Cover Defined by its iconic high-standing butterfly sleeves, the Philippine terno represents a century of evolving craftsmanship and cultural identity (Photo: courtesy of Rizzoli)
Defined by its iconic high-standing butterfly sleeves, the Philippine terno represents a century of evolving craftsmanship and cultural identity (Photo: courtesy of Rizzoli)
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A landmark volume from Rizzoli and Bench traces the history of Filipino craftsmanship, culture and identity of the iconic butterfly-sleeved terno
Within the Philippine diaspora, the terno’s stylistic evolution perfectly represents how fashion in this country continually reinvents itself. Throughout the century, as it changes in form, design or aesthetics, it has chronicled different eras in the Philippines, eventually becoming a classic icon of Filipino sartorial history.
Instantly recognisable by its architectural, high-standing butterfly sleeves, the attire has transcended its colonial origins to become a centuries-long barometer of Filipino identity and womanhood. A definitive visual record of this extraordinary evolution arrives with The Terno: A Century of the Philippine Dress, a landmark volume published by Rizzoli in collaboration with Filipino retail and lifestyle brand Bench. Spanning 392 pages and containing over 300 rich archival and newly commissioned photographs, the book offers a deeply researched narrative penned by scenographer Gino Gonzales and curator Sandra Castro. It traces the dress decade by decade from the 1920s through the 2020s, highlighting creations by over 100 couturiers—including national artists Ramon Valera and Salvacion Lim—alongside a new generation of designers redefining the silhouette on the global stage.
Above A formal Terno from 1943, featuring mesh, satin, velveteen appliqué, sequins and cañamazo. A gift from Nicanor Tiongson, inherited from Candida Tanchangco Reyes (Photo: by Kim Montes)
Above Lily delas Alas Padilla wearing the Salvacion Lim Higgins terno. Circa 1950s (From the collection of the Padilla family)
A formal Terno from 1943, featuring mesh, satin, velveteen appliqué, sequins and cañamazo. A gift from Nicanor Tiongson, inherited from Candida Tanchangco Reyes (Photo: by Kim Montes)
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The terno continuously evolved alongside Philippine history, adapting to the social shifts of each era. Originating from the multi-layered colonial traje de mestiza, it streamlined into a practical, zipped one-piece gown by the 1930s, incorporating Art Deco motifs and French bias-cut techniques. Following the Second World War, designers permanently shed the restrictive pañuelo shoulder kerchief—symbolising post-war independence—and entered a 1950s golden age led by visionaries like Lim, who introduced European couture methods, turning the dress into sculptural art. Though later challenged by Western youth trends in the 1960s and politicised as state attire by former First Lady Imelda Marcos, the silhouette survived a post-1986 EDSA Revolution backlash and was reintroduced by cultural advocates in the 1990s as modern butterfly-sleeved attire.
Behind this publication is a broader, sustained crusade to ensure the national attire remains a living tradition. “The terno is our national garment and a powerful symbol of Filipino identity,” says Ben Chan, founder of Bench and Tatler Most Influential honouree. “When we began this advocacy, documentation was limited, public interest needed rekindling and the terno was not widely accessible. We saw a national treasure that deserved to be studied, celebrated and made relevant to contemporary life.”
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Above A terno designed by Salvacion Lim Higgins, circa 1950s, in rayon satin, cañamazo, black velvet, corded horsehair embellishment.
This was worn by Lily delas Alas Padilla, recognised as a prominent society figure. The terno was recovered and restored by the Slim’s Fashion & Arts School in 2025. (Photograph by At Maculangan)
Above The Balintawak terno, a cañamazo, silk, printed linen from the Arsenio Escudero and Rosario Adap Museum (Photograph by Patrick Diokno)
A terno designed by Salvacion Lim Higgins, circa 1950s, in rayon satin, cañamazo, black velvet, corded horsehair embellishment. This was worn by Lily delas Alas Padilla, recognised as a prominent society figure. The terno was recovered and restored by the Slim’s Fashion & Arts School in 2025. (Photograph by At Maculangan)
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As a continuous effort to preserve this national icon, Bench spearheaded a multifaceted advocacy—collaborating with Gonzales and the Cultural Center of the Philippines to conduct nationwide construction workshops, establishing the biennial Ternocon competition. “A national symbol endures when it remains culturally relevant,” Chan explains. “The terno’s staying power lies in its ability to evolve while retaining its distinct identity. Designers continue to reinterpret it, women continue to wear it and each generation gives it new meaning.”
The brand has also brought the national attire to international platforms, showcasing it at Tokyo Fashion Week. “Just as the kimono and hanbok are recognised as symbols of their respective cultures, we seek to build international recognition of the terno and introduce the richness of its traditions to the global fashion press and audience,” Chan notes.
See also: Tatler Most Influential Philippines 2026: the Filipinos making an impact across industries
Above Miss Universe 1973 Margie Moran in a Pitoy Moreno terno made of embroidered jusi. (Collection of Margarita Moran Floirendo)
Above A formal terno of Salvacion Lim in 1960. This sculptural terno was created for Eva Estrada-Kalaw, who was photographed by the Weekly Women’s Magazine in the same year. (Photograph by At Maculangan)
Miss Universe 1973 Margie Moran in a Pitoy Moreno terno made of embroidered jusi. (Collection of Margarita Moran Floirendo)
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Above A formal terno by Philip Rodriguez in 2020, featuring intricate pleated tulle, gazar and cañamazo. (Photograph by At Maculangan)
A formal terno by Philip Rodriguez in 2020, featuring intricate pleated tulle, gazar and cañamazo. (Photograph by At Maculangan)
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Ultimately, the book celebrates an entire creative ecosystem that spans generations and geography. “We hope readers come away with a sense of national pride and a deeper pagpapahalaga—an appreciation of the values of our culture,” Chan reflects. “Beyond its iconic butterfly sleeves, the terno represents the creativity and livelihoods of many Filipino communities...For them, the terno is both an industry and a heritage of knowledge and skill passed down through generations.”
For a special release in the Philippines, Bench commissioned a companion history volume, The Terno: A History of Philippine Dress, presented in a bespoke hardcover slipcase to accompany Rizzoli’s volume. Together, they prove the terno is no static museum artefact, but a dynamic canvas—affirming that a century of heritage, craftsmanship and community livelihood can be elegantly borne on a pair of butterfly wings.
Above Bench released a special two-volume edition of the landmark publication.
Bench released a special two-volume edition of the landmark publication.
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The volumes are available for pre-order online at the Rizzoli Bookstore and on the Fullybooked website. Bench’s exclusive two-volume collection is available for pre-order on its website.
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Karis Tsang serves as a Junior Associate Editor at Tatler Philippines. She tells stories at the intersection of high society, local arts and pop culture. A UST journalism alum, she has a knack for finding the extraordinary in the ordinary. When she’s not typing furiously against a deadline, she’s likely getting lost in a theatre, overanalysing style or planning her next creative rabbit hole.
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