TERNOCON: FILIPINIANA x OBRA

PRESENTED BY:

Cultural Center of the Philippines, Mall of Asia, and Bench

DATE / TIME / VENUE:

May 28 – June 12, 2026
Central Atrium, Mall of Asia

TERNOCON 2025: Contemporary Philippine Garments Inspired by 20th Century Filipino Artists

TernoCon 2025 explored a connection between art and fashion in the context of “Filipiniana” – a term that encompasses a range of clothes that we consider “Filipino” as well as a collection of materials about the Philippines.

The Philippine dress or terno is an evolving garment that has assimilated indigenous and foreign influences including movements in art. For its fourth edition, TernoCon honors our Filipino masters from the fields of Visual Arts, Sculpture, and Architecture by drawing inspiration from their distinct aesthetics. Various techniques in clothing construction and surface decoration are applied in their attempts at capturing the spirit of the works of these artists, excluding the sublimation process and other forms of digital printing.

Like the terno, its country version, the balintawak, is also an evolving garment that reflects the spirit of the times and ultimately the psyche of the Filipino. This cycle also reintroduces the kimona – originally a Filipino garment used in domestic settings that later evolved into formal wear.

Each of the finalists in the competition selected one artist’s work/s as the source of inspiration for a 3-piece capsule collection comprised of a formal terno with a pañuelo, a balintawak with an alampay and tapis, and the kimona with an alampay and patadyong. They worked with a group of mentors composed of seasoned designers with distinct aesthetics and divergent approaches to design.

DEFINING THE TRADITIONAL TERNO, BALINTAWAK, AND KIMONA

While these three Philippine garments continue to evolve over time, shaped by shifting socio-political dynamics and the changing needs of Filipinas, it is important to establish a clear baseline as a reference for future reinterpretation and innovation. In the process of reimagining these garments, traditional design elements are sometimes modified or diminished in favor of novelty without sufficient consideration. TernoCon encourages Filipino designers to thoroughly evaluate historical context and established practices, fostering a deeper understanding that can guide meaningful progression.

PARTICIPATING DESIGNERS

BRYAN PERALTA
(Gawad Pura Escurdia / Silver Medal)
MAKATI CITY

“I was drawn by the works of National Artist José Joya and mesmerized by the deceptively random doodles of his New York Series (late 1960s) displayed at the National Museum of the Philippines. There was a certain quiet and austerity in them, just random zigzags forming shapes, shadows, and light floating against the yellowing canvas. I wanted my capsule collection to look like his drawings, and I tried to achieve that by combining embroidery, embossed cording, and 3D Printing; all set against breezy silhouettes of tea-dyed jusi and canvas.”

GEOM HERNANDEZ
BATANGAS

“I chose National Artist Hernando R. Ocampo’s artworks for their dynamic and bold colors, which resonate deeply with viewers. His vibrant palette evokes a wide range of emotions, creating strong connections with his audience. My collection is inspired by the lines, shapes, and vibrant colors in the artist’s works, particularly Analogy (B) (1969) and Dreams (1961). The rich reds and blues reflect the Filipino flag, symbolizing our patriotism and connection to our roots—a heartfelt tribute to our pride and identity.”

IRENE SUBANG
NEGROS OCCIDENTAL

“Torn away from reality, at the constant mercy of the voices in her head, unable to speak with reason. This is how I perceived National Artist Ben Cabrera’s Sabel. The collection, which I called The Anatomy of Madness, is my love letter to my mentally challenged mother and my healing of a scarred child having to witness the deterioration of one’s parents.”

JARED SERVANO
SOUTH COTABATO

“I chose Nena Saguil’s work (Untitled) because of its depiction of the cosmic, mystical, and spiritual realms. Though her work is an abstraction of internal landscapes shaped by feelings and imaginations, I sense a very organic expression… one that resonates with the T’boli dreamweavers’ creative process… beginning with the k’na k’noon (beautiful dreams) guided by the goddess Fu Dalu (spirit of abaca), the mebed (process of creating a design in abaca fiber)…”

JEMA GAMER
LA UNION

“National Artist Vicente Manansala’s painting, Community (1956), aligns with my brand Modista’s goal to celebrate art and creativity through clothing. My capsule collection reinterprets the translucence of cubism through layered fabrics like organza, jusi, and gazar. I used a gridline drawing to ensure an accurate transfer of elements from the painting, while bugle beads traced the shapes while adding shimmer.”

KOKO GONZALES
MANDALUYONG CITY

“I chose Onib Olmedo because I resonate with his expressionistic and bold strokes, which are driven more by emotion rather than by precision. Initially, I took a raw yet calculated approach, but with the guidance of my mentors, we refined a look that resonated more with Olmedo—one that prioritized emotion over rigid measurement. Spontaneity, distortion, and exaggeration of forms were expressed through mixed hand-stitching techniques. Muted colors evoke contemplation and intimacy, while vulnerability is reflected in raw finishes and loose threads.”

