Session 120 summary
Back in 2008-2009, Lenora Cabili established the brand Filip+Inna, which collaborates with Filipino artisans and celebrates craftsmanship inspired by tradition and rooted in culture. How did she end up creating this brand? Creativity is very personal, and from a young age, Lenora grew up in Mindanao, where she was exposed to indigenous groups. She recalls visiting an island and seeing a fluvial parade, with everyone dressed in their traditional garments. These vivid images have significantly influenced her work today. Remarkably, at barely two years old, she started wearing traditional garments. This is notable because, during that time, the Philippines had been colonized for almost 300 years by the Spanish, followed by the Americans. Lenora believes that due to colonization, there was a tendency to look more toward the West for clothing.
Lenora feels she had a unique childhood, growing up wearing traditional garments and having her parents instill a love for Philippine culture at a young age. Eventually, she began dancing for the Bayanihan Philippine Folk Dance Company. Growing up on the island of Mindanao, in the southern part of the Philippines, dancing was a fun way for her to explore the rest of the country’s culture. It was eye-opening for her to discover the various indigenous groups across the Philippines and the differences in their traditional garments. The country, fragmented into 7,641 islands, has a rich indigenous culture despite the effects of colonization. Traditional garments in the Philippines vary greatly from north to south, differing in style and fabric. Growing up in Mindanao and dancing with the Bayanihan Philippine Folk Dance Company nurtured Lenora’s love for Philippine culture from a very young age.
In 2000, Lenora was diagnosed with cancer. During her battle with the illness, she clung to her faith in a very personal way. While questioning what she was going through, she found solace in the verse John 11:4, “When Jesus heard that, He said, ‘This sickness is not unto death, but for the glory of God, that the Son of God might be glorified thereby.’” This verse became her anchor as she faced cancer for as long as 15 years, even exhausting her lifetime allotment of treatment. This necessitated a break from all treatments. Cancer marked a pivotal moment in her life, prompting her to question her purpose and confront the reality of death. As she prayed for guidance, the idea of fashion repeatedly emerged, but she knew it had to be a special kind of fashion. A trip to New York, where she encountered individuals from the fashion industry, left her disillusioned with mainstream practices. While praying for purpose, she realized that fashion could be her path if it had a meaningful context. Her revelation came during another trip to New York, where she met a textile designer working with artisans from the Philippines. This was her eureka moment, and she vowed to return to the Philippines to collaborate with local artisans. When starting her brand, she wanted a name that would reflect Philippine culture. Established around 2008-2009, Filip+Inna faced the challenge of promoting a culturally-rooted brand at a time when such concepts were just beginning to gain traction. The name Filip+Inna represents the fusion of Filipino identity and the idea of collaboration. The plus sign symbolizes addition and partnership, reflecting Lenora’s belief in combining elements to create something new. On a personal level, it signifies Lenora and her faith, the brand and the artisans, and the blend of tradition and contemporary design.
She started working with different groups around the Philippines. Sharing a picture, she mentions the T’boli community. Their garments feature intricate embroidery, beadwork on their headdresses, weaving on their checker skirts, and detailed brass work on their jewellery. The T’boli are among the groups in the Philippines with the most extensive craftsmanship applications. She then shares pictures of the Tagakaolo community. Their traditional blouses are made out of shell beads and are hand-beaded. They also have beautiful hand-embroidery and hand-weaving. One particular fabric involves a process where they first weave the fabric, then embroider on it, dip it in dye, and finally cut the embroidery to reveal the pattern that resisted the dye. Next, she shares pictures of the Mangyan community, Maranao community, and Tausug group, each with garments featuring unique and detailed embroidery and patterns. The Yakan is a group from the island where Lenora’s mother is from. For special occasions like weddings, the Yakan people put white marks on their faces.
Her love for handcrafted work began with her first trip to Paris at the age of 21. She vividly remembers visiting a museum and being struck by the beauty of hand embroidery. This experience planted the seed for her deep appreciation of manual craftsmanship. She often reflects on a quote by William Kant: “The hand is the window to the mind.” She holds great respect for weavers and their artistry. When she started Filip+Inna, one thing was very clear: she was going to focus on handwork rather than using machines. Her love for interacting with people made her appreciate the time and dedication involved in handcrafted work. She believes nothing can compare to the effort and care put into handmade items, which are created at a leisurely pace. The team waits for the artisans to finish their work rather than imposing strict deadlines. She believes the beauty of handcrafted work touches the heart, a sentiment she has seen reflected in her clients’ reactions. The human touch, she thinks, surpasses any work done by machines. Hence, Filip+Inna is dedicated to the art of handcrafting. Even the inside of their clothing is finished with hand-done cross-stitching, a detail that may not be visible but is important to their commitment to quality. This approach combines elements of couture with ready-to-wear fashion.
