Fashion designer Renee Salud. Handout

MANILA — Every time renowned Filipino fashion designer Renee Salud works with Philippine indigenous weaves in a collection, he makes sure to respect the fabric. Ethnic textiles, after all, are more than just fabrics used in clothing and costumes, but rather have specific cultural meaning and significance. 

In a special collection he produced for Hotel Jen Manila's Philippine Tapestry, he used various indigenous textiles from different parts of the Philippines — from the brightly colored weaves of the Cordilleras to the intricately patterned fabrics of Maguindanao. 

Philippine Tapestry is part of Hotel Jen International's “Local Rituals” campaign. The young hotel chain that is under the Shangri-La group would like to highlight the local hidden gems of the Philippines through the art of indigenous weaves. It recently held a fashion show featuring the works of designer Salud. 

“I go around the Philippines and I have the opportunity to talk to the different weavers from all over the country. For instance, the T'nalak [by the T'boli tribe of South Cotabato] because I had the opportunity to talk to them, I asked them what are the sensibilities with regards to using the fabric. They said there's none. Gone are those days that they are very sensitive about it because they have to move forward,” the designer told ABS-CBN News.

Cultural appropriation is a very sensitive issue nowadays but Salud is happy that these indigenous groups are opening up and giving Filipino designers the opportunity to work with their fabrics. 

“Because they want their fabrics to be promoted in the international market. You cannot promote a fabric if there are so many limitations. But, of course, I respect it in such away that I do modest designs,” he said. 

1 – Straight dress made from Maranaoan fabric with traditional beading embelishment. Handout

2 – Updated terno design using pinya fabric from Visayas. Handout

3 – A tailored coat using Maranaoan fabric. Handout

5 – A tailored jacket made from traditional Kalinga textile. Handout

The specific collection uses classic designs from a-line dresses and skirts to tailored tops and jackets. 

“The styling is far from the Philippine costumes. The reason behind the collection is to promote the culture of the Philippines through fashion and this is the best way to do it. I see to it, every time I do a collection, using their weaves, I shy away from the costume side. I made it more modern and more urban,” he explained.

Indigenous fabrics usually use ethnic fibers and unconventional materials but, according to Salud, working with these kinds of weaves is surprisingly easy. For him, it's more inspiring than difficult. 

“No, it's not difficult, it's actually very inspiring and very rewarding. I think we have to push our fabric like how the Indians, Chinese, and Japanese push their fabrics. For instance, the Indian saree is not only used as a costume, it's is also done in a modern way. Just like the Japanese kimono, it's being interpreted in different ways, but the look is still there,” he said. 

For him, Philippine textiles have a chance in the international market with proper marketing and backing. A good example is the Maguindanaoan inaul, which was used in the Miss Universe pageant last year. According to Salud, orders came in after the fabric was showcased.

Traditional Filipino costumes. Handout

“If it is marketed really well and if it has a lot of backing from the government, I think it will go places. When we showcased the inaul in the Miss Universe, according to the weavers, they got a lot of orders; the problem now is how to get the fibers. It's an illustration of a good start. And that's also one of the reasons, is to help empower the women of Mindanao and other indigenous people by promoting their weaves,” he said. 

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