LEXTER BADANA
CAPIZ

“I chose Ramon Orlina because I’m a fan of his sculptural works. I was able to watch a documentary that showed how he arrived at his primary medium—glass, which made me even more interested in his craft. I echoed his signature colors of blue and green for my palette. I made use of inexpensive, sheer and shiny organza fabric to achieve the glass effect. I also incorporated resin-treated fabric to simulate the sculptural lines of Mr. Orlina’s sculptures.”

NINA GATAN
QUEZON CITY

“The art of Impy Pilapil invite us to reflect on our inner self, through the reflections of her chrome sculptures or see-through forms in glass… My collection is inspired by the flow of water—its sinuous waves interpreted as resin sculptures with a texture resembling an ocean ripple.”

NOEL MARIN
TAGUIG

“I was captivated by National Artist Fernando Amorsolo’s paintings and his ability to capture the natural beauty of women despite contexts that suggest arduous manual labor. This striking juxtaposition highlights a grace and resilience that transcends their surroundings. My collection honors Amorsolo’s celebration of femininity, capturing the elegance of his muses through thoughtful fabrication and surface decoration.”

PATRICK LAZOL
TARLAC

“National Artist José Joya’s intuitive work and gestural approach allows one to see unrestrained creativity, while his colors reflect Filipino culture and nature. My capsule collection mimicked the colors and shapes used in Joya’s abstractions. His singular gesture approach also gave me impetus to create my own ‘continuous’ fabric that was draped and shaped on the body.”

PEACH GARDE
(Gawad Pacita Longos / Gold Medal)
CAPIZ

“My strength in tailoring and handwork coupled with my interest in crisp and clean finishing of garments, gave me confidence to translate brutalism into fashion. I took inspiration from the bold silhouettes and structures, sharp edges and angular shapes of National Artist Leandro Locsin’s architectural works and transformed them into wearable art through the lens of tailoring.”

RAM SILVA
(Gawad Ramon Valera / Bronze Medal)
ILOILO

“I chose National Artist Fernando Amorsolo’s paintings because they beautifully mirror the very essence of my childhood. Growing up in the province, surrounded by the rhythms of rural life, and with a family dedicated to farming, I was inspired to create a collection that tells the story of my roots. This is a tribute to my hometown, to my grandparents who worked the land, and to the countless farmers who, though often unsung, are the true heroes. This collection is a heartfelt homage to their quiet yet powerful contribution to our world. My collection reflects the women of the rural areas—women who provide, who are dedicated, and who survive against all odds. The muted tones and golden hues of Amorsolo’s paintings were echoed by my collection’s color palette and deliberate choice of natural materials.”

WINDELL MADIS
(Gawad Joe Salazar / Chief Mentor’s Medal)
ILOCOS NORTE

“The three-piece collection is a visual and sartorial ode to the works of National Artist Hernando R. Ocampo, a National Artist for Visual Arts celebrated for his bold abstract paintings. The collection translates Ocampo’s biomorphic drawing, radiant color palettes, and evocative landscapes into wearable art.”

YSSA INUMERABLE
(TERNOCON 2023 GOLD MEDALIST)

“My collection, entitled The Women of Anita, was inspired by the works of ANITA MAGSAYSAY-HO. Drawing from the artist’s muses—Filipina women working or interacting in a rural context—it celebrated their movement, resilience, and grace. The design process involved painting directly on fabric to echo the painter’s distinctive brushstrokes. I also attempted to harmonize contemporary elements with the more traditional portrayal of her muses.”

EZRA SANTOS
(MENTOR)

“This is a tribute to National Artist Abdulmari Asia Imao. It draws inspiration from the sculptural elegance of the sarimanok (fowl with an elaborately decorated head featuring scroll, leaf, and spiral motifs; with a fish suspended from its beak). The collection honors the spirit of the Muslim Filipina, while paying homage to the late artist’s early works and aesthetics. It’s a fusion of culture, craftsmanship, and innovation.”

LULU TAN-GAN
(MENTOR)

“I’ve drawn inspiration from the weight of expressionism and National Artist Ang Kiukok’s angst, but I aim to transform it into lightness and fluidity. I am exploring the interplay between bold brushstrokes and the movement possibilities of natural fabrics, in particular piña and pure silk.”

RHETT EALA
(MENTOR)

“I was very excited to interpret the principles behind Lao Lianben’s work as clothing. His paintings seem so minimalist, but a closer look will reveal countless layers. I decided to do fabric manipulation and layered details to echo his technique. Although his palette seemed monochromatic, it had complex underlayers such as ochre and brown. In the same vein, the shapes I selected may appear simple, but the construction techniques were very complex.”