THE WALK-THROUGH is Fashion Revolution Philippines’ first artist
collaboration activation wherein global fashion industry issues arecommunicated through creative media. This project seeks to take theconversation on sustainable fashion further, exploring in unexpected
ways the delicate web of the industry that we currently find ourselves
embedded in.
This project is supported by the British Council as part of the Creative
Commissions initiative which aims to inspire positive change throughartistic collaborations that challenge the social and environmental issues
around sustainability and fashion. THE WALK-THROUGH is in partnershipwith Ayala Malls Circuit, Institute for Climate and Sustainable Cities, andiOptions Ventures, with collaborations with WeWork, Futur:st, makesense,
Circulo, Denuo, ALTUM, AND AGAIN Clothing, In A Nutshell, Katha, Forth Co.,
Upcycle Philippines, Glorious Dias, Wear Forward, and the UP Writers Club.
As a group show of multi-disciplinary Filipino artists, THE WALK-THROUGH
seeks to provoke curiosity with Work that immerse in the multiverse ofcomplex aspects of our generation’s fashion revolution. The artists —Anina Rubio, Pam Quinto, Tanya Villanueva, Tekla Tamoria, and Zeus Bascon
x Jas Fernandez — explore themes, philosophies, practices, studies,
technologies, and socio-economic insights for a wide audience range.
What each Work has in common with the others is the sense of active
participation — an invitation for the viewer to walk through, feel, and ponder.
As a companion to the exhibit, Fashion Revolution Philippines will be
releasing its first zine during the exhibit. Entitled Gossamer, the zine evokes
the idea of transparency, which the zine aims to bring in the context of the
fashion industry. In calling to mind the image of spider silk, the zine also
sheds light on the strength, fragility, and beauty of the relationships thatbind us together because of and through fashion, giving emphasis on thesense of community and collaboration crucial to addressing systemic
issues.
Through this multimedia engagement set in a high traffic public space,
Fashion Revolution Philippines intends to kindle a thoughtful spirit ofinquiry, and to provide for those who walk through guideposts on where
we can — and should — now go from here.

ANINARUBIOAnina Rubio is a visual artist and muralist based in the Philippines. Her works
are driven by her advocacies and passion to promote conservation. She has
painted murals across the country and has partnered with communities andcompanies in promoting sustainability campaigns. The artist has collaborated
with both local and international brands for design and illustration works(Bayani Brew, Toblerone, Heineken, Guess, etc.). She also co-produced andpainted artworks for the independent movie Sakaling Hindi Makarating. www.
aninarubio.com“Agua Caja”
2m x 2m x 2m
Scrap fabrics, Bamboo, Mirror
Scope: A focus on environmental impact of fashion choices, mindful
consumerism and living sustainability by supporting ethical practices andtextile development.
The Agua Caja is made of locally sourced bamboo (bamboo is one of the mostsustainable building materials in the planet) with scrap fabric drapes to mimica sunset/sunrise gradient of an ocean, signifying endings and beginnings.
Inside AguaCaja you’ll see corals made from scrap fabrics, formed and handstitched through different fabric manipulation techniques. At the center is amirror, where the viewer can see where change begins.

After the Program, what did you plan
to explore with your work? How
has this exploration developed ortransformed as the process wenton?
As soon as the program was done, I set
my mind to use scrap fabrics as mymain medium instead of paint. I’ve
done multiple research and watchedtutorials on fabric manipulation so I
can apply the techniques into my art.
It was mostly trial and error. I havenever used fabrics in my work so it
was definitely a challenge!
How exposed were you to the textile
or fashion industry before thisproject, and how has FRP engaged
you in it?
I’ve met a lot of people promoting
sustainable fashion by supporting
local communities (i.e., throughweaves etc) but I haven’t reallyengaged any further than that until
this opportunity came up. FPR andthis project gave me a new insighton what goes beyond the industry
and to see how fashion affects theenvironment. The whole projectchallenged me to create using
As an artist, what do you think isyour role in the movement forsustainable fashion?
As an artist, my role is tocommunicate pressing issues andpush for sustainability through visual
stimulation. I think that in today’s
generation, if what people see affects
them, it creates an effect that they
will imbibe and pass on. This is why I
believe art is very powerful not just in
raising awareness but also actuatinga movement.
The issue of sustainable fashion
has so many aspects, and isso complex. What aspect wasparticularly interesting for you?
What did you focus on in your work?
My focus is fashion and the impact on
our oceans and marine life. It’s easy toblame everything on plastic but if wetake a closer look, it’s not just plastic
that’s harming our environment. I
want people to be more aware about
how the fashion industry pollutes ourwaters so they become more mindfulof what they buy.
Since the discussion on sustainablefashion talks a lot about thewastefulness and toxicity of fabricand other materials, has the projectchanged your relationship withmaterials as well? As an artist, how
has it affected or complicated yourpractice in general, if at all?
In reality, artists can waste a lotof materials. When I started in theindustry, all I cared about was creating.
I didn’t care how much paper or paintor ink I wasted as long as I can translateANINA

