How the baro transformed into the garment of Filipino identity

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How the baro transformed into the garment of Filipino identity

Every strand of piña fiber, abacá, and jusi fabric woven into a barong Filipino carries the long, often overlooked struggle to be acknowledged as the Philippines’ national dress for men. Woven into its delicate yet resilient threads are stories of resistance and survival, where the nation’s fight for acceptance and freedom emerges in intricate designs—each motif saturated with the colors, symbols, and memories of Philippine culture, history, 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 during his special lecture at the Costume Laboratory (COSLAB) 2, the Costume Design and Construction Laboratory for Philippine Theater workshop, held last November 17 to 23 at De La Salle – College of Saint Benilde.

Through its Production Design and Technical Services Division, the CCP offers comprehensive, ladderized workshops and lectures on the Philippine national dress in partnership with COSLAB. The program first focused on the traje de mestiza, examining its evolution from the 1890s to the 1920s—its changing silhouettes, fabrics, ornamentation, and cultural significance. Building on this foundation, COSLAB 2 turns to the baro, the traditional men’s shirt, tracing its historical and stylistic development across the 1800s, 1920s, and 1970s. For this second phase, COSLAB 2 has invited cultural studies pioneer Dr. Nicanor Tiongson to share his extensive expertise, guiding both emerging and experienced Filipino designers in understanding, preserving, and creatively reinterpreting these iconic garments.

As a witness to centuries of wars and the establishment of governments, the barong Filipino is a prominent figure 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 distinctive forms of dress that evolved between 1521 and the 1660s. The basic garments were the badu—a woven shirt or blouse that reached to the mid?thigh—and the bahag, a traditional g?string or loincloth commonly worn by men. These pieces, made from locally available fibers and suited to the tropical climate, reflected the region’s indigenous aesthetics and social customs. As Christianization and Hispanization took root, these native garments gradually changed, incorporating new fabrics, colors, and decorative motifs introduced by the colonizers, while still preserving many pre?colonial elements.

When the Suez Canal opened in 1869, it shortened travel time between Europe and Asia, making European goods and ideas more accessible. In practice, however, high Spanish fashion remained out of reach for most indios, or colonized natives. The cost of imported textiles, entrenched class divisions, and persistent poverty barred them from fully participating in the elite colonial style. In response, they continued to develop their own national dress—born from scarcity, adaptation, and quiet defiance. Over time, this attire came to embody their shared history, turning garments shaped by struggle into visible symbols of identity and pride.

“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 emerging elite increasingly favored the baro for formal photographs and painted portraits, seeing it as both a status symbol and a visual expression of refinement. As cities expanded and society modernized, Western fashion details began to appear in the baro: crisp collars framing the neck, neatly tailored cuffs at the wrists, and intricate embroidery concentrated on the chest, known as pecheras, which drew attention to the wearer’s poise and presence.

At this time, the baro truly began to develop its own distinctive aesthetic, one that balanced local tradition with modern influences. It reflected Filipino tastes—light, airy, and understatedly elegant—while remaining suited to the country’s tropical climate through the use of sheer, breathable fabrics. Sunday churchgoing turned into a subtle display of style as Filipinos filled the streets in their best baro, complemented by hats, canes, and carefully polished shoes, each accessory adding to an air of dignity and respectability. For the lower and middle classes, however, the simpler, unembellished baro remained the preferred choice: practical, durable, and affordable, yet still quietly affirming a shared sense of national pride and identity.

“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

Once a revered indicator of societal standing, the baro gradually evolved into a powerful symbol present in every government established over the years. “The development of the barong was always based on the presidents,” Dr. Tiongson recalled, explaining how each leader left a distinct imprint on its form and meaning.

President Manuel Quezon channeled his nationalistic spirit through his attire, wearing a baro adorned with intricate Commonwealth emblems embroidered on the pecheras. Together with Vice President Jose P. Laurel, Filipino officials donned the baro in harmony with the Japanese slogan “Asia for Asians,” thereby turning it into a visual expression of regional solidarity and political messaging during the occupation and upheaval.

Dr. Tiongson also highlighted President Ramon Magsaysay’s pivotal role in elevating the barong Filipino’s sense of 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.” By choosing the barong for his inauguration, Magsaysay transformed it into a garment that symbolized not only elegance and tradition but also accessibility and the aspirations of ordinary Filipinos.

Carlos Garcia, Magsaysay’s vice president, continued the legacy of Filipino fashion by frequently wearing the barong at official functions. This practice reinforced the “Filipino First” policy, which championed the use of locally made materials.

In 1961, President Diosdado Macapagal was sworn in wearing 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.”

President Ferdinand E. Marcos chose the barong Tagalog for all formal occasions, thereby popularizing the waist-length barong as a powerful visual symbol of Filipino identity. His successor, President Fidel V. Ramos—known for his preference for modest, unfussy clothing—continued the custom of wearing the national dress at his inauguration. This continuity cemented the barong’s role in the country’s most solemn and significant ceremonies.

Adorned with intricate embroidery, delicate patterns, and the soft sheen of fine piña or jusi fabric, the barong gradually entered banquets, inaugurations, formal portraits, and family photographs. No longer merely a shirt, it evolved into a distinguished garment, shaped by the skilled hands of artisans and the weight of tradition. In doing so, it became central to Filipino formal wear, a garment that commanded both quiet reverence and genuine admiration from everyone in the room.

The barong Filipino as an evolving garment

At present, the national dress for men has remained faithful to its original purpose of serving the needs of Filipinos. Today, each design is thoughtfully tailored to the occasion, function, and even the budget for materials. “The baro of today comes in bright colors to answer the needs of actors, singers, and other fashionistas,” Dr. Tiongson explained, recognizing how style continues to evolve.

On runways, red carpets, and television screens, celebrities now wear the national dress with chic shorts and dramatically puffed sleeves, transforming the familiar silhouette into something bolder and more playful. Some even choose to forgo undershirts beneath the sheer piña fiber fabric, letting the delicate weave reveal a hint of skin and giving the baro a daring, modern edge.

Dr. Tiongson recalled seeing a barong Filipino on the red carpet, cleverly cut and reshaped into a bomber jacket, complete with a sporty profile. He lamented, “Being open to new trends is important, but keep it memorable and wearable. Just remember the purpose of the design.” His reflection underscored the delicate balance between experimentation and respect for tradition.

Through every reinvention, the baro’s timeless form has shown that Filipinos can embrace change while preserving their history and culture. Its fabric, embroidery, and structure carry stories of identity and pride. The garment stands as a gentle reminder not to fear growth and innovation, as long as each step forward is guided by heart, intention, and care for the past.

“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 organized in partnership with SLIM’s Fashion and Arts School, an institution under De La Salle–College of Saint Benilde known for its strong fashion and arts programs. As part of the initiative, COSLAB2 hosted a series of hands-on workshops on pattern-making and basic tailoring, giving participants a solid introduction to the fundamentals of garment construction. These workshops were facilitated by 2024 Gawad CCP Para sa Sining awardee and TernoCon pillar Gino Gonzales, whose expertise in costume and fashion design offered participants in-depth professional guidance and creative insight.

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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How the baro transformed into the garment of Filipino identity

Melo Villareal

Out of Town Blog

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