Haute and Holy: 6 Filipino Designers on ‘Fashion and the Catholic Imagination’

MANILA, Philippines — The theme of this year’s New York Metropolitan Costume Institute Exhibition is “Heavenly Bodies: Fashion and the Catholic Imagination.” Designed to bridge the intersection between faith and fashion, the sacred and the profane, Costume Institute curator-in-charge Andrew Bolton notes that the collected pieces aim “to show how material Christianity has helped form the Catholic imagination,” as reported in Vogue.

Central to the exhibition is a collection of papal garb on loan from the Sistine Chapel sacristy, sanctioned and secured from The Vatican itself — many of which have never been seen outside of the city. On display will be a selection of worship-worthy pieces highlighting the pervasive influences of religion and ecclesiastic garb on fashion — pieces from the haute houses of Balenciaga, Versace, Chanel, Dior and so much more.

The idea of recognizing fashion as a medium of Catholic imagery might be transgressive to some, but ultimately, the influence is undeniable. There is the sacred and the divine, but there exists also the ceremony to go with it.

From the vestments, the art, the traditions, and the lavish ornaments — it’s about contemplating the enduring symbols and “the role dress plays within the Roman Catholic Church and the role the Roman Catholic Church plays within the fashionable imagination.”

If there are two things Filipinos know all too well, it’s fashion, and an intimate knowledge of all things Catholic. In the spirit of this year’s #MetGala, YStyle asks six local designers how Catholicism (and having grown up in a deeply devout country) played a role in their aesthetic formation.

Joyce Makitalo

Religion and culture exist in a close relation, so the Catholic/Christian influence tends to manifest in many local artists’ works. As a child, I loved being in church. I would lose focus during homilies staring at intricately distracting details, which were pretty much everywhere.

When I started designing jewelry, I was a bit surprised with my aesthetic. It was slightly complex — with many other influences — but church culture was obviously there. The local artisans I work with understand my point of view because it’s part of our common culture. The output is authentic and has soul.

I’m an interfaith believer, and I also try to express this in my work. The incorporation of tribal, religious and occult details give depth and unique identity. But the opulent influence is dominant — a reminder of God’s magnificence and glory, as seen in our old churches.

Gian Romano

Having grown up in a Catholic school all my life it was instilled in me the doctrines of Catholicism. I wouldn’t say I agree with everything I learned growing up, so somehow part of me wanted to rebel against it, especially in high school. I guess on the backburner of my aesthetic, part of it wanted to defy the norms that I don’t agree upon. I would remember my Nana wearing these eyelet blouses to church on Sundays and somehow it resonated with me through the years, taking it into a different perspective.

Jaggy Glarino

Undoubtedly my cultural values and personal experiences and the process of creativity in my design processes as a fashion designer has been largely influenced by my religious orientation. It is evident in the way I come up with textures and shapes, to the manner of presenting a collection; everything is in a way deeply rooted to bits and pieces of Catholic recollections I have had since childhood. I mean, from rich vestment embroideries, to a church’s intricate woodwork, to ritualistic celebrations during Holy Week, I’ve always attributed my obsession with luxuriance, excess and drama to my Catholic upbringing. 

Janina Dizon

Catholicism, I think for most Filipinos, will always play a major part in our lives. As a designer, I do love designing crosses but I steer away from being overtly religious. However, instead of the Latin kind, I favor the Maltese motifs more.

Michelline Syjuco

Being a Catholic has probably influenced my aesthetic as a designer, inasmuch as I use symbols like crosses, serpents, crowns and wings in my work. I’m also known for my intricate detailing in gold, which is reminiscent of the finishes of altars in Catholic churches. 

This is a sculptural armor dress that was inspired by the Crusades. It is completely hand-hammered and embellished with crystals. I showcased these pieces at Paris Design Week in 2016.

Esme Palaganas

Unlike others, my design connection to Catholicism is very innocent. It’s a lot like the Lady Bird movie actually.

My family is pretty religious, I was even an altar girl when I was young, and I’ve been in a Catholic school ever since I can remember. I’ve adapted Catholicism more on the thought process than the surface level of my designs (less of the crosses and embellishments).

An inspiration for a show was Babang Luksa, a celebration to end the mourning of death practiced in the Philippines. That show was also opened by a coat with cascading bead work, coming from a belief that one should send off their departed loved ones with their jewelry. 
My lengths are also pretty conservative, and my love for pockets started with our school uniforms, to be honest.