With Philippine Independence Day upon us and Filipino Heritage Month being celebrated for the first time in Toronto, we couldn’t help but reflect on the meaning behind these days and the heritage we’re celebrating. Philippine history is rife with conflict and struggle. Before we were colonized by Spain, the US, and occupied by Japan, the Philippines was deeply influenced by the Chinese, the Indians, Indo-Malays, and Mexicans. Our entire history and culture is built on a mix and meld of others. So if fusion is in our blood, what does it really mean to be Filipino and to celebrate Filipino heritage? Because of Cambio & Co.’s work with indigenous artisans and ethical fashion brands in the Philippines, naturally I evaluate these questions through the clothes we wear. What exactly does it mean for fashion, clothing, and our garments to be Filipino? To answer the question, we paid a visit to the Textile Museum of Canada, a small museum in the heart of downtown Toronto which boasts a small but well-curated lineup of textile exhibits. We were accompanied by our long-time supporter and friend of Cambio, Lynne Milgram, a researcher and professor of anthropology at OCAD University. She’s dedicated the last 30 years of her career into researching livelihood development and economic empowerment of informal labourers in the Philippines, much of which has brought her into the world of Philippine textiles and weaving. She graciously offered to host a private tour for us at the museum, and of course we jumped at the opportunity! Lynne Milgram, Gelaine & Jérôme Visiting the Textile Museum of Canada We met with Lynne in the lobby, a small space downstairs from the museum. She’s a bundle of energy, bouncing with excitement as she greets us. She’s carrying her Vela Manila Dalisay Bayong Tote which she purchased from us a few months back, and gushes that it’s now her favourite bag. She leads us upstairs to view the collection of Philippine textiles at the museum. We pass several employees along the way, many of whom had garments of various sizes and colours from all corners of the world laid out carefully in front of them, their magnifying glasses in hand. I felt a little like Indiana Jones after he’s come back from an adventure, retreating into his lab to verify the treasures he’s obtained. “It’s nice to meet you,” we’re greeted by Roxane, the Collections Manager of the museum. On Lynne’s request, Roxane has pulled out a variety of textiles from all over the Philippines in anticipation of our visit. Some of the textiles in front of us were hundreds of years old, spanning back to pre-colonial times, and came from various regions of the Philippines. We were instructed to put on our gloves and avoid flash photography to preserve the integrity of the cloths. It all felt very sacred. Going into our visit at the textile museum, Jérôme and I knew that Philippine weaves were diverse. There were different colours, patterns, methods, and fabrics of weaves, and every community had their own unique spin. But our knowledge barely skimmed the surface. Cultural Influences On Filipino Textiles One thing we really didn’t realize is just how much colonialism and outside trade influenced customs and cultures in the Philippines. This is true with our food down to the clothes we wear. Referring to a beautiful shawl from Panay Island in the Visayas, Lynne recounted the history of embroidery in the Philippines. In the 1600s during Spanish rule, lace was a big thing. The Spanish wanted to create products to compete with European lace, so they heavily promoted embroidery in the colonial parts of the Philippines to export and sell them in Europe. Beautiful shawl with embroidery from Panay Island, Visayas Embroidery had existed in the Philippines long before Spanish rule, but the Spaniards were responsible for its commercialization. They brought in Chinese and Indian workers as embroiderers, and operated numerous embroidery schools run by nuns. Embroidery was promoted amongst the upper classes as a ‘proper’ pastime for refined women, creating a strong culture and demand for embroidery. To this day, you can find communities in southern Luzon and central Philippines who specialize in embroidery. The other thing that was interesting were the patterns and designs themselves as a result of outside influence. Mindanao, the southernmost region of the Philippines, has a significant Muslim population as a result of the arrival of Arab traders as early as the 10th century. Despite years of war, Spain was unsuccessful in its attempt to conquer and convert all of Mindanao to Christianity due to resistance from the Moro peoples. Since Mindanao was mostly Muslim, there are no figurative motifs on any of their clothing and textiles, unlike other regions of the Philippines. That’s also why embroidery never became very big in Mindanao. The Spaniards were never able to effectively rule the region, hence it never became widespread in the same