my idea into art. Slowly, when I began
embracing sustainability, I became
more conscious of my choices ofmaterials and how to utilize tools to
produce less waste after an artwork
has been created. I learned how to
use less paper and to mix the rightamount of paint that I will use so that
there is zero to less waste as muchas possible. This project added to thatpractice. It was overwhelming at firsthaving to deal with scrap fabrics that
I didn’t know what to make of, but
the process taught me to be morecreative and to use what’s available.
Like what I would tell my students,
you can use anything to create art,
but putting purpose is what adds
value to your masterpiece.
What draws you to making murals?
Painting murals is a form of meditationand exercise for me. Every time I
paint walls, there’s almost always achance that a challenge or an issue
pops up, so I like that brain exercise
too. With murals, you can captivate alarger audience because your work
is viewed (outside of galleries) wheremore people can visit. Whether people
use it as plain backdrop for selfies
or someone really tries to dissect
the artwork, in the end, in whicheverform, it will make an impact. This iswhy, with my advocacy, I choose touse my skill in art. I believe in art’s
capability of affecting and effecting.

Can you tell us more about theconceptual evolution of your work?
I’ve always challenged myself to
evolve as an artist. Part of this mantra
is to be able to learn new tools to use
in creating purposeful works of art
and step out of my comfort zone. I
wanted the art to relate to the fashion
closely and to invoke a more personal
experience and relatability to theaudience, so I decided to use fabrics
instead of paint. Not everybody paints,
but everybody wears clothes, right?
When people can understand andrelate to something, that’s what theywould share to other people too.
You have always been very open
about promoting sustainability —how has the Creative Commissions
project enhanced what you know?
How has it changed your knowledge
or feelings about the advocacy, if at
all?
The more I dive deeper into
conservation, the more I learn about
factors which affect our environment.
This project helped open my eyes
wider to another important elementin saving the planet, which I haveoverlooked before yet we see and use
it everyday - and these are our clothes(fashion). I gained a new perspective of
the word “sustainability”. In the wholescheme of things, when we push
for sustainability, it’s not just aboutsaving the environment. It’s also about making sure people get sustainable
livelihood and fair wages. It’s about mindful consumerism and making surethe lifestyle we live is sustainable with less waste. It’s about balance. It’s about
small steps we make for the planet, even in the form of choosing what wewear or where to buy our clothes from.

PAM QUINTO

“Excess”
8 x 8 x 8 feet
Textile and wood
2019
The immersive installation’s prompt is the overwhelming amount of textile
waste left over from the production of garments. Statistics show that around60 billion square meters of cutting room floor waste ends up in landfills or
is incinerated. I wanted to create a project that would entail the upcycling ofthese discards, by collecting retaso from designers and artists, to help reduce
waste. By inviting the audience to walk through these materials that would
otherwise have been thrown away, hopefully it will also invite them to reflect
on the amount of waste that fast fashion and linear economy leaves behind.