Since the team works directly with artisans, they prioritize relationships over transactions and make sure to visit the artisans at least once a year. Lenora recalls her first visit to the Tagakaolo community, which involved a six-hour hike that took her seven hours, crossing three mountains. When she arrived, she saw how much the artisans appreciated her effort. This dedication has built strong relationships, fostering a mindset of collaboration and problem-solving.
Visiting the artisans in person opens her eyes to their circumstances and perspectives. For example, when the Tagakaolo say they will deliver clothes, Lenora envisions their six-hour journey to the nearest village, followed by a two-hour motorcycle ride to the nearest town with a courier service. This understanding makes the journey of each garment more meaningful. The personal relationships and commitment to making things work ensure open communication. Whether it’s a text about requests or issues, there is a continuous dialogue, allowing artisans to express disagreements and Lenora to make requests. She values the ongoing communication and the strong bonds they share.
The team prioritizes quality over quantity. While fast fashion focuses on volume, Filip+Inna emphasizes quality and intentionality, paying attention to even the unseen details inside each garment and taking the necessary time to create them. In their 14 years of operation, they have never had a sale because they produce just enough. Sometimes, they create only eight pieces, and if demand exceeds that, the garments are made-to-order. This approach helped them survive the pandemic because of their sustainable practices. For Filip+Inna, quality over quantity is paramount.
Lenora often refers to her team as the “Turtle of Fashion,” emphasizing their deliberate and careful creation process. Clients are informed about the collaboration with artisans and understand the value of waiting, typically 4-6 months, for their orders. This experience taught Lenora the importance of knowing one’s brand identity. When meeting clients, sharing their story helps clients respect their methods, which contrasts with the immediate gratification sought in fast fashion.
Filip+Inna’s model allows artisans to work from home at their own pace, balancing other responsibilities like childcare and farming. This flexible approach proved advantageous during the pandemic since the artisans were already accustomed to working from home. Lenora is committed to ensuring that the team maintains a healthy work-life balance.
As they focused primarily on ready-to-wear, many people began requesting pieces from their very first collection, created 14 years ago. This demonstrates the lasting quality and intentional craftsmanship of their garments. When fulfilling made-to-order requests, they ask clients about specific preferences, such as particular collars, making each piece one-of-a-kind and highly personalized.
The team’s approach to working with artisans mirrors how they interact with clients. Personal relationships are crucial, not just with the artisans but also with the clients. This ensures that designs reflect the clients’ desires, further enhancing the bespoke nature of their creations.
Lenora states some differences between fast fashion and Filip+Inna: Fast fashion prioritizes immediacy, while Filip+Inna asks their clients to wait. For fast fashion, time is of the essence, whereas Filip+Inna values the time it takes to create. Fast fashion relies on production lines, while Filip+Inna relies on artisans. Fast fashion follows seasons, but Filip+Inna offers capsule collections. Fast fashion has unlimited quantity, whereas Filip+Inna always does limited runs. Fast fashion adheres strictly to specifications, whereas Filip+Inna encourages creativity. Fast fashion uses machine work, while Filip+Inna relies on handcrafted work. Lastly, fast fashion has varied identities, while Filip+Inna is rooted in Philippine culture.
Lenora shares stories and lessons from her 14 years of working with artisans. One memorable trip was to Lake Sebu, where she visited various artisans, including a lady named Evelyn, who became a close friend until she passed away. Evelyn’s last piece of embroidery before her death was for Lenora. During her first visit, Lenora encountered Evelyn in a coal-operated store and asked if anyone knew how to embroider. Evelyn volunteered, and Lenora’s respect for different indigenous cultures, fostered by her upbringing in Mindanao, was evident. Lenora handed over garments to Evelyn, allowing her to freely express her creativity, which marked the beginning of their collaborative approach with artisans. Lenora emphasizes that this respect and freedom for artisans to dictate their work have led to genuine collaborations. The artisans feel empowered to contribute creatively and have the freedom to reject certain requests. This collaboration has been fundamental to Filip+Inna’s operations, especially during the pandemic, when the continuous work provided stability for the artisans. Despite the challenges, the team thrived as people began to appreciate the craftsmanship and value of handmade pieces.