way. (Left) Bungasama weave from the Yakan people next to (Right) a Malong using Ikat dyeing technique. Both from Mindanao While centuries of trade and colonial influence have shaped the Philippines, there are things that have remained distinctive to our indigenous and pre-colonial traditions. There’s a widely held misconception that the Barong Tagalog, the national garment of the Philippines made of a delicate pineapple fibre, was introduced by the Spanish as a form of oppression. However, the barong actually existed long before the Spanish arrived. It was worn by Tagalog natives on the island of Luzon in northern Philippines even before the country was called ‘the Philippines’, and it continues to be a strong symbol of Filipino culture. There’s a reason we continue to wear the barong during our most important occasions. The Struggle Between Past and Present One of the most interesting things we discussed during our visit is the struggle between tradition and modernization. Looking at the garments laid out in front of us, it was interesting to see how the textiles and techniques themselves changed over time. I asked Lynne and Roxane what they think about social enterprises who enter artisan communities and ask the weavers to change the colours and patterns they use, in an attempt to ‘modernize’ their textiles. Lynne had an interesting perspective. “At the end of the day, these communities must survive and create goods that are commercially viable. Who are we to deny them a livelihood? The challenges is how to make a piece that speaks of your heritage at the same time that it appeals to the market. Roxane brought forward the example of an artisan community who had begun learning a new skill of hook rugging. They had learned it from a foreigner who taught the women how to do hook rugging as a form of livelihood. “It wasn’t a traditional art form for them, but they began creating their own colours and patterns to sell at local markets, and the pieces began flying off the shelves and the women could support themselves. Now there are multiple communities in Guatemala making these type of products, though it’s not traditional.” “We also can’t discount that innovation can come from the communities and artisans themselves,” Lynne added. “As long as you are valuing the people behind the products, not erasing their culture in the process, and educating others about the identity of the people who have formed it, then you can see it as a form of economic empowerment,” Roxane said. Pictured here is an Ifugao burial blanket. While we try to combine traditional weaves with contemporary designs, it's important to respect the culture of the communities behind them. Cultural pieces such as ceremonial or religious textiles should never be used for other purposes. So this got me thinking. What we may consider to be ‘authentic’ is not necessarily traditional, as traditions themselves are subject to change and adaptation. After all, the traditions that exist today are the product of centuries of outside influence, mixing, and global trade. If this is the case, is there such a thing as ‘authentic’ if our culture is based on a fusion of other cultures? What does it mean to be authentically Filipino? Creating our own distinct culture I think of the young brands we work in the Philippines; social enterprises and ethical fashion brands like AKABA, Habin, and Nawa - all young brands trying to revitalize traditions and provide economic empowerment by fusing indigenous weaving with contemporary designs. I see the way our products fly off the shelves, adopted by Filipinos and non-Filipinos alike who fall in love with the unique patterns and materials. Pis Syabit laptop case from AKABA next to an ancient Pis Syabit textile I also see the way our partners have painstakingly built their designs around the weaves and fabrics themselves, rather than the other way around. Products like our Lago Satchel and Malia Tote may not be considered ‘traditional’, for example, but they are definitely Filipino. The Apuesto Backpack from AKABA uses the Indigenous Ramit weaves from Oriental Mindoro As Filipinos, we are survivors. We are adopters. We are resilient and strong and insanely creative. Filipinos are now the third largest asian immigrant community in Canada, and Tagalog is the fastest growing language group in the nation. We have reached every corner of the world, adapted to our local environment, started new families while supporting our old ones, and made lasting impact in our communities. In the same way our clothes have shifted as a result of time and space, our culture has, too. Yet Filipinos have always managed to create a space of our own wherever we go, changing form to fit our locale while creating something that is always distinctly Filipino. Multiculturalism and adaptation is in our blood, and also in our clothes. And that’s a heritage worth celebrating. Happy Philippine Independence Day and Filipino Heritage Month!