Pam Quinto graduated in 2014 from the University of the Philippines. Dlliman
with a Bachelor’s Degree in Fine Arts, majoring in Studio Arts (Painting). She wasawarded with the Outstanding Thesis and the Gawad Tanglaw awards for her
undergraduate thesis, Engaging Depressive Disengagement. After graduating,she participated in Artery Art Space’s Artery Mentorship Program (AMP), a threemonth postgraduate program for four young artists chosen to work with over 30
mentors consisting of artists, curators, gallerists. and writers such as Dominic
Mangila, Kiri Dalena, Mery Espina. Gary Ross Pastrana, Ricky Francisco. Leo
Abaya. and Ling Quisimbing. She has since participated in exhibitions curated
by Gary Ross Pastrana in Preview20 (2015), and Ricky Francisco in Nuances ofForm: Sculpture Review (2017).
Last year, Quinto held her first two man show with Lui Gonzales, Tirhan, whereinboth artists presented perspectives and observations of their homes. Quinto’s
works were an amalgamation of photographs, collected unsent letters,
ceramic and cement sculptures—which examines the subject of living withsomeone who has mental health issues, as well as the ripple effects of suchan environment on other family members. In a series of photographs that theartist has taken over the span of two years, she documented symptoms ofdepression such as lassitude and social isolation.

After the Program, what did you plan
to explore with your work? How
has this exploration developed ortransformed as the process wenton?
After the program I was playing
around with ideas of upcycling
textile waste. Initially, I planned touse old/throwaway clothes since
they’re already part of my practice,
but I decided to use retaso or textile
leftovers instead. I collected textile
retasos from designers and artists,
to somehow help reduce their waste.

Anything they had for disposal, I
collected.
How exposed were you to the textile
or fashion industry before thisproject, and how has FRP engaged
you in it?
What I knew of the fashion industry,
only stemmed from my interestin style and fashion, or whateverarticles I would come across. Fash
Rev has widened my understandingof the issues in the fashion industry(sustainability, waste issues, labor

PAM

issues, etc), and what changes need
to be implemented to achieve acircular economy, how to close theloop.
As an artist, what do you think isyour role in the movement forsustainable fashion?
I think as an artist I have this platform
to share issues and information, totranslate the data into something
experiential.
Sometimes
it’s
overwhelming when you absorb a
lot of information, it’s a bit easier tounderstand certain issues throughsomething visual or tactile. Art can
get under your skin, and tap into aperson’s sense of empathy.
I think my role in the movement forsustainable fashion is to make works
that both talk about the issues industry
and apply sustainable practices inmaking the works.
The issue of sustainable fashion
has so many aspects, and isso complex. What aspect wasparticularly interesting for you?
What did you focus on in your work?
There were so many aspects that I
found interesting, like sustainable
processes in producing clothes,natural dyes, technological advancesin the fashion industry. But I decided
to focus primarily on textile waste,
specifically cutting room floor

waste. We produce 60 billion square
meters of it, which usually ends up
either being incinerated or dumped
in landfills. I wanted the art making
process to involve an element oflessening textile waste, so I decided
to collect retasos from designers andartists.
Since the discussion on sustainablefashion talks a lot about thewastefulness and toxicity of fabricand other materials, has the projectchanged your relationship withmaterials as well? As an artist, how
has it affected or complicated yourpractice in general, if at all?
Some aspects of my practicealready involve repurposing clothes
or objects, but I think now after all
the discussion on sustainability, it’sa more conscious and deliberateact. The discussions have made mereflect on the carbon footprint of mypractice as well. Ceramics is a big
part of my practice, and that involves
firing processes, which produces a
lot of carbon emissions. So as muchas possible, if I do decide on making
a ceramic work, I keep it down tojust one round of firing. I usually
don’t use glazes, since that yields
waste that gets washed away. But I’ve
been exploring other media as well,like installations that repurpose old
objects and furniture, performance,
and using clear resin to turn clothes
into sculptures.

Your interactive installation delves into “textile waste realities” inan “enveloping fashion.” In this experience of being overwhelmed,
how do you link the issues of the fashion industry with the discourse
on mental health?
I think the issues of the fashion industry can be linked to the discourse
on mental health in terms of Climate Grief. When you realize theimplications of these issues to our home (this blue dot), and how theseissues directly affect you, there’s this overwhelming and (to a certain
point) debilitating wave of panic. But being faced with such absurdities
of life, the only way out of that rut is to move forward. So one has to startquestioning what practices we should be changing in order to live ahealthier/eco conscious lifestyle, even little and everyday practices we
could start changing.

