Storied Stitches: What we need to know about Philippine embroidery

Embroidered piña and jusi fabric are predominantly made in Kalibo, Taal and Lumban. The piña fabric is purely handwoven and more laborious to produce. Since it is a very delicate fabric, embroidering requires more precision and careful handling. Jusi, on the other hand, is machine-woven, more economical and more durable. Tesoro shared that in the past, cocktail sets or table linen sets made of embroidered piña and piña-silk used to be very popular when housewives used to entertain a lot at home. With the changing times and when people started to eat out, these cocktail sets have gone out of fashion probably starting in the Eighties. Today, Tesoros continues to offer a wide range of embroidered items from the traditional barong Tagalog, coasters and doilies, to the contemporary cropped Itneg jackets, cushion covers and more.

Itneg or Tinguian is an ethnic group up north, in the mountains of Abra, that has also gained popularity for its embroidery. This tribe preserves its cultural heritage passed down from generations through sacred weaving patterns such as pinilian and binakol, as well as the embroidery style called kinamay. The Mina family is one of those who continue this tradition. “We adopted this art from our forefathers. It is very important to us because this is our identity. It also gives us livelihood,” says Strong Mina, one of the representatives of the family.

“The journey of creating embroidered home goods in Abra and Kalinga begins with the foundational act of weaving,” says Katte Geneta, founder of Narra Studio, a platform that carries this kind of embroidery, among many others, from Manila to New York. “Each piece starts on either a backstrap or pedal loom, an age-old method where artisans weave the fabric by hand. Once off the loom, the cloth becomes a canvas for expression. Embroiderers then take up their needles, threading through compositions that might span the entirety of the fabric or embroidering just the edges of their fabric. The choice of where and how to embroider is usually left to the discretion of the embroiderer, depending on the ultimate purpose of the piece,” Geneta adds. 

The technique results in unique pieces, which she describes as “a one-of-a-kind artefact of its creator’s imagination and skill, drawing from a well of tradition and personal creativity”. These are then made into shawls, jackets, blankets, tablecloths, table runners, wall hangings and pillowcases. “For the artisans of Abra and Kalinga, the craft of embroidery is not only a skill; it is a lifeline to both the past and future. From youth, children learn the intricate balance of practical knowledge and cultural tradition passed down through generations, meant to be also taught again down the line. This thread connecting ancestral knowledge is imparted stitch by stitch. It is a time-consuming practice and one that helps support entire families’ livelihoods and villages oftentimes, as well as one that nurtures purpose, belonging and cultural identity.”

Like in the north, embroidery created by the Mindanaoan tribes is characterised by vivid colours and intricate patterns that “reflect a profound bond with nature and ancestral traditions, making each piece a collection of the community’s stories, beliefs and dreams”, says Marga Nograles, chief operating officer of the Philippines’ Tourism Promotions Board. The Davao-born fashionpreneur is also the co-founder of Kaayo, a label that juxtaposes traditional Mindanaoan craftsmanship with stylish fashion and home pieces. Kaayo works with different Mindanaoan tribes such as the T’Bolis, Mandayas, Tagakaolos and the B’Laans. 

“The T’Bolis are known for t’nalak weaving, which the tribe believes as an art overseen by the spirit of Fu Dalu. This sacred practice involves translating the dreams of weavers into patterns on fabric, creating a visually stunning and spiritually significant cloth,” explains Nograles. The Mandayas, on the other hand, are famous for their embroidery often seen in their dagmay fabric, which “showcases intricate geometric patterns that depict elements of nature and tribal life, carrying meaning and serving as a form of expression”. The same goes for the Tagakaolos, whose works feature bold, geometric designs that are symbolic and deeply rooted in the tribe’s cultural beliefs, reflecting a strong connection to their land and ancestors. The B’Laans are known for their mabal tabih or ikat, a tubular fabric woven using abaca with vivid colours and detailed patterns inspired by the natural environment, showcasing a harmonious blend of traditional and contemporary styles. All of these variations can be incorporated into fashion and home items, a lot of which we see today not only in the Philippine market but exported outside the country. 

Nicole Menchaca, founder of Maynilastyle, is another purveyor of embroidered home accoutrements. “Maynilastyle embroidery is inspired by the tropical climate of the Philippines. Many designs include flora and fauna that capture the beauty of tropical living,” says Menchaca whose latest collection is from Lake Sebu, South Cotabato. “The process of finding these artisans [in Lake Sebu] was quite an adventure, but it was definitely worth it. This is an area I’ve been wanting to explore for a long time!” She explains further that the works of the artisans hold immense significance for them, especially for the many women who have faced or are still facing extremely challenging circumstances. “Embroidery allows these women to work from home while taking care of their families. Additionally, I have male weavers who craft my rattan products and are now training their sons to help part-time while they continue their studies.”

While the centuries-old art of Philippine embroidery has evolved over the years, there is a strong move to preserve this storied craft. “Globally, there’s a rising demand for artisanal and culturally rich furnishings. Philippine embroidery, with its unique designs and deep cultural stories, can uniquely enhance home interiors, blending traditional artistry with contemporary style. Philippine embroidery has seen a remarkable revival. This resurgence is fuelled by the global shift towards sustainable and ethical fashion, where artisans blend traditional methods with modern designs. Social media and online platforms have been crucial in introducing local artisans to a worldwide audience, leading to innovative creations and a renewed interest in embroidered home decor,” Nograles muses. 

“In New York City and beyond, including the rest of the United States, Canada and other countries, the embroidered goods from the Philippines have been met with great enthusiasm. This reception signals a growing appreciation for Filipino textiles globally…The intricate symbols and designs, each carrying a depth of meaning and a connection to Filipino cultural heritage, resonate profoundly with many audiences,” adds Geneta. “I’m optimistic about the future of Philippine embroidery. With the growing appreciation for slow fashion, people are more willing to invest in handcrafted items, valuing their uniqueness,” Menchaca chimes in.  

“The outlook [for Philippine embroidery] is good for so long as we love ours…As long as we patronise our own so that there’s continuity of business,” emphasises Tesoro. “Filipinos, especially the younger generations are so creative so there’s more interpretation, new versions but still identifiably Pinoy. But where do we need help? We need support in making it easy to have international collaboration because in the end, that’s how creativity grows.”

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