Lighting in your backyard is a necessity for both safety and aesthetic reasons. Here, we're sharing the best outdoor patio lights that will illuminate your backyard and set the tone for any outdoor entertaining occasion.

Banig or handmade mats are made from the leaves of the screw pine palm (locally called in the Philippines as pandan or romblon). The romblon banig are considered the most intricate and fine-grained…

Discovering my Waray ancestry — an older ethnic group from which my maternal grandparents originated.

Explore Elmer I. Nocheseda ng Pateros' 17929 photos on Flickr!

Lauren and Kass Hernandez are Australian-born sisters of Filipino heritage based in Sydney, and the founders of Crossing Threads. Their work is truly distinctive and highly textural.

"I've been dabbling on a lot creative ventures and so far making paper sculptures is the best things I ever made."

i wonder what the relic is in this pendant...

Setting out to achieve her dream of working as a professional embroiderer in haute couture, Claire de Waard took up the chance to study abroad at the Royal

The Ifugao reclaim the dignity of their heritage through crafts.

Beautiful Thai Red Woven Cotton Fabric with Striped pattern. This beautiful woven fabric made in Northern Thailand, it's high quality and sturdy that perfect for home decor, bag, accessories and other crafts. 📐THE FABRIC MEASUREMENTS : (continuous cut for multi-purchase) * Fabric width : 58-60 inches * Fabric length : 18 inches * This listing for 1/2 yard **If you purchase more than one listing I will continuous cut for you. If the quantity available is not enough please contact me and I'll check stock** ..♥♥•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•♥♥.. 🧺CARE : * Hand wash in cold water and air dry or dry clean. * Ironed on a low heat setting. ..♥♥•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•♥♥.. 🚀SHIPPING : This listing ready to ship. I’ll send within 1-2 days. After shipped, I’ll let you know a tracking number. ..♥♥•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•*♥♥*•.¸¸.•♥♥.. 📝PLEASE NOTE: The colors of some picture may slightly vary on different monitors. If you have any questions please do not hesitate to contact me!!