TEKLATAMORIAMa. Athela “Tekla” Tamoria graduated from the University of the Philippines
Diliman College of Fine Arts with a Studio Art degree Major in Painting. After
working in the advertising industry, she took up Garments classes in a
local technical school to learn about the technicalities of tailoring. She has
participated in various group exhibitions since 2013 and was a featured artist
in Art in the Park 2018 with her outdoor paper installation Colony. She held
her first solo exhibition soon thereafter, Baby Girl X in Kaida Contemporary,displaying floor-length gowns made out of her signature folded paper forms,
then held another show featuring more organic forms in Mono8 Gallery’s
Collecting Floura. Tamoria was represented by Vinyl on Vinyl in the Asia Now
Paris Asian Art Fair 2018 and Art Fair PH 2019 with her wearable fabric artworks.

“Salome”
About the piece: In turning deconstructed t-shirts sourced from numerous
individuals and upcycling these into couture pieces, “Salome” blurs the linesthat demarcate fashion. Instead, our gaze is turned simultaneously to boththe materiality of fashion and its transcendent nature, as something suffusedwith the history, labor, and creativity of its maker while also being a completely
independent force that goes beyond representations. “Salome” is an inquiry
into the nature of fashion, and a vibrant declaration of the inevitable threads ofcommunity and innovation that are necessary for its survival.

Of all the artists involved, you are the one with the most experience withtextile. Why has this always been a preferred medium/material?
My primary materials in my works are paper and textile. Hindi ko naman prefer
ang textile pag gumagawa agad, depende ito kadalasan sa idea mismo. Peromas nauna ang paper kaysa sa textile kaya unang wearable art na ginawa ko
ay gawa sa papel. Through experience at techniques din sa pagtatahi naging
comportable na din ako sa fabric.
How did this project affect your pre-existing relationship with textile andfashion, if at all?
Nang naimbitahan ako sobrang saya! Pero ‘yung pinaka-okay ay ‘yungknowledge at awareness na nabigay ng program. Napareflect ako sa mga
previous works ko, parang nagkaroon pa sila ng growth and characteristic.
Masaya din na dahil dito nag-aral ako gumawa ng basahan na new skill sa’kin.
At sa fashion naman, umpisa pa lang ng project I took the opportunity na bakaokay ‘yung silhouette ko mas i-lean ko sa fashion, kaya jacket at dress.

TANYAVILLANUEVA

Hello, my name is Tanya Villanueva. I am a visual artist, born and raised in
the Philippines. I graduated with a Bachelor’s degree in Studio Arts from the
University of the Philippines as well as a Dressmaking Certificate at Miriam
College’s night school program. My work as a visual artist has developed over
the years from looking into work and production of art objects through thelens of painting, craft and photography; to exploring the performance andnature of this cultural labor through the use of photography, video installations
and collaborations. To collaborate with artist friends and with my daughter is
my way of working to care for our place in the art system, and to highlightthe life that thrives behind the objects and the output of art production. I use
various mediums to explore ways to merge and perform the specific position
I have as a mother, an artist and the sole parent to my daughter. My approachis to pair grand gestures with personal positions employing the method ofembellishment for transformation. using these to guide compositions about
documenting the practice of my time by marking personal movement/nonmovement, inspiration/non-inspiration. I am guided by the fact that art has
always been perched on the idea of excess, all the while living in a conditionof lack. I am looking for ways to be incorruptible and ways to share a personal
garden where I can move with intention of tending life around me with criticalcare and private splendor.

“Mend project”
About the piece: I want the focus in fashion to shift from the hands that create
to the hands that mend. Sustainability is not a product. We as humans and asconsumers can help mend our planet by taking a pause.
“Habang buhay ka” translates differently depending on where you put thestress. It could mean you are forever or as long as you exist. Taking time to stepback from producing more things is accessible to all. Taking time to stop buying new things is beneficial to most. Through mending and care work, what
you have right now can last forever. And as long as you are here, you can help
save our planet. You can step back from the grind and consider taking care ofyour body. To nap more and rest more. To buy less and produce even lesser. To
take care of what is already in existence is to learn to love your clothes moreas much as it is to love your own time more.
Part of the mend project is to exercise and make mending and this care work
more visible. I am creating a practice of creating my work on people’s clothes
through visible mending. I want to replace my canvases with what you alreadyhave and use every day. Every surface can thrive and be lovely again if wetake time to care for them.
Follow @mendproject_kintsugi for updates on this project.
Medium: inter-media installation — video (3min), mattress, needlework, live
flowers

