Cover The Orenda tapestry by Maison Métisse
The Orenda tapestry by Maison Métisse
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At the opening reception of Heritage in Bloom on April 18, Maison Métisse founder Adrienne Charuel shares her insights about running a slow fashion brand
Fashion has an enormous impact on the planet. As the threat of climate change looms large over the planet’s future, more and more creatives in the local industry are taking it upon themselves to implement conscious practices into their craft, all while promoting the resurgence of lost rituals. Three Filipino fashion brands, Maison Métisse, Kanya, and Artifeks, are at the forefront of championing slow and sustainable fashion into the local mainstream.
Their joint project, ‘Heritage in Bloom,’ is an interactive exhibition celebrating Filipino creativity and heritage. It opened to the public on April 18 at the gallery of Alliance Française de Manille and will run until May 18. The exhibition entails a selection of dialogues and workshops focusing on sustainable creative design, from demonstrations on yarn spinning to insights on local botanicals.
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Above (From left) Heritage in Bloom's brand founders Adrienne Charuel, Clair Concepcion Barberis and Bea Roxas
(From left) Heritage in Bloom's brand founders Adrienne Charuel, Clair Concepcion Barberis and Bea Roxas
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“We created this exhibit because it is so important to connect the past, present and future of global craftsmanship and Filipino heritage. It’s something we hope to do in terms of sustainability as well,” shares Adrienne Charuel. “That’s why it’s called heritage; we know that heritage is always evolving.”
At the masthead of the Maison Métisse is Charuel, a textile designer and self-described ‘multi-disciplinary maker’. After completing her studies in fashion design in Paris, Charuel moved to New York City for 18 months. There, she came across an introductory workshop where she first learned the Saori style of Japanese weaving. This led her to explore and experiment with other aspects of sustainable craftsmanship—from natural hand-dyeing with natural flora to sacred embroidery.
“My mentor over there taught me how the Japanese envision something before they start weaving and how to think before we apply our patterns. I realised that that philosophy stuck with me when I came back to the Philippines.”
Above The Boheme caftan by Maison Métisse
The Boheme caftan by Maison Métisse
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A purely handwoven item from the Maison Métisse catalogue can take up to eight days to complete using Philippine fibres and dyed by hand. A piece like her Marahuyo caftan is tinged with Talisay leaves, giving it a natural green finish, while natural Philippine coconut dyes colour her Marine dress an old rose hue. “What I love especially about this collection is that it is zero waste,” she says.
“What I love especially about this collection is that it is zero waste,” she says. The studio also advocates for lessening food waste, partnering with local restaurants to source scraps to use as natural dyes.
Above The Marine dress by Maison Métisse
The Marine dress by Maison Métisse
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Maison Métisse is also known for its in-house atelier, employing weavers from Metro Manila. Despite being recognised as a hub for the weaving heritage, the label is not affiliated with any tribe. Some staff include mothers weaving as a source of livelihood to put their children through college. “They’re so passionate about the art form,” Charuel muses. “I don’t know how we do it.”
Creating a garment so meticulously and complex doesn’t come without its difficulties. There is also a challenge in maintaining the reverence and respect of culture and heritage. “I’m trying to adapt that discipline that I was originally taught in the Japanese style of weaving. They have such a sacred method of working with your hands. I’m trying to find ways to respect the sanctity of that craft.”
Above The Celene silk bolero by Maison Métisse
The Celene silk bolero by Maison Métisse
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Charuel expresses an optimistic view of the rapid rise of sustainable fashion in the Philippines. She comments, “It’s great that a lot of local brands over here are definitely adopting sustainable practices. I’m happy to see that many designers are helping communities and looking for more environmentally sound alternatives to their processes.”
She stresses the importance of exhibitions like Heritage in Bloom in advocating for low-impact fashion and preserving traditional craftsmanship. “It’s important to be transparent about the process. That way, people can trace the origins of the materials and dyes, learn about them, and get to know the communities we work with.”
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About
Julianna has been interested in leading a literary life since she first read Frances Hodgson Burnett's A Little Princess at eight. Before working with Tatler, she was an archive intern at The Center for Fiction in Brooklyn, New York. She is a textbook Pisces who devotes most of her spare time to her crochet projects, watching classic films, and going through her never-ending pile of unread books. She studied creative writing, global literature and art history at Sarah Lawrence College, graduating with a Bachelor of Arts degree in 2022. Toni Morrison, Nora Ephron, Clarice Lispector and Jia Tolentino are among her all-time favourite writers.
Work
Julianna writes about fashion, beauty, sustainability, and the arts. She is always keen on conducting interviews with talented women who are changing the game in their respective fields.
For event invites and story leads, hit her up at julianna.cabili@tatlerasia.com
