Book, exhibit explore Pitoy Moreno’s timeless, peerless legacy
A forthcoming book and exhibition will provide a comprehensive look at the life and work of Filipino couturier Jose “Pitoy” Moreno. “Timeless: Moreno” will open on Feb. 26 at the Metropolitan Museum of Manila.
Editor, author, and curator Florina Capistrano-Baker highlights that Moreno’s success predated his association with Imelda Marcos who frequently engaged him in Malacañang events in the ’70s. He cultivated a substantial clientele in the 1950s and achieved international acclaim through collaborations with the Philippine Couture Association and Karilagan International, initiatives led by society doyenne Conchita Sunico. This exhibition clarifies the common misconception that Marcos was the sole driver of Moreno’s career.
Moreno’s family intended to commemorate his centenary on Feb. 25. Capistrano-Baker and her editorial team began researching in early 2023 by examining newspapers from the 1950s to 1970s at the Lopez Memorial Library and the Filipinas Heritage Library. They also interviewed former models, clients, and members of the Bayanihan Philippine National Dance Company who recalled his dance costume designs from 1958 to 2001. Former broadcaster and Bayanihan dancer Cecilia Lazaro produced a video for the exhibit featuring recollections from Bayanihan alumni Maribel Carag-Dario, Rosky Balahadia-Hilado, Menchu de Jesus, and Lina Inigo Winebrenner.
The exhibit will include more than 80 dresses and accessories from his estate, primarily from his runway collection, and a few loans from prominent clients. These include the wedding gowns of Gemma Cruz-Araneta, Maricris Floirendo-Brias, and Lizette Banzon-Cojuangco, some ternos made for first lady Eva Macapagal (lent by granddaughter Ambassador to Austria Evangelina Lourdes “Luli” Arroyo-Bernas), and the earliest wedding gown, dating to 1962, worn by Dario.
“We had to borrow a few from his patrons to demonstrate a wider chronology because most of the gowns in his estate are from the fashion shows in the 1990s to the 2000s,” said Baker.
The exhibit is divided into themes showcasing gowns by Imelda Cojuangco and Maritess Pineda, timeless ternos, runway ternos interspersed with ternos owned by famous clients, the black collection of Western-style gowns and dark ternos, and a capsule of wedding ternos.
Across political divides
Capistrano-Baker noted that Bayanihan significantly influenced Moreno’s lifelong interest in Filipiniana. He had already designed for socialites and movie stars when he began collaborating with Bayanihan. He and eventual National Artist for Fashion Salvacion Lim Higgins created the costumes for the Bayanihan’s debut at the 1958 Brussels World’s Fair. Baker quoted costumes assistant Rosky Hilado as saying that costume director Isabel Santos conveyed her ideas to the designers. She guided them on how to create the bata de cola, the flowing train of a costume, to showcase the dancer’s skill in manipulating the skirt’s movements.
Moreno’s black-and-white collection in his fashion shows was inspired by the black-and-white trajes de mestizas (Maria Clara costume) of the Bayanihan. When Gemma Cruz represented the country in the Miss International beauty pageant in 1962, she wore a Maria Clara designed by Moreno.
Santos, who grew up in Lanao del Sur, was immersed in Maranao culture. She translated Maranao costumes into vibrant colors for visual impact onstage. There are parallels in the book where a photograph of Maritess Rubia wearing an embellished Muslim-inspired top and wrap skirt replicated Moreno’s design for Melanie Bernardez in the “Singkil,” a Maranao dance. Another “Singkil” Princess costume made in 1968 for Ricky Nicholas was crafted from gold lamé adorned with pearls and rhinestones. “This iconic design was imitated by other dance companies,” said Baker.
Moreno studied at the University of the Philippines College of Fine Arts under Dean Fernando Amorsolo. His membership in Upsilon Sigma Phi, the country’s oldest fraternity, helped him establish his social and political connections. Baker noted that Moreno maintained friendships across political divides. He designed for First Lady Leonila Garcia, wife of President Carlos Garcia from the Nacionalista Party. Subsequently, Moreno became a favorite of the First Family during the presidency of Diosdado Macapagal from the Liberal Party.
Baker explained that while Ms. Marcos elevated the terno’s popularity, First Lady Evangelina Macapagal promoted Filipiniana through the terno and kimona. At Malacañang socials, the Filipiniana dress code was strictly enforced.
“A French journalist called him the Fashion Czar of Asia in an article in Le Figaro due to his prominence in Asian high society and royalty,” said Baker.
Correcting inaccuracies
The “Timeless: J. Moreno” book, published by Jusi at Piña Legacy Foundation and the Metropolitan Museum of Manila, features essays by various scholars and the late designer’s niece. Editor Baker discusses the impact of the Bayanihan dance company and the influential women who propelled Moreno’s career, including Isabel Santos, Conchita Sunico, Eva Macapagal, and Imelda Marcos. Esmeralda Moreno Yau recounts her travels with her uncle to source textiles and accessories.
Sandra Castro-Baker examines the use of local textiles and accessories by Moreno and other designers. In Moreno’s first European tour in the 1960s, audiences, accustomed to seeing piña as handkerchiefs, were astonished by its use in couture gowns. Castro-Baker explores Moreno’s influences: his embroidery, beadwork, and appliqués evoked the sensibility of French embroidery house Maison Lesage. His interpretation of Cristobal Balenciaga’s matador bolero—a cropped jacket made of Mindanao woven fabric encrusted with rhinestones—demonstrated his innovative approach. His black long-sleeved blouse with a skirt of hand-painted flowers echoed Yves Saint Laurent’s gown with a floral appliqué skirt.
Castro-Baker also contributes an essay on fashion studies, an interdisciplinary field that explores the profound cultural, social, and economic impact of clothing.
“We did not intend this book to be merely a coffee-table book regurgitating newspaper clippings and hyperbolic praise for Pitoy,” she said. “Instead, it situates Pitoy’s work within the context of Philippine fashion. Fashion should not be perceived as superficial but as an integral part of our culture.”
Clarissa Esguerra, fashion curator at the Los Angeles County Museum of Art and technical consultant for the exhibit, contextualizes Moreno’s work within the global fashion landscape and also clarifies the term “haute couture,” which has been misused by writers and designers.
As Castro-Baker put it, while clothes by Moreno and his colleagues were often mislabeled as “haute couture” or “high sewing” in French, true haute couture adheres to the stringent criteria of the Chambre Syndicale de la Haute Couture in Paris. The correct term for Moreno’s clothes is “couture,” which simply refers to high-quality clothing.
“Esguerra traces the trajectory of post-war fashion, from Christian Dior’s New Look to its global adaptations, including those by Filipino couturiers, not only Pitoy but also his contemporaries,” said Castro-Baker.
Ditas Samson concludes the book with a comprehensive timeline of Moreno’s life. “It’s based on extensive research, and we aim to correct inaccuracies that appeared in previous publications,” said Castro-Baker. “Our goal is to present the multifaceted dimensions of Pitoy’s life, his era, and the evolution of his style, [since] younger generations may not be familiar with him.”