TANYA

After the Program, what did you plan
to explore with your work? How
has this exploration developed ortransformed as the process went
on?
From the program, especially fromthe conference with PTRI, I learned
that to tackle the project by thinkingof new innovations for making
clothes is too far away from thethings I do, although going back to thebeginning, I’ve been keen on tacklingsustainability and clothes in thesense that is close to the vision of thescientists and business owners anddesigners. But the conference gaveme an insight that the grand solutions
and technological advancements
are not worker friendly. A guy from
Catanduanes asked an earnest
question on how can the innovations
be applicable to their set up andfound no direct answer from theguest speakers. This led me to be
more mindful of how feasible andhelpful my effort can be. I don’t want
to waste other people’s time or missa good opportunity to actually startsomething pragmatic and helpful.
Circular economy as a system is new
to me and it gave a good structure
on how I want to tackle things andguide me on how realistic my project
can be. This program also allowed
me to develop my philosophy andethics about my whole art practice-particularly the effort to be sustainable

by stopping or pausing the creation or
future wastes.
How exposed were you to the textile
or fashion industry before thisproject, and how has FRP engaged
you in it?
I was on the outside, only admiringand dreaming of being involved in
fashion. My love for clothes stems
from wanting to have the ability tomake my own clothes. I think that is
empowering especially for people
who have no purchasing power/money.
As an artist, what do you think isyour role in the movement forsustainable fashion?
As an artist, we don’t really exist in therawest reality. Most of our audience
are the rich, the people who haveaccess to varied information, people
who have access to education so
my role is to make them empathize
to the real real reality. As an artist I
want my work to still be grounded
and accessible to reality. But being
aware of my privilege to be able totry out impractical thoughts andbeliefs, I can provide new or powerfulideas that can help people open theirminds to more hopeful possibilities
and realities. We cannot solve thecrisis but we can help by inspiring
innovations and movements. We
can inspire desire to act for thedevelopment of sustainability.
The issue of sustainable fashion
has so many aspects, and isso complex. What aspect wasparticularly interesting for you?
What did you focus on in your work?
i like the mending and dissuading
production of new things. I think thatis the most sustainable way. It isalso close to the ways of indigenous
cultures. The way that listens to natureand putting man out of the center ofthe world. The way of sustainabilityof slowing down and taking care ofthings that are already existing is also
a good way to decolonize your lifeand your ways.
Since the discussion on sustainablefashion talks a lot about thewastefulness and toxicity of fabricand other materials, has the projectchanged your relationship withmaterials as well? As an artist, how
has it affected or complicated yourpractice in general, if at all?
Yes I’ve been more conscious andproactive in resisting plastic, resistingbuying new fabrics for “future use”
and more aware of the things that I
already have and can improve morethan the things that I lack and want tohave. Very effective tool to enable me
to be more participative on finding
solutions, on being pro-environment.
The funding and the support of many

institutions on this project is a major
reason for giving me the power tocontribute my ideas to help morethan just myself.

ZEUS BASCONXJAS FERNANDEZ

Zeus Bascon (b. 1987 | Laguna) creates works in various forms to illustrate folk
mysticism and the supernatural. Crossing over other disciplines, such as film
and fashion, lead him to further explore the performative and costume works- focusing on the body and the setting; materiality and movement; as well aslabor and art production.
Jas Fernandez (b. 1977 | Aklan) owns and manages JAF Handicrafts & Piña
Industry and is currently an officiating member of Aklan Piña Mantra, anassociation of Abaca and Piña textile maufacturers in Kalibo, Aklan. His
initiatives support the advocacy for sustainable practices and green solutions,the preservation of the weaving tradition and creating opportunities among
the members of his community.
Their collaborative effort presents a portrait of the current weaving industry
in Kalibo, Aklan - on how the economic situation affects the environmental
landscape and the behavior of the local community towards this sunset
industry.