There are few brands out there synonymous with creating a movement, but ANTHILL Fabric Gallery in the Philippines is one of them. With their rallying cry to 'Wear Your Tribe. Wear With Pride.', ANTHILL has become a leading advocate for Filipinos all over the world to wear our heritage on our sleeves, literally. ANTHILL is an ethical and cultural enterprise based in Cebu in the Philippines. They create sustainable fashion accessories that bridge contemporary designs with traditional Filipino techniques, partnering with weavers and artisans all over the country. Every ANTHILL piece is crafted in partnership with weavers across the Philippines, using sustainably sourced materials. Pictured here is our zero-waste Panyo Kapa made of scrap cotton threads and handspun yarn. It takes a community to build a brand, and often their stories don’t see the day of light. However, with ANTHILL, every person matters. ANTHILL’s unique model not only employs artisans with fair wages, but also trains them in financial literacy and cultural appreciation, teaching artisans how to create profitable businesses while training younger generations of weavers. But ANTHILL's impact doesn't stop there. You can't talk real sustainability without talking impact on the environment. And on this, ANTHILL is also leading the #zerowaste movement in the Philippines and beyond. ANTHILL employs weavers from all across the country to create contemporary pieces that respect indigenous tradition and Filipino heritage. Pictured here is Master Weaver Ate Lisa of Mang Abel Ti Abra. To craft each ANTHILL piece, weavers source scrap threads of cotton, which they upcycle and meticulously spin into yarn using traditional wooden looms. The process is long and arduous, but the result is a contemporary, zero-waste piece that respects Filipino heritage and indigenous craft, while minimizing impact on the earth. INTRODUCING JESSICA OUANO, ANTHILL'S LEAD TEXTILE DESIGNER Jess joining ANTHILL in 2016 was a match made in heaven. An avid cosplayer with a keen eye for details, Jess knew she had a deep connection with design early on. Furthermore, her low-impact lifestyle and passion for impactful design resonated with the brand’s values. Jess Ouano loves the challenge of incorporating sustainable impact with contemporary design as ANTHILL's Textile Designer. Jess purposely puts sustainable practices at the forefront of her collections. From conceptualization down to production and to post-consumer lifecycle, she's constantly thinking of how to create a zero waste system. As we celebrate the launch of ANTHILL in North America, we were so excited to sit down and speak with Jess about her journey and passion for sustainable fashion design, as well as how her work with ANTHILL Fabric Gallery has influenced her as a designer. This partnership with Cambio & Co. and ANTHILL has been three years in the making, and we're excited to finally share it with you. WAS FASHION DESIGN A PASSION YOU HAD AS A KID OR WAS IT SOMETHING YOU SLOWLY DISCOVERED OVER THE YEARS? As a kid, I was always fond of arts and crafts, though my passion for fashion design was something I slowly discovered over the years. I was initially interested in costume design for film and theater. I discovered just how amazing the work of textile artists and fashion designers were and that inspired me to get into fashion. Our zero-waste Pamana Heritage Reversible Infinity Scarf weaves together modern, classic design with a touch of quirkiness, as is the signature of Textile Designer Jess Ouano. WHAT’S YOUR PERSONAL AESTHETIC AND HOW DOES IT RESONATE WITH YOUR DESIGNS? My aesthetic is modern, but classic with a touch of quirkiness. I love creating garments with simple silhouettes combined with interesting textile applications. I love experimenting and I always try to make the textile the highlight of the garment. This resonates in my designs that play around with various textiles, textures, and colors. WHAT ATTRACTED YOU TO ANTHILL FABRIC GALLERY? IN WHAT WAYS IS DESIGNING FOR ANTHILL DIFFERENT FROM DESIGNING FOR OTHER FASHION BRANDS? I was attracted by their support for Philippine handloom weaving communities, as well as their interest to create a sustainable livelihood for these communities. Designing for ANTHILL is different than designing for other brands. When conceptualizing new products, we take into consideration how the weaves and other materials we source can potentially assist in the development of the livelihood in artisan communities. We also consider how we can potentially reduce environmental impact through our products. Designing for a brand that creates consciously made products is what makes the experience so special. Every ANTHILL piece is made from scrap threads of cotton, which weavers upcycle and meticulously spin into yarn using traditional wooden looms AS A DESIGNER, WHAT ARE THE CHALLENGES YOU FACE FROM CONCEPTUALIZATION ALL THE WAY DOWN TO PRODUCTION? One of my personal challenges as a designer is applying customer input into the designs and marrying my ideas with what the target market wants. Another challenge is creating designs that have the least amount of impact on the environment. IN THE NEXT FEW YEARS? WHAT’S YOUR VISION FOR FUTURE COLLECTIONS? I hope for our next collections to constantly improve in terms of textile innovation and environmental impact. I’m looking forward to creating textiles with more variations of prints and patterns, as well as using locally sourced, natural fibers and yarns as well. WHY IS IT IMPORTANT FOR YOU TO PUT PHILIPPINE FASHION/HERITAGE AT THE FOREFRONT OF YOUR DESIGNS AND AESTHETIC (BEYOND IT BEING CORE TO ANTHILL'S IDENTITY)? It’s important because I believe that the Philippines' culture is so special and putting this at the forefront of our designs is what sets us apart from other international brands. I also believe that, through fashion, we can encourage other Filipinos to appreciate their own culture and, of course, support us in helping preserve our craft traditions. The ANTHILL team with the weaving community in Bangued, Abra in Northern Luzon. DO YOU THINK LOCALS ARE SEARCHING FOR MORE QUALITY PHILIPPINE MADE/DESIGNED PRODUCTS? IS THIS SIMPLY A TREND OR WILL THIS PICK UP FOR THE LONG TERM? Yes, I believe locals especially the youth are searching for more quality Philippine made/designed products. They see the value in supporting local industries and expressing their pride as Filipinos. I don’t think it’s a trend, and I believe our love for Philippine-made products will only grow in the future. WHAT’S NEXT FOR YOU PERSONALLY? WHAT’S YOUR DREAM FOR THE PHILIPPINE FASHION INDUSTRY AS A WHOLE? Personally, I hope to develop my textile design skills and constantly develop new textile innovations to further improve the Philippine textile and fashion industry. It’s also my goal to inspire the younger artisans we work with to constantly innovate and create new ideas of their own. I hope for the Philippine fashion industry as a whole to develop into one that’s more sustainable and globally competitive.

