend and mix. But fret no more. At Threads of Dreams, this conversation fruitfully unfolded through the creations of three respected designers: Jaggy Glarino, Joey Samson and Rhett Eala.

The latest cultural exhibition, expertly mounted by the Japan Foundation in partnership with the ever-visible Embassy of Japan in the Philippines and trendsetter brand Bench, was created in celebration of 70 years of diplomatic relations between the two nations. The eye-popping show at the Metropolitan Museum of Manila nostalgically explores how history, craft, personal stories and memory earnestly continue to foster relationships between the two countries.

Glarino, who grew up in General Santos City, has earned a reputation for drawing with care from regional histories, indigenous traditions and personal narratives. His work often examines identity and transformation through experimental forms and meticulous craftsmanship.

Samson fondly described as a “garment surgeon,” is known for his often-appreciated precise tailoring and his gifted ability to rigorously deconstruct and magically reimagine familiar silhouettes.

Eala, meanwhile, has devoutly spent more than three decades artistically shaping contemporary Philippine fashion through refined yet wearable creations marked by elegance and restraint. Together, they all exude different perspectives on a shared narrative.

All three couturiers absorbed Japanese influences, as they faithfully kept their roots firm in Filipino existence. Traditional garments such as the kimono, barong Tagalog, terno, tapis and malong were highlighted with brand-new looks, all thanks to new interpretations.

Honored Japanese textiles, long-admired dyeing techniques, one-of-a-kind pottery, beloved origami and historical narratives have amalgamated with prized cultural heritage, proud domestic weaving traditions and treasured family memories. The result? Genre-pushing garments that evoked the pride of both countries.

Glarino’s collection, IMIN, investigated earlier migrations and the inevitable movements of inhabitants. Inspired by Mintal, Davao City, once known as Little Tokyo, he earnestly revisited the history of Japanese settlers who established communities on the island of Mindanao during the early 20th century.

Obi fabrics sent out statements in oversized coats, jackets, and tailored pieces, while touches of Tboli t’nalak and Maguindanao inaul grounded the collection in Mindanao traditions. Among the standout looks were a dramatic trench coat fashioned from aged obi textiles, a deconstructed linen dress reminiscent of both the Japanese saya and the Filipino duster, and a kintsugi-influenced jacket assembled from fragments highlighted with gold detailing.

Samson’s Ang Pagniniig: Una Bulaqueña at O-Sei-San reconceptualized two historic figures and locked them in conversations. He envisioned dialogues between Una Bulaqueña, the Filipina immortalized in Juan Luna’s 1895 painting, and O-Sei-San, the Japanese lady associated with the time of José Rizal in Yokohama.

Historical references fused with fiction as Samson studied what these women might have enjoyed together across geography and circumstance. Iconic kimonos became asymmetrical coats, piña barong Tagalogs merged with obi forms, and national dresses were reconfigured in unexpected ways. Notable pieces included the sheath dress crafted from kimono linings, the hybrid coat-kimono paired with a hand-embroidered barong Tagalog and the reinterpretation of the Filipina outline in Una Bulaqueña as a New Filipina.

For Eala, inheritance was where it all began. His selection, Inherited Stories, gathered inspirations from the life and personal effects of his mother, Roceli “Baby” Valencia, whose frequent visits to Japan left behind a priceless trove of textiles, artifacts… and memories.

A standout kimono devotedly hand-embroidered with loft clouds, delicate flowers, and stalwart bamboo leaves became a key reference. Japanese pottery and origami likewise primed the silhouettes, which featured sculptural bubble skirts, corseted forms, folded piña details, and kimono-like sleeves. Particularly striking were the apparels which incorporated handwoven piña folded with attention into bamboo-esque origami structures, as well as a dramatic bow gown adorned with sakura-decked fabric blossoms.

With these three masters of their respective crafts, Philippine fashion admirers may rest easy, knowing our culture has left an indelible mark even in pieces evocative of the Land of the Rising Sun.

Bravo, Embassy of Japan in the Philippines and Bench!

¡Enhorabuena!, Japan Foundation!