“Tawo-tawo”
About the piece: The initial study for this project takes on a form of ascarecrow, this figure is to scare birds that feed on the crops of the farmers.
Crows are intelligent birds and are able to identify threats, some scarecrows
are accessorized with weapons along with the old garments that clothed thesefigures. Tawo-tawo is the Akeanon translation of the scarecrow. Tawo means
Tao in Tagalog.
The plot: A standing figure at the center while our natural environment keeps
on getting polluted. Birds morph into human beings, our natural resources are
depleting. Human as the ghouls of this nightmare. Human as the root of thisproblem. Human also be the light.
These costume pieces are products of a collaborative effort in trying tounderstand, at present, the weaving industry in Kalibo, Aklan. It is a painting ofan ideal, a vision of abundance and hope over a representation of the cycle ofconsumption and production - to be worn as to portray the extremes of being
human.

ZEUS x JAS

Components: Costume pieces made of retaso, commercial fabric, Abaca-Silk
blend fabric painted with acrylic paint and textile medium; Dead Mask (acrylic
paint on tarpaulin); Editorial shoot produced by the artists featuring excerpts
from the Workshop on Moving Forward the Region 6 Wearables and Homestyle
Cluster (Localization of the National WHIC Roadmap).

For your work, you interacted withso many key players in the industry
on a grassroots level, from artisans
to weavers to local associationsand LGUs.
What kind of connections did you
manage to make? Were difficulties,
if any, did you encounter?
I think it is in my nature to connect
easily with people, a magical person
told me once that i have a portal on
my face that just let energies passthrough. In Kalibo, i was able to connect
personally with many indivduals aswell as key persons that shared withme their experieces and stories on
how they are involve in the wearables
and textile manufacturing sectors.
But it was with Jaf, my collaborator,that gave me access with agencies

that support and create platforms
for the MSMEs such as Women
Economic Empowerment (currently
operating as Great Women Projectin partnership with the CanadianGovernment), Bayan Academy, DTI
Aklan and Region 6, DOST, PHILFIDA.
Interacting with these agencies alongwith various MSMEs from different
provinces in Region 6, during
workshops and trainings, provided
first-hand accounts as they share to
the group their own actualities.
I have yet to learn the dialect. A
difficulty on my part is that i am an
outsider, i can only share stories
and ideas as an artist. During theentrepreneurship and roadmapping
workshops, the participants wererequiredtocontributeactualentrepreneurial experiences. TimeZEUS x JAS

was spent mostly for logisticals, trainings & workshops, and production. We
need more time for an in-depth reaearch.
How is the idea of “sustainable fashion” understood when we have yet totranslate it into local languages?
“Basta green and natural (ay) sustainable”
But I believe as time progressed, sustainability meant how to create
opportunities for the community and how will that generate profit that would
be able to provide enough, if not the best, for the people they work with.
How did your work with them enrich the overview from the Artist Program?
What gaps in the current mainstream discourse were filled or madeobvious?*“Who made your clothes?” - Knowing the people who contribute on producing
a garment made of 2 yards of fabric openned my senses, not only to the livesof the members of the weaving community, but also to the people involved in
the many industries of Region 6.
The value chain (input provision, product development & production, marketing& promotion and distribution) was established in assessing the situation of theindustry, and how transparent do the reports reflect given the inputs of the
MSMEs and NGAs involved.
The Market defines opportunities, supplying the demand depends on
production capacity.
And the difficulties that were identified along the sections of the value chain
has been the issues of the industry for at least a decade.

As a group show of multi-disciplinary
Filipino artists, THE WALK-THROUGH seeks
to provoke curiosity with Work that immersein the multiverse of complex aspects ofourgeneration’s
fashionrevolution.
The artists — Anina Rubio, Pam Quinto,
Tanya Villanueva, Tekla Tamoria, andZeus Bascon x Jas Fernandez — explore
themes, philosophies, practices, studies,
technologies, and socio-economic insights
for a wide audience range. What each Work
has in common with the others is the senseof active participation — an invitation
for the viewer to walk through, feel, andponder.