JC Buendia invites audiences to a journey through time in Limang Daan, an original Filipino ballet that tells the story of the strength, identity, and beauty of the Filipina spirit
Costumes are pivotal in transporting audiences to different eras, cultures, and emotions. In everyday life, we wear our clothes as expressions of identity, personality, and mood. Presenting a unique and exhilarating challenge for JC Buendia, it’s the opportunity to design costumes for Ballet Philippines’ production of the original Filipino ballet, Limang Daan—a show that celebrates 500 years of cross-cultural encounters and Filipino feminism. From capturing the crux of Philippine history to ensuring functionality for ballet dancers, the designer’s first foray into costume design was one of meticulous research, creative vision, and profound storytelling.
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Seizing the opportunity
It was a fortuitous connection that began as a photoshoot project with the Fashion Design Council of the Philippines (FDCP). Reflecting on this serendipitous encounter, Buendia shares, “Right after the lockdown, our council had a collaboration with Ballet Philippines, which was a photoshoot by JoAnn Bitagcol, of the ballet dancers dressed in couture by the members of the FDCP.” This initial connection paved the way for his involvement in “Limang Daan,” a ballet performance that celebrates 500 years of cross-cultural encounters and Filipino feminism.
The designer recounts the moment when the opportunity to design costumes for Limang Daan arose, stating, “Maymay Liechtenstein, President of Ballet Philippines, offered it to me if I would like to design the costumes for Limang Daan since I am known for my Filipiniana.” Buendia’s reputation as a designer deeply rooted in Philippine culture and tradition made him a natural choice for the project, and he eagerly accepted the opportunity to lend his creative vision to the production.
Buendia’s immediate affirmative response to the invitation underscores his enthusiasm for the project and his commitment to celebrating Filipino heritage through his designs. This sentiment encapsulates Buendia’s deep sense of pride and responsibility in presenting the beauty and resilience of the Filipina spirit through his artistry.
Let the light in
With meticulous attention to detail, Buendia crafted each costume with the audience in mind, ensuring that even those seated at the back of the theater could appreciate the beauty and intricacy of his designs. He remarks, “I was thinking of how the stage lights would catch the fabric.” Inspired by the concept of komorebi, the Japanese term for sunlight filtering through leaves, Buendia sought to create costumes that shimmered and danced in the play of light.
For the non-binary character of Amihan, Buendia’s designs were a celebration of fluidity and expression. Drawing inspiration from the non-binary identity of the character, Buendia crafted garments of color. “I chose the color lavender because it’s neither pink nor blue,” he explains. “I mixed the two colors, because color is very important for characterization, so that they stand out from the cast.”
In interpreting Gawani’s character, Buendia envisioned a portrayal that honored the strength and resilience of the Philippines’ northern indigenous communities. Gawani’s costume is a homage to the enduring spirit and rich heritage of these communities. Central to the character’s attire is a tattoo bodysuit, designed to symbolize her connection to tradition and authenticity. The bodysuit, suggestive of nudity, represents Gawani’s unapologetic embrace of her identity and vulnerability. Complementing the bodysuit is a skirt fashioned from indigenous fabric sourced from the northern regions of the Philippines.
And then there was Maria Clara, the iconic symbol of Filipino womanhood. Buendia’s approach to Maria Clara’s costumes was one of reverence and reinvention. Maria Clara represents the enduring legacy of Spanish colonization, but she is also a mark of power and stability in the face of adversity. Drawing on traditional fabrics and silhouettes, Buendia reimagined Maria Clara’s wardrobe for the modern stage, one that incorporated lots of movement, naturally.
Identity through movement
Designing costumes for ballet dancers posed unique challenges for Buendia, who had to consider both aesthetics and functionality. “Sometimes costumes required me to use stretch fabric which I’m not really used to using since I use a lot of structured fabrics for my clients and my designs,” he explains. “It was quite a challenge since I also have to think of the technicality of the clothes, and how they can do quick changes in between sets.”
He experimented with stretch fabrics and lightweight materials to ensure comfort and ease of movement, while also incorporating intricate details and symbolism into each costume. “I have to find the essence of the era and simplify it for stage because it’s not opera so I have to make it as pure as possible for the dancers.” From the soft lavender hues of Amihan’s coat, and the indigenous fabric of Gawani’s skirt, to the transparent organdy of Maria Clara’s gown, every garment was carefully crafted to enhance the storytelling and characterization on stage.
Sewing strength in storytelling
Buendia delved into the heart of Filipino history, sewing together the stories of struggle and triumph that define the Filipina experience, carrying the weight of centuries of hardship and resilience. “I hope that I was able to help in the storytelling of Moira Lang, the one who did the libretto of this ballet,” he shares. “Because it’s something that’s very now, it’s all about empowering women, because the Filipina has been relegated to the kitchen, the bedroom, and I think women aren’t just that because of colonization.”
Buendia’s costumes became vessels of emotion, conveying the strength and dignity of Filipino women through their texture and color. He sought to honor the courage and resilience of the Filipina spirit—a spirit shaped by adversity yet radiating with hope and determination. “There’s more to women than being subservient.” Through his designs, Buendia invites audiences to connect with the raw emotions of the Filipina journey.
As the debut of the ballet draws near, Buendia’s path from collaboration to creation serves as a shining example of the magic born from collaboration and the influence of Philippine culture and heritage. While it may be his first dive, the designer is eager to continue collaborating on future projects and exploring new avenues for his creative expression. “I’m very excited, and it’s something new and something different from what I usually do. I’ve been working for the last more than 35 years.”
A ballet breakthrough
For JC Buendia, Limang Daan is a milestone in his illustrious career that signifies growth, exploration, and a renewed passion for storytelling through fabric and form, one that will transform and transcend us through time. “I think it’s time I do other things other than merely creating special occasion clothes. This one is for the books.”
Ballet Philippines’ Limang Daan will run from March 8-10 at The Theatre At Solaire
Photography SELA GONZALES
Art Direction ANDREW ENCAPAS
Sittings Editor SEAN CASTELO III
Ballet Dancers MA. REGINA MAGBITANG, EMMERSON EVANGELIO, and GIA GEQUINTO
Production Assistant MELISSA ALEJANDRINO
Shoot Coordination JOANA FERNANDO
Shot on location THE THEATRE at SOLAIRE, RESORT & CASINO
Special thanks to ROSSANA UNSON and BALLET PHILIPPINES
