IT was all about “gaiety, laughter and gossip” when the Manila Carnival festivities were held during the American Colonial Period up to the uncertain times before World War II (1908-1939). The highlight was the crowning of the Manila Carnival Queen, participated in by daughters of wealthy Filipino families and American expats. The first pageant was held in 1908. Pura Vilanueva of Iloilo City was declared Queen of the Orient while Marjorie Radcliffe Colton from Galesburg, Illinois, was Queen of the Occident. Pura’s daughter, Maria Villanueva Kalaw, was Miss Philippines 1931, a title adopted for the winner since 1926.
During World War 1, there was no pageant held in Manila but Pangasinan crowned its own Carnival Queen, 14-year-old Nieves Gonzales.
In 1920, Trinidad Roura de Leon, 16, from San Miguel, Bulacan, was Queen of the Orient. She later became First Lady to President Manuel Roxas. Nieves’s son, Francis Moran, married Rosario Roxas, President Roxas’s daughter with Juanita Muriedas McIlvain. Their daughter, Maria Margarita Roxas Moran, became Miss Universe 1973.
This roundabout tale brings us to the Miss Universe Philippines 2021 national costume competition, the theme of which harkens back to the glamorous heights of the Manila Carnival Queen. As always, our homegrown designers pushed their creative limits to craft ensembles as unforgettable as the beauties of yesteryears. More of their designs will be showcased on finals night on September 30 in Bohol.
Here are just six of my natcos favorites, for their artistry and their inspirations:
- Axel Que for Beatrice Luigi Gomez of Cebu City: ‘Bakunawa’—“We decided to go with a more popular rendition of the “bakunawa,” a mythical colossal sea serpent/dragon believed to be a moon eater, reminiscent of mainstream depictions. Our color palette features cool specter-like hues which mimic the bioluminescence occurring in some marine life. The challenge in creating the whole piece was tying it together with the overall theme of Carnival Queen, which was expressed through the more traditional silhouette of the bodice and the hallmark terno sleeves, but done in a more armor-like fashion.”
- Alfie Jolo Desamparado for Kheshapornam Ramachandran of Iloilo City—“The writings on my national costume project the revolutionary works of Ilonggo orator and writer Graciano Lopez Jaena, who founded La Solidaridad,” Khesha explains. “This national costume is a modern take on the terno, inspired by the classic gown of the first Carnival Queen—Iloilo City’s Pura Villanueva. The embellishments are handcrafted to depict the pillars of Molo Church and hand-beaded with acrylic stones to paint how Jose Rizal described it as ‘La Iglesia Bonita,’ or ‘A Beautiful Church.’ The headdress is a handcrafted metal accented with stones and crystals to mirror the laser printed faces on my costume showcasing some of Iloilo’s inspiring and empowered women whose acts of selflessness brought Iloilo to where it is now—Pura Villanueva Kalaw, Teresa Magbanua, Patrocino Gamboa, Magdalena Jalandoni, Miriam Defensor Santiago, and Josette Biyo.”
- Oliver Tolentino for Simone Nadine Bornilla of Marinduque: ‘Ode to Rosario’—“My national costume for Simone Nadine is an ode to [Rosario Cayetano, the first Miss Marinduque who competed for the other title of Miss Philippines 1926, won by Anita Noble of Batangas. Socorro Henson of Pampanga was Carnival Queen, the last], which inspired Philippine pageantry. The dusty rose couture gown features pink paillette tassels, mestiza sleeves and panuelo, and is accented with a pink fur fan and an embellished gold crown.”
- June Samson Pugat for Izabella Jasmine Umali of Manila: ‘Babaylan’—“The design takes inspiration from the Egyptian-themed enthronement of a Manileña, Carmen Papa y Arevalo, who was crowned Manila Carnival Queen in 1925. The costume features a column gown made with geometric panel pieces of peau de soie and gazar in different shades of blue. Each panel piece has an all hand-basted overlay which makes use of an almost 20-year old ombré mesh fabric. Focal panel pieces are hand-beaded with intersecting linear patterns. Stylized images of mythological deities of the Katagalugan are hand-painted on the gown, sleeves and back train, on a pantheon that resembles the retablo. Completing the look are earrings, a headpiece and censer made by the fabulous Estien Quijano.”
- Louis Pangilinan for Maureen Wroblewitz of Pangasinan—“Her national costume is inspired by Pangasinan’s treasure, the bangus. This National Costume was designed to represent the hardworking fish traders of the province who thrive amid the pandemic. The elaborate ensemble was executed in an all-silver avant-garde modern Filipiñana style that includes a scale-like headdress, fish fin-structured train, and silver tassels that exhibit the seven rivers of Dagupan City. The silver beads, crystals and sequins were hand-embellished as a representation of the rich and fine salt beds of the province.”
- Val Taguba for Katrina Jayne Dimaranan of Taguig: Katrina—“The ombré color from lavender to white is an homage to my Lola Betty and is my mom’s favorite color. The ombré color of the dress was airbrushed by Tito Val himself,” Katrina says of her namesake natcos. “The construction of the dress was inspired by ‘innovation’ and ‘transformation’ which are a representation of the City of Taguig. The shoulders are a beaded chain accent which is Tito Val’s modern take on traditional butterfly sleeves. Looking closely, the designs are Art Deco-inspired; the popular design during the Manila Carnival Queen days. I’ve personally chosen not to have anything in my hand to keep the focus on the dress. However, I am wearing a payneta headpiece to complete the regal look of a queen.”