MANILA, Philippines — What is a Kimona?
The Cultural Center of the Philippines (CCP), in a statement, defines a Kimona as a traditional “camisa or pull-over blouse” for Filipinas.
For Ternocon’s 2025 edition, the annual Filipino dress workshops and competition series organized by the CCP and Bench shines the spotlight not only on the Terno, but also on other facets of the Filipina traditional dress like Balintawak and Kimona.
“I had the privilege of attending the first Ternocon in 2018 and I have been in constant awe watching it evolve, the creativity of our young designers all while remaining deeply rooted in Filipino design and craftsmanship has been nothing short of inspiring,” CCP President Kaye Tinga said in her speech during Ternocon 2025’s recent unveiling of its new finalists and semifinalists in Bench Tower, Bonifacio Global City, Taguig City.
“It is this blend of innovation and petition that makes turn upon truly special,” she added.
“Ternocon has served as a platform for our brand rich in Filipino culture and heritage, in partnership with the CCP to showcase our country’s culture – culture through the Philippine dress crafted by the artistry of our Filipino artisans and designers,” Suyen Corporation Chairman and Chief Executive officer Ben Chan said in his speech.
“It has always been our passion to promote Filipino culture through fashion design. With Ternocon, we preserve an integral part of our Filipino heritage through education, exhibition, and public awareness,” Chan adds in a statement.
According to him, if last year, the mentorships and contest revolved around the Balintawak, this year, Ternocon tackles not only Terno and Balintawak, but also Kimona and other facets of the Filipino dress in the workshops, mentorships, competition and final runway show that usually comprise the annual convention.
“This year, we received an overwhelming 82 applications from which we carefully selected the 12 finalists…” shared Tinga. “These individuals hail from across our beautiful archipelago – from Ilocos Norte to Davao; from La Union to South Cotabato and from the bustling cities of Metro Manila. It is a testament to the widespread talent and passion for our national dress.”
The 12 finalists are:
- Windell Madis,
- Geomarie Hernandez,
- Johnoel Marin,
- Patrick Lazol,
- Jericho Gonzales,
- Irene Subang,
- Bryan Peralta,
- Peach Garde,
- Ram Silva,
- Lexter Badana,
- Jared Palmejar,
- Monina Gatan.
Meanwhile, the two semi-finalists are:
- Xioti Chiu
- and Jema Gamer.
The finalists and semifinalists hail from Ilocos Norte, La Union, Tarlac, Batangas, Capiz, Silay, Iloilo, South Cotabato, Davao, Makati, Taguig, Quezon City, and Manila.
The finalists had their first mentoring-workshop last June 17 to 22 at the Training Center of the Baguio Country Club where they started working on their capsule three-piece collection composed of a formal Terno with Pañuelo; a formal Balintawak with an Alampay and Tapis, and a formal Kimona with an Alampay and a Patadyong (a tube-like wraparound skirt).
For the competition, the finalists are tasked to draw inspiration from 20th-century Philippine contemporary art, encompassing various movements, perspectives, and principles, such as works embodied by National Artist Ang Kiukok, National Artist Abdulmari Imao, Lao Lianben, and Anita Magsaysay-Ho.
“However, and I would like to reiterate, we highly discourage and will not allow the finalists to use facsimile copies and or digitally applying any image of the artwork onto the fabric in creating their capsule collection,” Ternocon Artistic Director Ricardo Eric Cruz said in his speech.
Guided by some of the country’s experts in design, this year’s workshop is led by Ternocon’s Chief Mentor since 2018, Inno Sotto, along with Ezra Santos, Lulu Tan-Gan, Rhett Eala, TernoCon’s Founding Artistic Director Gino Gonzales and Cruz. The workshop lectures include topics on the history of the Terno, Balintawak and Kimona design parameters; knitting and fabric manipulation; new technology, colors and patterns; traditional techniques, understructure and embellishments.
“The goal is to continue what was already started: to popularize the Terno as our national garment and stick to the proper measurement, how it should be worn. These are the garments that somehow stand out and differentiate us from our Asian neighbors and our Western counterparts. We have to find ways on how to improve it, while at the same time conserving its core aesthetic elements,” Cruz explains in a statement.
CCP and Bench, in the same statement, say that they continue to champion the best of Philippine arts and culture through Ternocon, highlighting the importance of preserving tradition while adapting to contemporary trends.
“With the rise of the Terno in modern outfits today, it is essential to maintain its correct form despite the many variations it takes on,” CCP and Bench add.
“As we approach the final competition day, the excitement is palpable,” Tinga said in her speech.
“Our finalists are feeling the pressure but we’re all eagerly anticipating the moment when the stage lights are up, showcasing the beautiful turnout created by both our mentors and finalists. It promises to be another fabulous and meaningful evening celebrating the best of Filipino design and craftsmanship,” she said of the convention’s culmination with a cultural fashion show on January 26, 2025 at the reception hall of the Philippine International Convention Center since CCP’s main building is still under renovation.
“As we have championed over the years, you can expect a showcase of talent and artistry brought to life,” Chan assured. “I would like to congratulate the finalists who have poured their art, their heart into their creations and to thank the seasoned mentors for selflessly sharing their expertise in inspiring the finalists to present the best of what our country has to offer.”
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