Cover Jaime Brias championing Filipino craftsmanship through furniture and lighting design
Jaime Brias championing Filipino craftsmanship through furniture and lighting design
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From London to Mindanao, Jaime Brias is reshaping the conversation around Filipino craftsmanship, transforming indigenous materials and centuries-old techniques into contemporary design with international appeal
It was an unseasonably warm late spring day in West Kensington, London. Across the city, pub patrons spilt outside onto cobblestone streets, sipping on post-work pints of beer and hoping that the cool afternoon breeze would provide some relief from the “record-breaking” heat.
While the sunny skies and high temperatures on this day in late May were considered unusual for London residents, for Jaime Brias, it felt just like home.
The intersections between local Filipino artistry and elevated design were always integral parts of Brias’s upbringing, having grown up between Davao and Manila. Since the late eighties, his mother, Maricris Floirendo Brias, has been working with the T’boli tribe of Mindanao through TADECO (Tagum Agricultural Development Co) Livelihood and Training Center, whose mission was to uplift and create sustainable livelihoods for the local artisans of the region.
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Above Curly Willow Leaf lamp by Jaime Brias
Above Curcuma hanging lamps by Jaime Brias
Curly Willow Leaf lamp by Jaime Brias
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The T’boli (also referred to as “Dreamweavers”) are native to the highlands of South Cotabato, Mindanao and are known for T’nalak, a traditional fabric woven from abaca fibres. Abaca, colloquially known as Manila hemp, is a natural fibre derived from the banana tree (TADECO’s primary export). For generations, the T’boli have woven abaca into geometric-patterned textiles so intricate in their design and visual aesthetic that they were believed to be sacred, revealed only to those who weave them via their dreams.
Today, Brias continues this initiative as a creative contributor and designer for TADECO Home, an evolution of TADECO’s original community development programme that is now a globally recognised sustainable handicraft manufacturing business. “My design process always begins with understanding who I am designing for,” Brias reflects. “That typically means collaborating with different manufacturers and artisans, each with their own materials, techniques and areas of expertise.
Whether they specialise in abaca, bamboo, or other forms of weaving, I start by learning what they already do well. I treat this almost like understanding my clients' capabilities, limitations and strengths. From there, I take time to study what they have been producing. This step is important because it gives me a baseline. It allows me to identify opportunities to elevate their craft rather than reinvent it entirely. My goal is not to impose a completely new language, but to build on what already exists and push it forward in a thoughtful way.”
Jaime Brias championing Filipino craftsmanship through furniture and lighting design
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Stepping inside Brias’s West Kensington flat, you’re immediately struck by the contrast. Traditional English fixtures are set against bright and colourful T’nalak prints and pillows. Dark wood and Victorian crown moulding meet tropical accents and vibrant Filipino art. Every design choice feels warm, inviting and intentional, a tribute to Brias’s own multi- faceted background as a creative.
“Even my home, which I designed myself, feels a little crazy and weird in the best way, because it’s filled with everything I love. I think the balance of being surrounded by things that reflect who I am helps me stay creative,” he notes.
After training at both the Rhode Island School of Design and Parsons School of Design, Brias embarked on a career in product design and creative strategy across New York and Manila. In 2024, he earned his MA in Art Business from the Sotheby’s Institute and is now proud to lay roots in London, whilst still collaborating with designers and artisans back home in the Philippines.
Brias says, “Living in London is amazing because it gives me a different outlook on the world. I love the city, the culture, and the way it constantly inspires me and my designs. As a designer, I know that inspiration is not something you can force, but London makes that feel very natural. The energy of the city, the mix of people and the constant movement around you all feed into the way I think and create.”
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Above The Heart of Abaca lamp, designed by Jaime Brias
The Heart of Abaca lamp, designed by Jaime Brias
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Tucked into the corner of Brias’s eclectic living room is his latest piece, Heart of Abaca, which he debuted last year at the 2025 Révélations Biennial. The show, hosted at the Grand Palais in Paris, France, is an international art fair that celebrates creation and fine craftsmanship; it was also where Brias showcased the custom piece he developed in collaboration with his mother for TADECO Home.
The piece is tall without feeling overwhelming. It stands at nearly 4 feet in height and is built from TADECO’s Home signature abaca fibres. Heart of Abaca is crafted from three muted beige layers that fan out from one another, similar to a flower reaching full bloom. Each layer is distinct in its construction and an homage to how the abaca fibre is derived and processed.
The first outermost layer is coarse and untreated, representing raw abaca in its most naturally occurring form. The second layer, made from simply woven T’nalak, feels tighter and more polished, without being overly ornate or adorned. And finally, the third innermost layer features the signature “Ikat Vine” and pays tribute to the intricacy and care with which the T’boli tribe treat their sacred T’nalak textiles.
About his creative process, Brias says, “I approach materials as collaborators. With fibre, especially, there’s a dialogue between control and unpredictability. I spend time understanding its limits and possibilities before deciding how far to push or preserve its natural behaviour. My process is also adaptive. It is about respecting traditional techniques while finding ways to evolve them into something that feels current, functional and beautifully finished.”
Above Apart from lighting, Brias designs furniture, this table is made with similar materials as the lights
Above Eye-catching pieces displaying Brias's take on Filipino craftsmanship
Apart from lighting, Brias designs furniture, this table is made with similar materials as the lights
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For the future, Brias hopes to help bring Filipino design to a larger, more global stage. Brias says, “My work, and the work of the people I collaborate with, is deeply rooted in the idea of elevating Philippine design. This has also been strongly shaped by my mentor, Tony Gonzales. For us, the goal is to present Philippine products more as works of art than as manufactured goods.
“The Philippines has incredibly talented artisans, but we also have to distinguish ourselves from countries with large-scale manufacturing like China or Vietnam. I think the way forward is not to compete directly, but to emphasise the processes that come out of our country and help people understand how unique and valuable our products are.
“What we want to show is that the Philippines has something truly special. It’s not just about the final object, but about the craftsmanship, the process and the identity behind it. That is what makes our work different; and that is what makes it worth buying from the Philippines.”
Later this year, in October 2026, Brias, in collaboration with TADECO Home, will be showcasing a new collection of bespoke hand-crafted pieces in Manila. The show will spotlight the endless possibilities that arise when combining local materials with elevated design, hopefully providing a welcome bit of inspiration for Filipino artists, artisans and designers of the future.
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