Jor-El Espina’s First Costume Designs Are for Ballet Philippines
The Ilonggo mined his expertise in mixing colors, textures, and local weaves.
(SPOT.ph) The year 2024 was a big year for Jor-El Espina. The Ilonggo fashion designer known for incorporating local weaves like hablon, piña, abaca, etc., into his collections celebrated his 20th year in fashion. But it turns out this 20th anniversary was only paving the way for bigger things. For starters, Espina is dipping his toes in costume design this 2025. He is dressing up the ballerinas for Ballet Philippines' season-finale, Ang Panaginip, a full-length Filipiniana ballet.
It's a new play and a new concept; it's never been staged before. "Ang Panaginip is an ode to the freedom of self-expression and the courage to follow your own path," says Ballet Philippines' President, Kathleen Liechtenstein. It is the story of 17 princesses, each representing a region in the Philippines, who break free from their humdrum palace lives. In this ballet, the princesses discover a mystical portal that leads to an enchanted world where they can explore their potential and what they want to be, regardless of what that may be.
It won't be wrong to say Espina himself is exploring his own potential with this undertaking. It has always been a personal goal for him to design for a ballet, so Ang Panaginip is a dream come true for this creative. "I think being a designer, it's important for us to reconnect with the different forms of art. As you see, fashion is also art," he says.
The material spoke to him
While the obvious connection between the ballet's Filipiniana theme with Espina's signature style may have suggested this coming together is destined to happen, ultimately, it was the story that sealed the deal for the designer. "When I read the libretto, when I read the story of the ballet, it's actually something that interested me," he says about what made him agree to take on the production. "I really wanted to do this, and I know how to interpret this piece."
Like in his ready-to-wear and runway pieces, Espina veered away from the usual Filipiniana silhouette when interpreting the costumes for Ang Panaginip. Instead, he dove deep into his archival collection of fabrics from all over the Philippines. He played with their different colors, patterns, and textures to bring the story of the princesses to life, while also being mindful of the demands of a dancer's movements and the sensitivities of the cultures he is interpreting.
Form and function were prime considerations. "You have to consider that they will be moving all the time. So [the clothes have] to be comfortable," says Espina. "They have to be flowy. They can't be heavy. But at the same time, [they have to be] aesthetically and visually beautiful."
While most woven fabrics tend to be heavier, Espina notes that the secret to making them dance-ready is restraint. This requires knowing when to stay true to the fabric and when there is a need to mix in other materials to make it work. For Ang Panaginip, commercial fabrics were combined with traditionally woven materials, with the former reinforcing the woven pieces so they hold up whatever the demands of the choreography.
"That's my forte, mixing fabrics, mixing patterns, doing patterns. So that's one thing I am very proud of, and I'm very proud to present it here in [these] Ballet Philippines costumes," says Espina proudly.
The fabrics he avoided
Espina tells SPOT.ph that he was given a lot of creative freedom to design the pieces, which really fueled his creativity. But despite all the liberties he took, he still made it a point to respect the cultures behind the fabrics. As a staunch advocate of local weaving, Espina values cultural relevance and the sources of his materials. Thus, the designer avoided using sacred and special weaves, opting instead for homegrown fabrics that can be used for everyday clothing or even home accessories.
"It is incredibly rewarding to see how my designs will become an extension of their performance,” says Espina, who couldn't help but look at his work with pride during the press preview of the costumes.
Much like a parent unable to pick a favorite among his children, Espina was hesitant to pinpoint exactly which piece in the ballet he loves the most; after all, he designed all of them, from the costumes of the princesses to those of the ensemble. All of them are his favorites, he says. And then: "I think the best looks that I wanted were the colorful ones," he tells us after much prodding. "Because they're striking. The princesses [are striking]. They represent Luzon, Visayas, and Mindanao."
It's safe to say this will not be the last time we will see Espina's designs onstage. The designer is quick to add that he would do this again, preferably for another Filipiniana production. But while we wait for Espina's next forays into costuming, keep your eyes peeled for his next collection. We just might see traces of his work in Ang Panaginip make an appearance.
Catch Ang Panaginip at The Theatre at Solaire from February 28 to March 2. Tickets are available on Ballet Philippines' website or via Ticketworld.
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