#barotsaya

– a thread🧵

𝟭𝟴𝟲𝟬𝘀: The silhouette of the saya (skirt) mimicked the Western 'cupola' skirt by using multiple layers of petticoats instead of a crinoline to achieve a wide, elliptical shape.

Coarse 'abaca' cloth was also used to reinforce the saya’s hemline and help maintain its structure.

The camisa (blouse) is cut high above the waist.

The pañuelo (fichu) is folded close to the neck, conceals most of the nape, and appears to be pinned at one central point, with the ends separating into two.

𝟭𝟴𝟳𝟬𝘀: The pañuelo and camisa began matching in colors, materials, and embroidery. This was referred to as "ternos bordados" (matching embroderies).

The pañuelo, now ending at one point, is pinned lower at the chest, increasingly revealing more of the neck.

Following the bustle skirt in the West, the gathering of the enaguas (petticoats) shifted to the back of the saya.

𝟭𝟴𝟴𝟬𝘀: Embroidery became more prominent, often contrasting with the base fabric.

Most pañuelos are starched to allow the back portion to stand upright creating a regal appearance.

During this decade, the skirt began to lose volume at the front, with fullness gradually shifting to the back. This transformation resulted in the development of a sweeping train.

𝟭𝟴𝟵𝟬𝘀: The sleeves of the camisa increased in volume, becoming wider and stiffer, mirroring the leg-of-mutton sleeves in the West.

The seams of the sleeves have dropped by about 2–3 inches from the shoulders.

The pañuelo became more upright with additional folding and starching.

The saya became simpler, following the A-line skirt trend in the West. The back of the saya develops into a train that lengthens through the years, becoming known as the saya de cola (skirt with train).

𝟭𝟵𝟬𝟬𝘀: The sleeves became shorter by 3–4 inches and wider, flaring out from the shoulders to the elbows.

The pañuelo is larger and is folded four times at the edge. creating more stiffness when shaped.

The back of the pañuelo begins to be positioned farther and lower from the neck, gradually revealing more of the nape.

The upper half of the dress appears more top-heavy and voluminous.

By the end of the decade, following the 'Gibson Girl' style in the West, the serpentina skirt became fashionable, often trailing at the back. It dominated fashion until 1915.

𝟭𝟵𝟭𝟬𝘀: The sleeves and pañuelo grew wider, with the serpentina skirt lasting until mid-decade.

In 1914, the sobrefalda comes into fashion. An overskirt whose length varies from knee to mid-calf, it is typically made of black illusion tulle or lace and embellished with sequins, beads, rhinestones, or embroidery. Worn as an alternative to the tapis, it is also sometimes discarded for less formal occasions.

By the later years, the saya slimmed down, emulating the designs of Paul Poiret and Lucille Lady Duff Gordon.

𝟭𝟵𝟮𝟬𝘀: The terno followed a streamlined sillhouette.

The wide sleeves of the previous decade were shortened and flattened closer to the body, transforming into the iconic "butterfly sleeves".

The pañuelo is more decorative than functional, resembling a lapel rather than a seperate shawl.

The back of the pañuelo is positioned lower, exposing more of the nape.

Variations of the sobrefalda and cola emerge.

𝟭𝟵𝟯𝟬𝘀: Madeleine Vionnet's 'bias cut' for the saya de cola became fashionable.

The terno appears with the upper and lower parts joined together, fastened at the back using snap fasteners, hooks, and zippers.

With the disappearance of the sobrefalda, decorations such as embroidery, beads, cutwork, and the insertion of lace or other fabrics were applied directly to the saya.

Trains become shorter and eventually disappear close to the end of this decade.

𝟭𝟵𝟰𝟬𝘀: Trainless, flared skirts became the dominant style among Filipinas.

The zipper joined the bodice and skirt of most ternos into one garment.

The pañuelo remains an essential, albeit decorative, component of the terno.

After WW2, it became more common to wear the terno without the pañuelo, and more varied and innovative skirt designs emerged.

The bodice of the camisa gradually becomes opaque and attaches to the skirt, while the 'butterfly sleeves' retain their structure and sheerness.

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A pamphlet from the book Fashionable Filipinas, illustrates the evolution of the national Filipina dress alongside Western fashion from the 1860s to the 1950s.

1860s–1870s

1880s–1890s

1900s

1910s

1920s–Early 1930s

Late 1930s–Early 1940s

In the Philippines, Barong Tagalog is a symbol of Filipino bravery, empowerment, and brilliance. Studies show that it is from the Tagalog word “baro” which means upper garment. As time goes by, there are a lot of innovations made to unleash its world-class look and it can be worn by any gender across the world. Its thin fabric is to keep the person wearing it cool as the Philippines is a tropical country.