Weaving the Philippines Local textures and fabrics

From fibers and threads to colors and prints, weavingspeaks so much about the Philippines’ cultural narrative. Besides preserving history, the country’s weaves are also promising products that bring attention to indigenous communities via the international design and lifestyle stage.According to the Garments and Textile Industry Development Office (GTIDO) and the Center for International Trade Expositions and Missions (Citem), the 2014 edition of Manila FAME identified the weaves that are beginning to show potential in global marketability.

Manila FAME is a premier design and lifestyle event

held annually at the SMX Convention, wholly

A T’boli from Lake Sebu demonstrates how ‘t’nalak’ ismade from abaca woven fiber. The age-old method is

widely recognized as the ‘ikat’process

supported by Citem, which in turn is the export promotions arm of the Philippine Department of Trade and Industry (DTI).“Citem has always been committed to highlighting the versatility, viability, and global competitiveness of Philippine craftsmanship, and we are glad we were able to emphasize the fabrics that have been part of the country’s culture and artistry,” related Citem executive director Rosvi Gaetos.He also identified the different Filipino designers who have become proponents of local weaves.

For the cotton and loom-woven abel textiles from Ilocos, Bungalow 300’s interior designers Marga Espiritu and

Vernice Songco, the artistic duo’s exhibit at Manila FAME injected their refreshing take on vintage and modern aesthetics. This brought a new spin on the said fabric that has been a huge part of the golden age of Ilocos.Weavers from Ilocos also participated in presenting abel as material known for bolstering the economy of the Ilocos region during the colonial times, as the Local weavers from Aklan show how piña is transformed into traditional ‘barong,’ products crafted from such thread were dresses, tapestries, bags, and furniture, accessories largely exported to different countries of the

world.

Meanwhile, the vibrant and intricate handcrafted mats that define the traditional Samar mat weaving are being advocated by painter and sculptor Patty Eustaquio. At the Manila Fame exhibit, she infused her design trademark that highlights stark contrasts between the present and the past.

Weavers from Samar also showcased how the sedge grass locally known as tikog can be transformed as mats, and how it can be crafted for bags, furniture matting, adornments for ceiling panels or walls, and other decorative pieces.The piña fabric from Aklan, on the other hand, was exhibited through the

Intricacy is a common feature among Philippine weaves interpretations of jewelery designer Natalya Lagdameo. The fiber used in this famed weaving process in the region comes from the mature leaves of the pineapple plant, which is scraped to extract the fine thread called liniwan.

Aklanon weavers presented how this material is commonly used in making the traditional barong, dresses, tapestries, bags, and furniture accessories.Finally, the art of t’nalak weaving from South Cotabato, was brought to life by the design sensibilities of Bong and Rossy Rojales of Heima.The T’boli women of Lake Sebu were invited to demonstrate the weaving practice. This traditional cloth weaves are made with abaca-woven fiber, and the practice is widely recognized for its age-old method involving the ikat process, where natural dyes and threads from Handcrafted mats from Samar are woven from sedge grass

indigenous plants are used. locally known as ‘tikog’

To date, the time-honored weaving is dubbed as “dream weaving” because the T’boli weavers believe that the textile patterns are lent by Fu Dalu, the spirit of abaca, which are communicated to them through dreams.