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Maria Clara gown
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Maria Clara gown
The María Clara gown, historically known as the traje de mestiza during the Spanish colonial era, is a type of traditional dress worn by women in the Philippines. It is an aristocratic version of the baro't saya. It takes its name from María Clara, the mestiza protagonist of the novel Noli Me Tángere, penned in 1887 by Filipino nationalist José Rizal. It is traditionally made out of piña, the same material used for the barong tagalog.
A unified gown version of the dress with butterfly sleeves popularized in the first half of the 20th century by Philippine National Artist Ramon Valera is known as the terno, which also has a shorter casual and cocktail dress version known as the balintawak. The masculine equivalent of baro't saya is the barong tagalog.
These traditional women's dresses in the Philippines are collectively known as Filipiniana dress. Along with the barong tagalog, they are also collectively known as "Filipiniana attire".
Like the baro't saya, the Maria Clara gown traditionally consists of four parts: a blouse (baro or camisa), a long skirt (saya), a kerchief worn over the shoulders (pañuelo, fichu, or alampay), and a short rectangular cloth worn over the skirt (the tapis or patadyong).
The camisa is a collarless blouse whose hem is at the waist and is made from flimsy, translucent fabrics such as pineapple fiber and jusi. The sleeves of the camisa are similar to the so-called "angel wings", or shaped like bells. The correct term for the sleeves of the camisa during the mid to late 1800s is a "pagoda" – derived from early Western silhouettes of the Victorian period.
The pañuelo is a piece of starched square cloth (either opaque or made from the same material as of the camisa) folded several times and placed over the shoulders. The purpose of the pañuelo has been related to modesty, used to cover the nape and the upper body due to the camisa's low neckline as well as its sheer translucency; and also doubles as an accent piece because of embellishments added to it, usually embroideries and the pin securing it in place.[citation needed]
The saya is a skirt shaped like a "cupola", the length begins from the waist reaching the floor. These are usually comprised either of single or double sheets, called "panels" or dos paños (Spanish for "two cloths"); some examples are made out of seven gores or siete cuchillos (Spanish for "seven knives").[citation needed]
The tapis is a knee-length over-skirt that hugs the hips. Tapis designs may be plain, and is usually made of opaque fabrics such as muslin and the madras cloth, and also is used for the purposes of modesty as it keeps the lower body from showing due to the thinness of the saya. It is derived from the identically-named tapis, the original indigenous wraparound skirt of women in the Philippines, which is a rectangle of brightly-colored cloth woven from abaca fibers.
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Maria Clara gown
The María Clara gown, historically known as the traje de mestiza during the Spanish colonial era, is a type of traditional dress worn by women in the Philippines. It is an aristocratic version of the baro't saya. It takes its name from María Clara, the mestiza protagonist of the novel Noli Me Tángere, penned in 1887 by Filipino nationalist José Rizal. It is traditionally made out of piña, the same material used for the barong tagalog.
A unified gown version of the dress with butterfly sleeves popularized in the first half of the 20th century by Philippine National Artist Ramon Valera is known as the terno, which also has a shorter casual and cocktail dress version known as the balintawak. The masculine equivalent of baro't saya is the barong tagalog.
These traditional women's dresses in the Philippines are collectively known as Filipiniana dress. Along with the barong tagalog, they are also collectively known as "Filipiniana attire".
Like the baro't saya, the Maria Clara gown traditionally consists of four parts: a blouse (baro or camisa), a long skirt (saya), a kerchief worn over the shoulders (pañuelo, fichu, or alampay), and a short rectangular cloth worn over the skirt (the tapis or patadyong).
The camisa is a collarless blouse whose hem is at the waist and is made from flimsy, translucent fabrics such as pineapple fiber and jusi. The sleeves of the camisa are similar to the so-called "angel wings", or shaped like bells. The correct term for the sleeves of the camisa during the mid to late 1800s is a "pagoda" – derived from early Western silhouettes of the Victorian period.
The pañuelo is a piece of starched square cloth (either opaque or made from the same material as of the camisa) folded several times and placed over the shoulders. The purpose of the pañuelo has been related to modesty, used to cover the nape and the upper body due to the camisa's low neckline as well as its sheer translucency; and also doubles as an accent piece because of embellishments added to it, usually embroideries and the pin securing it in place.[citation needed]
The saya is a skirt shaped like a "cupola", the length begins from the waist reaching the floor. These are usually comprised either of single or double sheets, called "panels" or dos paños (Spanish for "two cloths"); some examples are made out of seven gores or siete cuchillos (Spanish for "seven knives").[citation needed]
The tapis is a knee-length over-skirt that hugs the hips. Tapis designs may be plain, and is usually made of opaque fabrics such as muslin and the madras cloth, and also is used for the purposes of modesty as it keeps the lower body from showing due to the thinness of the saya. It is derived from the identically-named tapis, the original indigenous wraparound skirt of women in the Philippines, which is a rectangle of brightly-colored cloth woven from abaca fibers.
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