The first five artisans Lenora worked with belong to the T’boli indigenous group. This initial collaboration was significant because it demonstrated the artisans’ desire for consistent work, unlike their previous experiences with other designers who would only engage them seasonally. Filip+Inna’s commitment to continuous collaboration has been crucial, particularly during the pandemic, ensuring that the artisans remained employed and productive while other brands struggled or ceased operations. This approach not only sustains the artisans’ livelihoods but also enriches the brand with unique, culturally significant pieces, highlighting the importance of personal relationships and respect for the artisans’ creative input.
Working with artisans has also presented challenges for Lenora. She recalls a significant mistake during a photoshoot where a traditional garment was paired with an item resembling a bathing suit, which deeply offended the Tagakaolo community. Following a backlash online, Lenora decided to stop reading the negative comments and focus on addressing the issue directly with the affected community. She travelled to Mindanao to personally apologize to 17 tribal leaders. It was a tense and emotional time for her, as she feared that the brand might end due to this mistake. However, she felt a sense of peace, ready to accept whatever consequences were decided. Lenora’s apology was heartfelt; she broke down in front of the leaders and expressed her willingness to accept any repercussions. The leaders deliberated for two hours before speaking to her. The head of the tribe appreciated her effort to apologize in person and acknowledged her positive work with the artisans in their village. They proposed a forgiveness ritual, explaining that once they forgive, it is never mentioned again. This experience, although painful, was a pivotal learning moment for Lenora. She and her team participated in the ritual, which marked a turning point and reinforced the importance of cultural sensitivity and respect.
Another story Lenora shares highlights the importance of staying true to their brand identity. During the pandemic, their commitment to their core values helped them survive and even thrive. Lenora believes that knowing who they are as a brand and not compromising their principles has been crucial. For instance, when she visited the Tagakaolo community last year, they were able to provide incentives to the artisans, a rare feat in the fashion industry during such challenging times.
Another notable story involves a young girl named Elsa. Lenora first met Elsa when she was about 6-8 years old, and now Elsa is around 16. Lenora encountered her during a visit to an artisan’s home. Elsa, inspired by her mother’s work, picked up embroidery herself, choosing to spend her school holidays stitching instead of playing with friends. When Lenora asked why, Elsa explained she wanted to earn extra money for school. Today, Elsa is graduating at the top of her class. Lenora sees this as one of the benefits of working with one’s hands, teaching discipline and practical skills like arithmetic and geometry through following designs and patterns.
Working from home allows artisans the flexibility to manage their tasks, contributing positively to their mental health and happiness. Lenora finds it special to watch the artisans’ children grow and even join the business. Recently, three children of artisans moved to Manila to work with Lenora in her office, gaining exposure to the various groups the brand collaborates with. This exposure encourages them to take pride in their work and strive for excellence, knowing they are part of a broader, interconnected effort.
As the team built the foundation of the brand, they initiated several projects such as Back to the Loom, the Yuta Program, the Master Artisan Program, and CIPRI. In Back to the Loom, they funded a weaving center for Yab Man to provide a space where the younger generation can learn to weave. They also purchased land for another indigenous group and are in the process of designing a second weaving centre.
Another program Lenora is particularly proud of is the Yuta Program. “Yuta” means soil or land in Lenora’s dialect, and this program promotes regenerative livelihood and ecosystem restoration, combining traditional knowledge with permaculture solutions in partnership with Green Releaf Initiative. The program is now entering its third phase. It started when Lenora had cancer and realized the importance of food for healing. She noticed that many indigenous groups were adopting Western eating habits and encouraged them to return to their traditional ways. The Yuta Program promotes planting food in their backyards or land, helping them move away from leasing their land to big corporations that use pesticides.
