Arts & Culture

A B A C A

Jing Ramos writes about how Francis Dravigny turned abaca into a high-profile luxury fabric.

Though the abaca resembles a banana plant, it is actually classified as hemp. Its scientific name is Musa textilis and is commonly known as Manila hemp ever since the Manila Galleon Trade in the sixteenth century.

Abaca also yields the highly sophisticated fabric t’nalak, handwoven by the T’bolis. The T’bolis are one of the early settlers in the untrammeled mountains of South Cotabato deep in the wilderness of Mindanao, the Philippines’ last outback. The T’bolis like certain aspects of their unique culture are a vanishing breed. They are however renowned as exceptional weavers and create an unusual tie-dyed cloth used locally for ropes, blankets and ceremonial robes.

In the T’boli community, abaca fiber is extracted from the mature, fruit-bearing wild banana plant. It takes two years for the abaca plant to mature. Utmost care is taken to preserve the length and silkiness in each fiber, as they are dried in the sun and stretched in a wooden frame that resembles an outsized comb whose teeth point up. Six trunks of the plant are needed to make fifteen meters of fabric. After the fiber has been neatly smoothened out, it is transferred to a bamboo frame unto which they are evenly and closely spread, one right next to the other, as in a backstrap loom. These are held evenly in place by a wooden bar in palm wood and laid directly across the fiber to be set later in an exact position in relation to the design.

Other than its natural cream state, the traditional colors woven in t’nalak are black and red for high contrast. The color combination works exceptionally well when set in the ikat process.

T’nalak weaving has long been a part of a tradition typical in a T’boli household and the weavers of this operation naturally comprise the female members of the community. The T’boli women involve themselves in a laborious system combining tie-dye technique with weaving. Whereas in other countries, tie-dyeing is done straight in a finished fabric, the t’nalak is dyed in individual threads. The process of weaving t’nalak among the T’bolis reflects their actual way of life.

That was abaca then, totally handcrafted, painstakingly slow and expensive to produce. The fibers were individually knotted and then dyed organically. To knot together one kilo of fiber required at least a week of intensive labor. It took almost two weeks in production to color the fibers, particularly the black which came from the leaves of the k’nalum tree, boiled and then steamed. It was said that the T’boli weavers dreamed the designs of their looms and often they themselves became temperamental in the process. The idea of imposing a deadline on the looms seemed almost impossible. Even the fibers tended to snap at midday when the temperature rose. The process of creating this cloth with its repetition of stylized animals or human designs requires absolute skill and patience. But once the finished products were washed, dried, waxed and pressed in cowrie shells, the results were often breath-taking and a touch luxurious. There is nothing quite like it until today.

Surprisingly after over fifteen years, designer Francis Dravigny developed the product mostly through research and consultation in Lyon, France, the center of the textile industry in Europe. The abaca has had evolved into a more contemporary vein. The looms are now much wider and the designer has added a few components to the fiber itself and although it is still hand woven, the cloth has a more industrial edge.

The Lyon based designer has in fact opened Interlace, a manufacturing firm located in Mandaue, Cebu that caters to the international fabric market. In these private quarters is where the actual abaca looms are being produced.
The process of warping or vertical thread preparation entails two thousand thread strands for one loom set-up in which twenty one meters is the minimum length in a single loom. The whole process of warping requires a full day.

The second process is called the loom feeding, which has three underlying procedures namely the eye, reed and pulling process. The eye procedure needs two thousand thread strands for one loom set-up. Each strand is being fed to the first and the second eye. It is in the reed procedure where two thousand metal or stainless dents will be required for the two thousand thread strands processing. Three days are the maximum span of time to do both eye and reed feeding on the loom. Pulling is the third procedure of loom feeding wherein the two thousand thread strands will be divided by seven knots. Each knot will be pulled to straighten the warp and then tied to the wooden beam to give an even and stronger tension to the thread.

The final process is the horizontal weaving. Its basic components include a spooled tinagak and a wooden shuttle used to pass through the center of the warp. Upon reaching the other end of the loom, the weaver should swing the metal reed to compress the abaca in a repeated sequence. Then, the metallic reed is adjusted after every ten centimeters atop the loom to balance the thread. The wooden fabric should be rolled on the beam after every thirty centimeters to give tension to the fabric. In a day, the basic quota for every weaver reaches up to one and a half meters.

by JING RAMOS photography Genesis Raña

Arts & Culture

Asia’s Fashion Czar I Knew as Tito Pitoy; Remembrance of a Friendship Beyond Fashion with Designer Jose R. Moreno

by Jose Carlos G. Campos, Board of Trustees National Museum of the Philippines

My childhood encounter with the famous Pitoy Moreno happened when I was eight years old. My maternal grandmother, Leonila D. Garcia, the former First Lady of the Philippines, and my mother, Linda G. Campos, along with my Dimataga aunts, brought me to his legendary atelier on General Malvar Street in Malate, Manila. These were the unhurried years of the 1970s.

