Kaartehan
‘Kaartehan is the Tagalog term for ‘artistry’. It comes from the root word ‘arte’ which means to act. ‘Maarte’ is an adjective with a negative connotation. It is colloquially used to describe someone who is dramatic. ‘How do I see myself? How do others perceive me?’ Being highly conscious of how to present myself and how I’m perceived by other people. I fabricate different versions of myself. I always put pressure on myself to ‘behave accordingly’- condemned to show emotion and forced to live a more performative life. It is impossible to live in one consistent identity as we inevitably adapt into multiple projections of ourselves. We manipulate and shapeshift into different disguises to act various roles in our lives, both real and envisioned. Using the body as a spectacle, we fabricate and manipulate self-representation. ‘Kaartehan’ won’t answer the questions ‘How do I see myself? How do others perceive me?’. Instead, it opens the endless possibilities of answering the said question through deepened exploration within the confines of the mind. This project started off as wanting to create a shell to masquerade the true self. However, I’d rather explore the multifaceted reality of myself in a dramatic and exaggerated performance.
This project supports the United Nation Sustainable Development Goals: 5. Achieve gender equality and empower all women and girls. & 12: Ensure Sustainable consumption and production patterns.
Bodice:
100% Tencel Sateen from Korea & 60% NZ Wool / 40% Viscose, woven in Italy.
Naturally dyed with Avocados. Eco-printed with flowers. Handsewn in Tāmaki Makaurau with Filipino practice ‘Likhang Sining’.
Skirt:
60% NZ Wool / 40% Viscose, woven in Italy.
Naturally dyed with Avocados. Eco-printed with flowers. Handsewn in Tāmaki Makaurau with Filipino practice ‘Likhang Sining’.
Photos taken by Felicia Duque
Twilight
Twilight is a Spring/Summer Couture 2025 collection inspired by the roots of the designer’s name, drawing on the tales of Múnag Sumálâ and Sisílim from the Kapampangan mythology. Concurrently, the designer began exploring pre-colonial Filipino beliefs and spirituality and their influence on modern Filipino psychology. This collection seeks to breathe new life into stories that have faded over time due to colonisation.
The collection features an innovative material called Malai Eco—a biodegradable fabric made from organic bacterial cellulose derived from agricultural waste in the coconut industry of Southern India. This sustainable fabric provides a vegan alternative to leather, while the inclusion of cotton muslin ensures the collection remains fully vegan. Each piece is naturally dyed with madder and indigo, enhancing the collection's commitment to sustainability. Additionally, this collection is designed using CLO 3D technology, further emphasising its focus on eco-conscious practices.
Aligned with U.N. Sustainable Development Goals 9 and 12, emphasising the need for sustainable consumption and fostering innovation in the fashion industry. Drawing on the pre-colonial Filipino belief of Kapwa, it advocates for a respectful and interconnected relationship with nature. Inspired by "Fashion Futures" by Bradley Quinn, the collection embraces futuristic design possibilities, envisioning a future for the fashion industry that prioritises ethical and ecological considerations.
Twilight also embodies a state of in-betweenness, where light persists amidst darkness. This concept reflects the collection's sustainable approach, which fosters innovation by reconnecting with Indigenous traditions and ecological principles and exploring futuristic design possibilities.