Every piña fiber, abacá, and jusi fabric woven into a barong Filipino carries the struggles of being acknowledged as the Philippine national dress for men. Along with them, the nation’s fight for acceptance and freedom is reflected in patterns drenched in Philippine culture and tradition.
“The barong Filipino overcame many obstacles, the biggest of which is the Filipinos’ own colonial mentality,” said cultural advocate and Gawad CCP awardee Dr. Nicanor Tiongson in his special lecture at Costume Laboratory (COSLAB) 2, the Costume Design and Construction Laboratory for Philippine Theater workshop held last November 17 to 23, at the De La Salle – College of Saint Benilde.
Through its Production Design and Technical Services Division, the CCP conducts ladderized workshops and lectures on the national dress with COSLAB. COSLAB started with the Traje de Mestiza from the 1890s to 1920s. COSLAB 2 features the baro – the men’s shirt covering the period 1800s, 1920s and 1970s. COSLAB 2 has invited cultural studies pioneer Dr. Tiongson to share his expertise with budding and experienced Filipino designers.
Bearing witness to centuries of wars and establishment of governments, the barong Filipino is an active character in Philippine history. “There is still a need to write a scientific history of the development of this garment,” Dr. Tiongson continued.
The humble origins of the barong Filipino
Before Spanish colonization, the Philippines already had its own dress from 1521 to the 1660s. It was composed of the badu (a shirt that reaches down to the mid-thigh) and the bahag (g-string), which slowly adapted to Christianization and Hispanization.
Even after the opening of the Suez Canal in 1869, Spanish fashion remained inaccessible to the indios (colonized natives). But despite poverty hindering them from opportunities, they cultivated their national dress born from their struggles.
“These indios might have been chained to their little barrio from birth to death, but I believe their baro are the direct ancestors of the present barong Filipino,” Dr. Tiongson explained, noting how the national dress of Filipino men survived the snobbery of those who idolized the Western.
Around the 19th century, the new elite preferred the baro for photographs and portraits. With its urbanization came certain elements of the Western dress, including collars, cuffs, and concentrated embroidery patterns on the chest known as pecheras.
The baro, seemingly coming into its own, began weaving its unique aesthetic. It followed Filipino tastes while considering the nation’s tropical weather. Going to church was like a parade as Filipinos donned hats and canes with the baro. The lower and middle classes, however, preferred the basic design for its practicality.
“By the end of the 19th century, the baro had assumed the look it has today — a shirt of piña or jusi, half-open and buttoned in front up to a small collar, with long loose sleeves ending in buttoned cuffs,” narrated Dr. Tiongson.
Filipino presidents and their strategic fondness for the baro
From a revered indicator of societal standing, the baro played a role in every government established over the years. “The development of barong was always based on the presidents,” Dr. Tiongson recalled.
President Manuel Quezon carried his nationalistic spirit on a baro with emblems of the Commonwealth embroidered on the pecheras. Together with Vice President Jose P. Laurel, Filipino officials wore the baro in consonance with the Japanese slogan “Asia for Asians.”
Dr. Tiongson also emphasized President Ramon Magsaysay’s contribution to the barong Filipino’s regality: “It developed a famed reputation, a nobility, because of him [Magsaysay]. The ‘man of the masses’ wore it when he was sworn in as the president. It was the first time in history.”
Magsaysay’s vice president, Carlos Garcia, resumed his legacy in Filipino fashion and often wore the baro in official functions. This also underscored the “Filipino First” policy, which championed locally made materials.
In 1961, President Diosdado Macapagal was sworn in as president in a barong Filipino. During his period, a new style emerged called “all over.”
Dr. Tiongson explained: “An all-over baro is embellished with callado (intricate embroidery) on the entire bodice of the shirt. It was also Macapagal who officially declared the barong Tagalog as the national costume for men.”
Choosing the barong Tagalog for all formal occasions, President Ferdinand E. Marcos popularized the waist-length shirt barong. President Fidel Ramos, who wasn’t fond of fancy attire, continued the tradition of wearing the national dress for the inauguration.
With its precious embroidery and vibrant fabric, the baro fought its way into banquets, inaugurations, formal portraits, and family pictures. It then succeeded, spinning itself into a marvelous item of clothing that commanded sincere respect and attention from everyone in the room.
The barong Filipino as an evolving garment
At present, the national dress for men has stayed true to its purpose of catering to the Filipinos’ needs. Each design is now tailored to the occasion, function, and budget for the materials. “The baro of today comes in bright colors to answer the needs of actors, singers, and other fashionistas,” Dr. Tiongson expressed, acknowledging the changing times.
Celebrities now sport the national dress with chic shorts and huge, puffed sleeves. Some even refuse to wear undershirts beneath the piña fiber fabric, wielding a daring impression with the baro.
Dr. Tiongson remembered seeing a barong Filipino on the red carpet, cut and shaped into a bomber jacket. He lamented: “Being open to new trends is important, but keep it memorable and wearable. Just remember the purpose of the design.”
With its timeless form, the baro’s journey has proven that Filipinos are capable of evolving while preserving their history and culture. It presents a comforting reminder not to shy away from growth as long as every step is laced with heart and care.
“All in all, the baro has become acceptable to Filipinos because it answers their specific needs. It is theirs, and is indeed a living garment,” said Dr. Tiongson during his lecture at the CCP COSLAB2.
The CCP COSLAB2 was in partnership with SLIM’s Fashion and Arts School – an institution of De La Salle – College of Saint Benilde. It also hosted workshops on pattern-making and basic tailoring facilitated by 2024 Gawad CCP Para sa Sining awardee and TernoCon pillar Gino Gonzales.
Follow the CCP’s official website (www.culturalcenter.gov.ph) for future events, workshops, and lectures. For live updates and live streams, you may follow its social media accounts on Facebook, Instagram, and TikTok.
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