It's been a favorite of royalty and a first lady.

Part two of Marlon's birthday bonanza was something I knew he'd always wanted, but would never buy for himself: a globe! Google led me to Stanley & Livingstone, a small store selling a wide variety of globes, maps and travel guides in Den Haag. So I arranged to meet my German friend Robert, who lives there, for a quick coffee and a trip to the center of town to check out the store. "I'm meeting Robert for coffee," I told Marlon the day before his birthday. What he didn't know was that I was meeting Robert in Den Haag! And what I didn't know was that Robert had his own ideas for my little visit. "We can bike to the beach, then back to town, then to the center of town for coffee," he suggested. "Er... maybe not," I replied, thinking of my fledgling repertoire of biking skills, which mostly consist of huffing, puffing and wobbling. "I'm a beginner! I've never biked here before!" Aba, di patatalo ang Aleman. "This is Holland," he replied. "You have to get on the horse—by that I mean the bike—sooner or later." So get on the bike I did, said bike being Robert's folding bike from Dutch mega chain store Hema... which, I might add, is not the easiest thing for beginners to practice on. Robert was pretty tough on me, I must say (must be the German influence). Even after witnessing my red-faced struggle to mount his bike and get it moving in a straight line, he didn't cave in when I wheedled, "I don't think this is going to work." (Marlon probably would have, though!) Instead, he wisely decided to not ride through city traffic and took me on a quick spin through the Haagse Bos (a nearby woods/park) to the Queen's Palace. And by quick, I mean 20-30 minutes... just about enough time for my legs to cramp, for my butt to become sore, and for me to wonder why I was pedaling frantically through the woods after an athletic, whip-cracking German tenor when all I really came here to do was buy a fracking globe! I did end up buying the globe that afternoon, and Robert gallantly carried it for me all the way back to the train station. (Maybe he noticed me hobbling and felt sorry for me!) At home, I hid the globe among the pile of moving boxes in the guest room, and tried to sit as normally as I could on my aching bum to keep the trip (and gift) a secret from Marlon... who was so puzzled as to why I seemed so tired that evening. I went for a vintage-looking globe called the Renaissance globe, and chose a Dutch version because it was just so much prettier than the English one. I figured if we ever leave the Netherlands, it would be a nice reminder of our time here. I also chose a globe that lights up, because as my sister so wisely pointed out: "At least you can use it as a lamp, because are you really going to sit around in your spare time looking at a globe?" She has a point! This globe has a soft warm glow that I like... and that Marlon does too! The countries are up-to-date, but the globe is full of little details that hark back to the golden age of seafaring and exploration, such as sea monsters, nautical icons, and even the routes of famous explorers such as Drake and Magellan. The secrecy, the sore legs and even the aching bum was all worth it when Marlon came home from his dinner at De Kas to see the globe lit up in the darkness of our living room. He loves his gift and I love it too!

Crossing Threads® is the collaborative work of Lauren and Kass Hernandez, Australian-born sisters of Filipino heritage based in Sydney. The sister-duo creates handwoven fiber art that is distinctively highly textural, organic and intricate. Each piece is an extension of their dual personalities and contrasting abilities. Heavily inspired by the beauty found in Mother Nature and the Australian landscape, the sisters aim to cross the boundaries of woven wall art by experimentation and use of sustainable fibers. Click to read their full Fiber Artist Feature Q&A on the Modern Macramé Blog.

Textile from Ifugao Philippines. Wooden carved stools from Ifugao craftsmen. Lubuagan weavers use an ancient technique, the backstrap loom. Beautifully and finely crafted textiles from some of my favorite weavers in the Philippine Cordilleras.