Step into a vibrant intersection of ancestral artistry and modern innovation with Threads of Heritage 2026: A Celebration of Philippine Fibers and Textiles and the Living Legacy of Kalinga Weaving. Staged by the creative minds of De La Salle-College of Saint Benilde’s Creative Industries Management program, the exhibition brings the groundbreaking MASDA AW project to life at the 8/F FDM Lobby until 12 December. By uniting Kalinga folk masters and indigenous weavers with Manila’s top contemporary creatives, the showcase transforms raw fibers into a powerful dialogue of fashion, documentary photography and natural dye revival.

New Now Next secured an exclusive, interview with Nina Tesoro-Poblador, Benilde faculty and the visionary project manager of MASDA AW, offering deep insights into how this project bridges ancestral knowledge with contemporary appreciation.

NNN: When and how was the idea for this born?

Nina Tesoro Poblador: The roots of MASDA AW go back to the ‘80s and ‘90s when our parents immersed us in indigenous Cordillera culture. The core inspiration comes from our mother, Patis Tesoro. We still practice her model of community engagement — using the revival of local arts and crafts to drive sustainable livelihoods. We learned that respect for culture is paramount. You must study and immerse yourself in tradition before you can build a brand that clearly communicates that community’s value to the market.

There are many issues regarding local textiles, from cultural to commercial. How does this exhibition help?

The industry faces massive hurdles: production inefficiencies, cultural misappropriation, oversupply, low local demand and skewed market pricing. This Benilde student-curated exhibition of MASDA AW artifacts and PhilFIDA innovations acts as a living laboratory. It immerses the next generation in our material culture. If we want to project soft power the way South Korea does, we must engage the education sector. Students who learn ethnography develop an appreciation for high-culture aesthetics, which naturally drives the demand for 100 percent homegrown, handmade textiles.

Can the Philippines revive its once-existing textile industry? Why?

According to PhilFIDA executive director Ali Atienza, while our textile industry is in a perpetual sunset phase, the Philippines still produces top-tier organic fibers that are highly sought after by industrialized nations. The missing link is processing raw materials like abaca into high-value finished goods. To reverse the decline, the private sector must step up and invest in these value-adding business activities.

This visionary move seems like a double-edged sword. How can we move forward?

It is a double-edged sword, and we cannot pretend otherwise. Introducing market forces to something sacred risks diluting ancestral knowledge into a superficial trend stripped of its cosmology. However, leaving these traditions untouched by the market guarantees their demise. If weaving isn’t economically viable, the young leave and the knowledge dies with the elders. The way forward is to ensure the community remains the author and chief beneficiary — not just the supplier. Every peso earned must circle back to the weavers, farmers and creatives. True economic discipline turns commercialization into protection rather than erosion.

Are there enough government institutions or even the private sector to support this kind of action? What is needed?

There are plenty of institutions and organizations available. However, as my mother believes, the missing element is the commitment of honorable individuals who possess the trust of their communities. We need leaders capable of mobilizing a critical mass of people and resources to drive the mission forward. MASDA AW has found exactly those community builders in Councilor Banasan, Manang Florence, Undersecretary Atienza, Mercedes Zobel, Dindin Araneta and the faculty at De La Salle-College of Saint Benilde.

More and more grassroots communities are influenced by commercialism. How do we protect our culture and arts?

We must return home economics to elementary school curricula nationwide. We also need to encourage youth to reconnect with the land to heal from the overwhelming noise of hyper-capitalism. Developing authentic creativity provides our youth with a sense of purpose and much-needed mental convalescence.

How does the MASDA AW project successfully balance the preservation of ancestral Kalinga weaving techniques with the demand for contemporary fashion innovation?

We innovate around the textile, never to it. We never ask KINWA’s weavers to alter their ancestral craft. The backstrap loom, the natural dyes, and the Kalinga patterns remain untouched. Instead, we innovate the context through contemporary silhouettes and collaborations with academic programs at Benilde and UP Diliman. This structure ensures a creative exchange rather than extraction. Our community of designers, photographers and students co-authors the work alongside the weavers. The market gets something genuinely new, while the community retains its heritage and gains a sustainable livelihood.

In what ways did the 2026 project evolve or expand upon Patis Tesoro’s 1998 Katutubong Kulay natural dye revival?

We have successfully standardized the processing of naturally dyed Ilocos cotton skeins with KINWA, achieving a volume and consistency that Katutubong Kulay’s original 90s R&D phase couldn’t reach. Furthermore, back then, Philippine indigo wasn’t available in powder form — it was my mother who convinced the PTRI to invest in that machinery. In August 2025, MASDA AW finally utilized that endemic powder dye. It was a massive breakthrough, introducing the Kalinga weavers to beautiful, subdued tones outside their traditional palette. MASDA AW is truly Katutubong Kulay’s dream come true.

As a student-staged exhibition under the ABCIM and FDM programs, what key project management and curatorial insights did the Benilde students gain?

They gained insights that go far beyond curatorial technique. They learned to manage real-world stakeholders across geographic distances. Every artifact, label and layout choice had to be verified against the community’s own sense of identity. They learned that project management is an act of trust, not just logistics.

How does a partnership with a government agency like PhilFIDA enhance the academic and commercial viability of student-led cultural projects?

Academically, PhilFIDA proves to students that their work matters to an active industry. Armed with institutional backing and raw materials, students stop treating the project as a mere assignment and view it as a social innovation challenge with real stakeholders. Commercially, the partnership provides instant legitimacy outside the campus. A PhilFIDA collaboration signals to buyers, designers and cultural institutions that this output is viable, credible and grounded in real supply chains. It turns a student exhibition into a genuine pipeline for social innovation in our creative industries.

Threads of Heritage 2026 is a stunning display of material culture and urgent, living call to action for cultural preservation and creative entrepreneurship. By uniting the wisdom of our elders with the innovation of our youth, we transform sacred heritage into a sustainable future.

It is a student-led exhibition by the DLS-CSB Creative Industries Management program at the 8/F FDM Lobby of the Benilde Design + Arts Campus on P. Ocampo Street, Malate, Manila will formally open in September 2026. Details to follow soon.