Culture | A Thousand Yards

Patadyong’s Journey in the Fashion Industry

WRITTEN BY MDPN. ANTHONY KEN BUCASAS | PHOTOS BY JOEWEN RAY DUCADO

She, in her eyes surrounded by the wrinkles brought by the aging of time, can be seen a distant past where the sun has not shone the colors of threads, but is revealed by the light from a gas lamp as she chooses what she wanted to use in weaving her new patadyong, a loose-checkered skirt.

She, in her slender arms and shaking hands, marked the scars of the past, brought not by agony, but by the times she would clip her skin in a teral, a loom weaving machine made of bamboo. The melody of taps from the teral and the crowing rooster would be her music. She would taste the smell of coffee mixed in the morning breeze as she pedals her way to produce a yard of tapestry - her art, a thread of her soul. “I started weaving when I was 10, and every morning my mother, Teodora, would share her knowledge in weaving. It is for us to sell and earn from it. To have something to fill our stomachs for the day,” says Ma. Florita Cadapan, a 66 year-old weaver of patadyong. Florita is one of the oldest among the 72 members of the Bagtason Loom Weavers Association of Bugasong, Antique. Back in 2007, the organization started with 15 persons. As years go by, the beauty of their creations paved the way for them to grow in numbers when the textiles became in demand in the fashion industry. Different fashion designers inside and outside Panay created the doors for patadyong to be transitioned from a simple skirt into bags, gowns, wallets, casual wears, scarf, shawls, handkerchiefs and even face masks. The young people of Bugasong became interested in the culture of weaving, thus, increased the number of its members four-fold since 2007. During the pre-Hispanic times, the people used this as a hammock or a mosquito net. However, the demand declined in the 1960s as Chinese textiles entered the market because it was sold cheaper. But the art of patadyong making was developed in the late 1960’s when the weavers decided to use cotton, polyester and abaca as raw materials producing higher quality products. In the 1980’s, polyester was used as their new raw material, the production of patadyong increased by incorporating squares, stripes, and a flower design in the middle. The journey of patadyong had gone through a bumpy ride. According to Mr. Marvin Kyle Rico, Tourism Officer of the municipality, it was through the initiative of the Department of Trade and Industry (DTI) to provide assistance to inspire and motivate the younger locals of Bugasong to make and sell the native product to preserve the culture that was passed down by their ancestors through generations. In addition, Mr. Mario Manzano, the president of the organization said that trainings were being conducted because of the improved and emergent requests for patadyong. A pili, also known as an embroidered flower design inspired by the national flower and golden abaca fiber was later added to make the products match the current fashion trends.

“The fibers made from abaca were being ordered from Aklan which is known also for their handwoven abaca fabrics. We coordinated also with the Fiber Industry Development Authority (FIDA) so that we will have more resources,” Mr. Manzano added. Fifty-two terals are available for the workers to take turn in using these machines wherein they are being paid per piece and can earn from Php. 1000 to Php. 5000 per month. Antique’s Representative and Deputy Speaker Inday Loren Legarda, was known to wear patadyong designed outfits. Miss Universe 2018 Catriona Gray and Antique’s 2021 Miss Universe Philippines Antique, Noelyn Rose Campos, also wore these woven masterpieces.

Last November 10 to 11, 2018, patadyong was featured in the Likhang Pamana Fashion Show at Sheraton Hotel in Hong Kong. Local designer Wilthe Popelo was among the 10 designers around the country invited by the Department of Tourism to join the event. Through the steadfast advocacy of the fashion designers and the people of Antique to preserve their cultural identity, patadyong weaving will continue to live on and help the people who gave it life. Antique’s weaving culture was built as time aged; her weavers will always see their distant journey as the sun continues to shine the colors of threads. It may be from a gas lamp or from the light produced by modernization; they will always continue to weave their new patadyong, a new fashion that transitioned from a loose-checkered skirt. Antique’s weaving culture was built by strong arms and rough hands, not from the scars of agony, but by the times her weavers would clip their skin in a teral. The melody of taps and the crowing rooster will always be music to their ears. The taste and smell of coffee mixed with the morning breeze is a new day of dancing the pedals and producing a thousand yards more of patadyong– an art, a thread of culture, a soul of Antiqueños.