‘Filipiniana is Forever’: Patis Tesoro’s life and art in 5-kg tribute tome
Beatriz “Patis” Pamintuan Tesoro’s couture, a symphony of lavish embroidery and beading, marries traditional techniques with a modern design sensibility. Drawing inspiration from classic embroidery and appliqué, she transforms gowns into wearable heirlooms.
Similarly, her tapestries lend a rich history to any space they inhabit, each intricate stitch a reflection of heritage and dedicated craftsmanship, narrating a silent story of artistry.
Connoisseurs have described her artistic process as one of resourceful transformation. She possesses a keen eye for discarded fragments, whether they are architectural salvages patched up in her homes or fabric remnants from her atelier that become the building blocks of her textile assemblages.
In her later career, Tesoro crafted tapestries and kaftans, blending patterned fabrics with intricately embroidered nipis—a broad term encompassing delicate textiles woven from abaca, pineapple, maguey, and raw silk. More than just patchwork, she led her workers in exploring diverse surface embellishments. Beadwork and meticulous patchwork added tactile depth to otherwise smooth surfaces, creating layers of form and texture over existing patterns.
Geometric designs
Tesoro’s approach to the diaphanous piña deviated from the traditional florid embroidery. Instead, she constructed striking geometric designs. Pieces of natural, sepia, and black-toned piña were precisely arranged to form various grid patterns, echoing the bold aesthetics of 20th-century design. She also drew inspiration from the triangular lines of indigenous ikat textiles, with running stitches meticulously tracing the seams of each panel. This emphasis on graphic composition, coupled with the intimate touch of hand-stitching, imbued her works with her distinct signature.
Her extensive body of work is compiled in the 408-page pictorial book “Filipiniana is Forever,” which will be launched March 2 at the Malarayat Golf and Country Club, followed by a second launch on March 9 at the Makati Sports Club.
Weighing 5 kilograms, the book presents an overview of her artistry, featuring old photographs, examples of her Filipiniana, fabric manipulations, appliqués, jackets made from indigenous textiles, handpainted designs, and tapestries.
Nina Tesoro-Poblador, her daughter, contributes an insightful essay that traces her mother’s creative journey and her transformation from a designer to a heritage advocate and textile conservator.
Tesoro’s foray into Filipiniana fashion began with embroidery lessons at Assumption Iloilo at the age of 6. In the 1950s, when entertainment was scarce, embroidery became a pastime for her, sparking a lifelong passion.
Her formal education took her to Marygrove College in Michigan for art education. However, the loss of her mother brought her back to the Philippines, where she enrolled at Maryknoll (now Miriam College). Her studies were cut short by marriage to Tito Tesoro, from the family behind the handicrafts firm, Tesoro’s. This exposed her to the retail side of Philippine crafts.
Formal training
As a young wife and mother, Tesoro explored her creative side, taking up crocheting. In the 1970s, she began supplying terno separates to ShoeMart (now SM) designer Jean Margaret Goulbourn. Inspired by an advertisement of a model wearing a voile blouse, she introduced local voile clothing to the JM Goulbourn label, eventually leading to the opening of her own dress shop.
Despite her success, Tesoro recognized the need for formal training. Responding to customer feedback on fit, she enrolled at Madonna School of Fashion. “I know the principles of cutting, but I don’t like sewing. You need to know how to cut to make patterns,” she explained.
Her passion for hand embroidery deepened with the support of her mother-in-law, Salud Tesoro, who provided her with a skilled machine embroiderer from Bulacan.
The 1980s marked the establishment of Casa Manila, a museum dedicated to showcasing 19th-century ilustrado life. Under the patronage of hacendero Conrado “Ado” Escudero, the revival of traditional Filipino attire, including the terno, baro’t saya, and barong, became a central focus.
Following the 1986 Edsa People Power Revolution, educator Lourdes Montinola expressed concerns about the decline of piña weaving. Together, Montinola and Tesoro sought to revitalize this tradition. Tesoro “adopted” Kalibo, Aklan, known for its pineapple fiber production and piña weaving, and raised awareness about the urgent need to preserve this craft.
Escudero’s Patrones de Casa Manila also championed the resurgence of piña fabric, gaining support from the Departments of Agriculture and Trade and Industry. The Patrones further promoted the wearing of Filipiniana, raising funds for piña planting and initiating the propagation of the red piña variety. Tesoro’s association with the Patrones ignited her mission to promote Filipiniana, embellished with intricate embroidery, beadwork, and appliqués, thereby safeguarding cultural heritage.
Preservation, conservation
To bolster efforts in sustaining the piña, Tesoro and her associates enlisted then first lady Amelita “Ming” Ramos, establishing the Katutubong Filipino Foundation. This foundation initially focused on piña preservation, natural dye conservation, and Itneg weaving, with Ramos serving as its figurehead. “I needed the clout to revive the tradition. The first lady was active in our meetings,” Patis recalled.
The designer created Ramos’ jackets from Tinggian weave and embroidery, as well as fabrics from Ifugao and Kalinga. “She was effective in helping to revive our traditions, culture, and arts. She was very influential. Everybody was copying her style, since Filipinos gravitated toward those in power,” said Tesoro.
With support from Ramos and government agencies, Tesoro, as the head of the KTF, traveled throughout the country to connect with craftspeople. She collaborated with agencies to develop innovative fabrics, such as piña silk, combining pineapple fibers from Aklan with silk threads from the Ilocos region.
In Tesoro’s book, Tesoro-Poblador details the KTF’s extensive accomplishments, ranging from the revitalization of bamboo crafts and natural dyes, textiles, and needlework in Abra and Ifugao in the North, to Tausug hats, jewelry, and Samal mats in the South.
Tesoro’s book, “The Art of Philippine Embellishment” (1994), became a widely emulated resource for other designers and brands. As a champion of Filipino fashion, Tesoro was invited to exhibit in France and present fashion shows in Milan. In 2023, Finale Art File also organized an exhibit which surveyed her art, such as her tapestries and illustrations.
Currently, Tesoro concentrates on designing comfortable, bohemian-inspired Filipiniana clothing suitable for everyday wear.
“I want to promote Filipiniana that can be worn at home as a daster or a kimona top,” she explained, bridging the tradition of patchwork and appliqué with modern living. In a fashion show at the Manila Polo Club, she showcased models in breezy piña ensembles paired with shorts.
Tesoro expressed her desire to prevent Filipiniana from being confined to the past. “The terno and baro’t saya shouldn’t be reserved for pageantry. They should be what we wear now and in the future.”
