FOR 20 years, cotton farming stagnated in the Philippines, specifically in Pinili, Ilocos Norte. But a native Ilocano, Dr. Joven Cuanang, spearheaded in revitalizing the industry. With guidance from Gawad sa Manlilikha ng Bayan awardee Magdalena Gamayo, and vital support from the Philippine Fiber Industry Development Authority, the National Seed Industry Council, and the Philippine Textile Research Institute, Cuanang is steadily realizing his dream of helping cotton farmers and inabel weavers.
A neurosurgeon, Cuanang is also the enterprising president and founder of the Pintô Art Museum in Antipolo, Rizal. In Algodon: The Story of Cotton, staged on February 5 at the sprawling museum’s Gallery 7, he tapped the stellar talents of fashion designers Pepito Albert, Vic Barba, JC Buendia, Tonichi Nocom and Randy Ortiz to “demonstrate the beauty, subtlety, and versatility of inabel fabrics made of pure cotton and dipped in organic dyes.”
The sustainable effort, assures Cuanang, is worthwhile: “Cotton farming supplements traditional products: rice, corn, monggo and vegetables. It can be a farming substitute for tobacco, most especially as this is harmful to health. Moreover, it provides the yarn for cotton fabric, now preferred ethically over synthetic fibers.”
Cotton, among other plant-derived fibers like abaca, maguey and pineapple, which are cultivated in farms, fertilized organically, and colored from plant-derived dyes, is consonant to acceptable standards for clothing prevailing globally. Ecologically, Cuanang said, this direction is sound.
“Algodon, which is Spanish for cotton, is a statement of an idea put into action. Painstakingly, over the last six years, we nurtured it from seed farm to fiber to fashion. Farm-produced cotton has its rightful place in our times. It is part of our cultural heritage. It should be revitalized all over our country,” declares Cuanang.
Cotton is a soft, fluffy, feel-good fabric, and the designers have fully committed to supporting its resurgence. Pepito Albert, who has been indisposed as of late, sent down a single look of a sexy, sculptured inabel blazer paired with a skirt made of silk taffeta and Swiss lace worn by supermodel Jo Ann Bitagcol.
Here, the country’s four other foremost fashion purveyors share their design process for “Algodon.”
BARBA BY VIC BARBA
“‘Algodon’ being the title of the show was also the working title [of my collection]. My design mission was to show the fabric in prominence alongside other fabrics we use in the tropics like cotton and linen, and to show the Abel Ilokano in ways other than the usual ‘Filipiniana.’ The show was conceptualized in May 2022 and was originally slated to be shown last October. Majority of the pieces were already done by then. New fabrics and colors came in November and December so we incorporated that in the collection.
“I’ve had orders pouring in while the show was going on. Does that mean it’s saleable? Definitely! Mass production possibilities? The fabric itself is not mass-produced. It is made by hand which makes it quite dear. But it is a beautiful fabric so it certainly has its place in the design world.”
JC BUENDIA
“WOULD you believe I sewed the collection in two weeks? Because it was wedding season, I started making the collection just two weeks before the show. I already had a mood in mind and I’ve already asked experts regarding appropriation. If I use stampitas as accessories, it’s best I only use a representation.
“I’ve said too often that designing is problem-solving. In designing my capsule collection for ‘Algodon,’ I thought of addressing our problem with fluctuating weight. We can be fit and toned one day, and by the weekend we’ve gained again.
“It was a joy working with the new inabel weaves of pure cotton. They were soft and breathable, and very easy to iron. I decided to make bibs that can be tied tight or loose at the sides [so go ahead with the second serving of Japanese fried rice]. The collection wouldn’t be complete without new interpretations of the Philippine Terno. I came up with Terno bibs worn over pleated tulle skirts for a garden reception, perhaps, or with a beaded embroidered tulle skirt for candlelit dinners.”
TONICHI NOCOM
“MY collection is resort dressing—it should be known to everyone that it’s not the generic look of T-shirt/tank tops/shorts. It’s having the right pieces of clothing to wear at a resort. We are a resort country with exclusive beach clubs and private/gated communities along the beach. Weddings are now common in resorts. I have always dreamed of seeing everyone dressed even at the beach. Pinoys for sure have been to resorts abroad and noticed the manner of dressing.
“With the new show date, I had time to do variations until the final edit. My clothes do not call attention, they are essentially basic in silhouette and fabric. I am always guided by the principle of versatility and appeal. My aim is to evoke ease, comfort and self-confidence wherever the wearer finds himself in. The overcoats can be for travel wear. The collection is consistent and cohesive with my DNA as a menswear designer. “This is my first time to work on inabel and the ‘mosquitero’ fabric. I asked Vic Barba about the characteristic of inabel and he said it is a superfluous fabric. Once cut, it frays easily, the width is 22” (if soaked, expect shrinkage), and there is color bleed (evenly).
“To sustain inabel, the government should support the weaving industry in partnership with the private sector, and tap the right people to work as one group focused on a goal. We have no textile industry except for these weavers. We should work together to be partners and be one in fashion.”
RANDY ORTIZ
“AS I have been advocating for several years, modern Filipino fashion is the main inspiration from the cotton inabel that was especially woven and provided for us. I opted to stick with my core, simple and elegant cocktail/lounge pieces, clean classic lines with subtle details of embroidery. The techniques we used are draping, patching and tailoring to create the collection which I think would complement the color story of beiges, grays, and hints of blue, green and rose pink.
“I started early doing the designs and treatments, from soaking to actual patterns as I basically used inabel 70 percent to 80 percent for the whole collection. I took into major consideration wearability with very subtle couture treatments while doing the collection, Some are even hand-stitched to manipulate the fabrics. I’m thinking of infusing it for my future pop-ups until the weaving reaches maximum potential.”
Image credits: Nelson Villarica