As we approached the atelier, I was enchanted by its fine appointments. The cerulean blue and canary yellow striped canopies shaded tall bay windows draped in fine lace—no signage needed, the designer’s elegance spoke for itself. Inside, we were led to a hallway adorned with Art Deco wooden filigree, and there was Pitoy Moreno himself waiting with open arms—”Kamusta na, Inday and Baby Linda,” as he fondly called Lola and Mommy.

“Ahhh Pitoy, it’s been a while,” Lola spoke with joy.
“Oh eto, may kasal na naman,” my mom teasingly smiled.

Linda Garcia Campos and Pitoy Moreno’s friendship started when they were students in the University of the Philippines in Diliman.

When Dame Margot Fonteyn came for a visit to Manila, Pitoy Moreno dressed her up for an occasion.

We had entered a world of beauty—porcelain figurines, ancient earthenware and pre-colonial relics. It was like stepping into a looking glass, only Pitoy could have imagined.

Destiny led me back years later when my mother Linda told me that Pitoy Moreno was working on his second book, Philippine Costume, and needed research material and editorial advice. At this point, around the 1990s, I was in between assignments—unsure of how a broadcasting graduate like me could possibly contribute to a fashion icon’s masterpiece. Fortunately, I agreed to the project.

Former First Lady Leonila D. Garcia and daughter Linda G. Campos in Malacañang Palace.

Returning to the designer’s atelier brought back a rush of pleasant memories. The gate opened, and there stood Pitoy Moreno, beaming as always.
“Come in, hijo. Let me show you what I have in mind—and call me Tito Pitoy, okay?”
He led me to his worktable.
“I want to publish a book that tells the story of Philippine fashion—from our pre-colonial roots to the present. A designer’s collection of images and heritage expressed in clothing.”

I was awestruck. “How can I help you?” I inquired.
“Did you know that your mother, Linda, was my barkada in the University of the Philippines in Diliman?” he grinned.

US President Dwight Eisenhower with First Lady Leonila Garcia and President Carlos Garcia in a state dinner at Malacañang Palace in Manila.

That friendship soon led to one of the proudest moments of the designer’s life. He had the opportunity to dress not only the First Lady Leonila D. Garcia but also President Carlos P. Garcia during his term. It was also during this time that the President of the United States, Dwight Eisenhower, came for an official visit to Manila. The designer was able to make clothes for the President, his daughter, and his staff.
“Eisenhower even asked for discounts on the barong Tagalog,” Tito Pitoy laughed.

Tito Pitoy then asked if I could find a terno he had made for my Lola, the former First Lady, which she wore for President Eisenhower’s state visit in 1960.
“How about her other ternos, dated from the 1920s to the 1960s?” I offered.
He lit up.

I scoured my Lola’s extensive closet—it felt like unearthing a legacy. Tucked behind layers of vintage ternos from countless fashion designers, I found that terno, which was photographed by Dick Baldovino along with other pieces for the book project. Once the project was finished and I myself had moved on, my bond with Tito Pitoy never wavered.

When my Lola passed away, he was deeply touched when I personally informed him of the sad news. Once, at the wake of former Vice President Salvador Laurel, he asked me to assist him in the placement of the medals in the chapel.

Philippine Costume by Jose Moreno is the designer’s collection of images and heritage expressed in clothing.

Tito Pitoy later invited me to his 80th birthday celebration—a dazzling Manila affair in 2012. During the evening’s festivities, he handed me a printed copy of Philippine Costume and added warmly,
“Thank you, hijo. I’ll call on you for the next one.”

The highlight of his career—and his most unforgettable moment—came during the Metro Magazine Gala fashion show: A Tribute to Pitoy Moreno, Fashion Icon. A collection of evening gowns spanning six decades—many of them unseen and tucked away in his atelier—were revealed that night. When the finale came, Tito Pitoy walked the stage, triumphant and waving to a sea of admirers. Longtime friends from the industry, society’s finest, and fashionistas rose from their seats and gave him a standing ovation.

It wasn’t just to celebrate his craft and ingenuity—it was to honor the man who brought elegance, history, and heart in every stitch.

Arts & Culture

Queer Coding in Cinema: The Best Shows to Binge for Pride Month 2025

compiled by Edge Javier

As Pride Month 2025 goes into full swing, the best way to celebrate LGBTQIA+ voices is with a binge-worthy lineup of shows that center queer stories, joy, love, resilience — and yes, of course, drama. From groundbreaking recent series to must-watch staples and fan favorites, here are the top shows to stream this June that reflect the vibrant spectrum of the queer-coded experience.

1. Heartstopper – Season 3 (Netflix)
Nick and Charlie are back, and the coming-of-age sweetness is stronger than ever. Season 3 explores deeper emotional territory while keeping the wholesome tone fans adore. Expect more queer joy, nuanced relationships, and tearjerker moments that feel like a warm hug.

2. Drag Me to Dinner (Hulu)
Hosted by Neil Patrick Harris, this chaotic culinary competition pairs drag duos in a battle to throw the most fabulous themed dinner party. With outrageous challenges, surprise twists, and plenty of camp, queens serve up equal parts food, flair, and fierce shade. It’s RuPaul meets Top Chef—served with a side of sequins.