Initially, they created two model gardens, which led to selecting five artisans to build their own vegetable/food sovereignty gardens. In the upcoming third phase, livestock will be introduced. Lenora finds it inspiring to see how the community shares excess food and benefits from systems like the water system they installed. This program, currently limited to the T’boli group, aims to expand to other groups across the Philippines. The T’boli group, the largest group of artisans the brand works with, was among the first the brand collaborated with. Lenora states that agriculture and cultural heritage go hand in hand, and the brand is committed to creating livelihoods with meaning. This includes saving seeds and fibers. The team aims to create something akin to a cookbook to document traditional foods of indigenous groups. Lenora shares pictures of the Lamlahak Group’s garden and the Seloton Group, who now have a pond. During her next visit, she plans to fund livestock for them.
The Master Artisan Program is ongoing. The team wanted to establish a system with levels: apprentice, artisan, and master artisan. The brand gives back 25% of their net income to the artisans, and their incentive is 25% of the gross value of the work they’ve done for the brand. Currently, this program has been implemented with the T’boli, Tagakaolo, and Mangyan groups, as they contribute the most to the brand’s collection.
Lenora is a proud member of CIPRI, the Cultural Intellectual Property Rights Initiative, which focuses on three main principles: obtaining consent from the indigenous groups they work with, giving credit to these groups, and ensuring fair compensation.
As Lenora worked with indigenous groups within the context of Philippine culture, she witnessed the soft power of the Philippines in the pieces they create. When she started Filip+Inna, people in the Philippines were not interested in buying locally made items. They only accepted products made abroad, which hindered Lenora’s growth as a brand. She had to navigate around this obstacle, and thankfully, in the first five years of Filip+Inna, she was selling abroad. This was a great way for her to conduct market research and be exposed to a specific clientele. This exposure allowed her to meet designers like Tory Burch and Aerin Lauder, and she was invited to do a private show in Lauder’s New York office, where her designs were carried.
The soft power of the Philippines is the ability to appeal and attract through cultural expression. Lenora’s work with Filip+Inna highlights this soft power by creating authentic and inclusive pieces. She got involved with two organizations: Dama Ko Lahi Ko, of which she is a co-founder, and Ternocon, which promotes traditional Philippine garments. The Philippines has many indigenous groups with distinct garments, but their history with the Spanish has evolved the baro’t saya, a traditional garment, into the butterfly-sleeve dress. Eight years ago, Lenora joined Ternocon as one of three designers mentoring young designers from Mindanao. They recently completed their third Ternocon convention, which has revived the love for traditional garments. Dama Ko Lahi Ko aims to promote Filipino culture and creativity as a form of soft power, emphasizing that national advancement can come from cultural identity. Lenora believes that nurturing one’s cultural being naturally leads to creative expression.
For Dama Ko Lahi Ko, translated as “I am proud of my heritage,” they explore Filipino culture through the five senses: sound, sight, touch, taste, and smell. Ternocon encourages wearing the traditional terno, the butterfly-sleeve dress. Lenora shares pictures of her Ternocon collection, which used the resist dye technique by the Manobo group. The collection includes a pleated skirt and a garment combining elements from different parts of the Philippines. This approach infuses culture into the garments, telling the story of what makes them Filipino.
About the Speaker
Lenora Cabili
Lenora “Len” Cabili is the visionary founder and Creative Director of Filip+Inna, a brand deeply rooted in the rich tapestry of Philippine culture. Lenora’s journey into fashion design was inspired by her profound appreciation for her heritage and the traditional crafts of her homeland. Her transformative moment came when she witnessed a group of indigenous women, her collaborators, shedding tears of gratitude for the recognition and steady work her business provided. This pivotal experience shifted her focus from merely building a fashion brand to creating a platform that empowers and uplifts these talented artisans.
FILIP+INNA
Filip+Inna is a unique social enterprise dedicated to partnering with artisans from various indigenous groups across the Philippines to produce exquisite clothing and accessories. Each piece from Filip+Inna is a labour of love, incorporating traditional embroidery, weaving, and beadwork techniques unique to different communities. Since its inception in 2008, Lenora Cabili has steered the brand with a mission to preserve and celebrate indigenous craftsmanship while providing sustainable livelihoods for the artisans.
Initially, Lenora promoted Filip+Inna internationally, concerned that the fast fashion trend dominating the Philippine market would overshadow the appeal of high-end, locally-made apparel. However, over the past decade, there has been a significant shift, with Filipinos increasingly embracing native products and appreciating the intricate craftsmanship behind them.
