How the baro't saya / traje de mestiza / terno evolved from the 1860s to the 1960s
โ a thread๐งต
๐ญ๐ด๐ฒ๐ฌ๐: 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 sayaโs hemline and help maintain its structure.
The camisa (blouse) is cut high above the waist.
The paรฑuelo (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.
๐ญ๐ด๐ณ๐ฌ๐: The paรฑuelo and camisa began matching in colors, materials, and embroidery. This was referred to as "ternos bordados" (matching embroderies).
The paรฑuelo, 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.
๐ญ๐ด๐ด๐ฌ๐: Embroidery became more prominent, often contrasting with the base fabric.
Most paรฑuelos 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.
๐ญ๐ด๐ต๐ฌ๐: 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 2โ3 inches from the shoulders.
The paรฑuelo 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).
๐ญ๐ต๐ฌ๐ฌ๐: The sleeves became shorter by 3โ4 inches and wider, flaring out from the shoulders to the elbows.
The paรฑuelo is larger and is folded four times at the edge. creating more stiffness when shaped.
The back of the paรฑuelo 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.
๐ญ๐ต๐ญ๐ฌ๐: The sleeves and paรฑuelo 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.
๐ญ๐ต๐ฎ๐ฌ๐: 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 paรฑuelo is more decorative than functional, resembling a lapel rather than a seperate shawl.
The back of the paรฑuelo is positioned lower, exposing more of the nape.
Variations of the sobrefalda and cola emerge.
๐ญ๐ต๐ฏ๐ฌ๐: 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.
๐ญ๐ต๐ฐ๐ฌ๐: Trainless, flared skirts became the dominant style among Filipinas.
The zipper joined the bodice and skirt of most ternos into one garment.
The paรฑuelo remains an essential, albeit decorative, component of the terno.
After WW2, it became more common to wear the terno without the paรฑuelo, 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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HELLO!! Thank you for reading this thread!! Unfortunately, due to tumblr's photo limit, this thread will only go up to the 1940s. I'll make another post for the 1950s and 60s. Most of the info in this thread are from the book "Fashionable Filipinas" highly recommend to read! They also have an ig page so please check them out! Another source I used are the three-part lecture series by NCCA PCEP explaining the history of how the traditional Filipina dress came to be, starting from the pre-colonial period all the way to the country's independence after World War II, available on youtube!!. Again thank you for reading!! I hope all of you enjoyed it!!