3. Queer Planet (Apple TV+)
Hosted by Janelle Monáe, this visually stunning docuseries dives into queerness in the animal kingdom and parallels in human identities. It’s smart, groundbreaking, and perfect for those who want to feel seen—and informed.

4. Fellow Travelers (Paramount+)
This period romance-drama set during the Lavender Scare continues to grip audiences with its tragic beauty and sharp historical insight. If you missed Season 1, now is the perfect time to catch up before the highly anticipated Season 2 lands later this year.

5. The Buccaneers – Season 2 (Apple TV+)
The unapologetically queer period drama returns with more scandal, sapphic yearning, and feminist rebellion among American heiresses navigating high society in 1870s London. Think Bridgerton, but with more edge and better sapphic representation.

6. Our Flag Means Death – The Finale Special (Max)
This fan-favorite pirate rom-com wraps up with a one-hour finale special airing this June. Whether you’re rewatching from the start or jumping into the last hurrah, this show remains a shining example of queer love told with heart and humor.

7. This Is Me Now… The Series (Prime Video)
Following Jennifer Lopez’s genre-blurring film-musical hybrid, the series version delves into themes of love, identity, and self-acceptance, and features cameos by queer icons and allies. It’s campy, messy, and made for Pride Month mood-boosting.

8. Sort Of – Final Season (Max)
This critically acclaimed dramedy about a gender-fluid millennial navigating love, grief, and identity in Toronto comes to a close with an emotionally rich final season. A thoughtful and often hilarious story that never loses its beating heart.

9. Red, White & Royal Blue – Limited Series (Prime Video)
After the hit film adaptation, the beloved queer romance returns in a serialized format, expanding on Alex and Henry’s story with new twists and deeper character arcs. It’s romantic escapism, elevated.

10. POSE: The Legacy (FX/Hulu)
This documentary miniseries honors the cultural legacy of POSE and the real-life ballroom legends who inspired it. Featuring interviews with cast, creators, and icons from the scene, it’s a must-watch tribute to queer history and resilience.

Whether you’re looking for laughter, tears, romance, or revolution, these Pride Month picks for 2025 offer it all—while honoring the complexity and beauty of LGBTQIA+ lives. So press play, turn up the volume, and let queer stories shine this June and beyond. Happy Pride! 🏳️‍🌈

Arts & Culture

Chaos and Clarity: Zen Aesthetic in Oj Hofer’s Art

by Jing Ramos |

Oj Hofer, our fashion contributing editor, is a Fine Arts graduate from the University of the Philippines. Though he began painting at the age of eight, his artistic journey took a transformative turn in 2013. While volunteering as a costume designer for Siddhartha: The Musical, he encountered Venerable Master Hsing Yun’s One-Stroke Calligraphy, sparking a deep devotion to Japanese sumi-e painting and kanji calligraphy. Over the years, he refined his craft, using his art to share the Dharma through exhibitions while supporting the Hsing Yun Educational Foundation. In 2022, his spiritual path deepened at Nan Tien University, where he embraced Zen and Humanistic Buddhism, shaping his artistic philosophy.

“Plum Blossoms in Moonlight.” Serigraphy on abaca.

In his recent works, Hofer merges traditional calligraphy with serigraphy, drawing inspiration from his friend Charles Lahti—an internationally recognized New York-based painter and printmaker. Lahti, known for his collaborations with post-war American artists like Robert Rauschenberg, Donald Judd, Andy Warhol, and LeRoy Neiman, introduced Hofer to silkscreen techniques. Through a workshop Lahti conducted in Cebu—arranged by their mutual friend Greg Urra—Hofer integrated silkscreen into his Zen artworks, particularly those on abaca.

“The Circle of Harmony” Serigraphy and Calligraphy on abaca.

Hofer’s cross-disciplinary approach challenges conventional Zen aesthetics. His layered paintings on abaca may seem far from tranquil at first glance, but closer contemplation reveals a meditative core. His serigraph of an Enso circle, for example, initially appears chaotic, filled with Tang Dynasty poetry and overlapping, repetitive forms. Yet, by focusing on a single calligraphic element, the viewer experiences a moment of clarity—a glimpse of awakening within the visual complexity.

“Monkey Mind” Serigraphy and Calligraphy on abaca.

Even more engaging is his diptych Monkey Mind. At odds with the traditional Zen emphasis on negative space, this piece is deliberately busy, reflecting the restless nature of the mind. A distracted viewer may struggle to find a focal point, but one attuned to emptiness and presence will perceive clarity amidst the seeming disarray.

Ink and intention—creating calligraphy in support of one of my advocacies.

By fusing Zen philosophy with the discipline of serigraphy, Hofer invites his audience to look beyond surface impressions and discover stillness within movement, balance within complexity. His art does not merely depict Zen—it embodies the paradoxes at its core, offering a path to mindfulness through the act of seeing and the experience of doing.