4 days ago
An ode to weavers: Ditta Sandico on the communities that inspire her
As a teenager, Sandico's interest in fashion design was sparked by her mother's involvement in the rag trade. 'She [my mother] was once the vice president for merchandising at Manila COD, one of the most prestigious department stores of its time. I would sit and watch her work, absorbing every detail—how she conducted fittings, made slight adjustments and gave suggestions to suppliers. Sometimes, I even modelled garments when she needed a fitting model.'
Sandico's father, on the other hand, immersed her in a different yet equally significant world: the Mangyan communities. These communities inspired her lifelong passion for advocating for indigenous fabrics and craftsmanship. 'That early exposure shaped my journey, blending fashion with cultural heritage,' she says. Her respect and admiration for these cultural minorities have profoundly impacted her works. Through her collaboration with their craftswomen, she enriched her designs and gained a deeper understanding of their way of life.
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Above Ditta Sandico's interest in fashion was piqued by her mother
'Seeing how their artistry sustains their families has given me a greater appreciation for the value of indigenous craftsmanship,' says Sandico. 'Through our sharing and collaboration, I have gained invaluable wisdom—one that continues to shape my creative journey and reinforce my commitment to preserving and celebrating our local crafts.'
For Sandico, fashion goes beyond self-serving motives and preservation. She argues that clothing and design also represent the culture that shapes it. 'Fashion is the art of embodying cultural heritage. It doesn't necessarily mean following established trends of brands; rather, it's about finding your voice and using your style to project who you are and the community you represent for both your honour.'
In her 40-year stint, Sandico has learnt the value of celebrating victories for herself and the local communities whose shoulders she stood on. 'I have travelled the world with immense pride in the works of the weavers I have collaborated with. I have been committed to showing their artistry from the beginning,' she says.
Above It was easy for the naysayers to doubt Ditta Sandico's vision of incorporating Filipino textiles into high-end fashion. Such scepticism is a curse that consistently plagues those who challenge the status quo.
Religion as a Catalyst
Anyone who appreciates local fashion and arts knows that spirituality is at the heart of Sandico's work. In fact, at the height of the Covid-19 pandemic, she created Metta Morphe, an exhibit inspired by 17 local goddesses, including Bangan (goddess of love), Mayari (goddess of beauty) and Makiling (guardian of Mount Makiling in Laguna).
It is important to note that Sandico's fashion design journey began with the Abel Iloco weavers of Santiago, Ilocos Sur, whose intricate patterns 'reflect the resilience and craftsmanship' of the Ilocano people. She then worked with Bulaqueña weavers, led by Elisa Reyes, whose delicate handwoven fabrics 'carry generations of tradition'. In Baras, Catanduanes, the Tupang Baras weavers, headed by Rejoice Apanti, introduced her to a unique weaving tradition, which she now incorporates into her latest pieces.
Finally, Sandico's collaboration with the Hanunuo Mangyan weavers opened her eyes to the Filipino people's deep connection with the spiritual realm. 'Through these partnerships, I was able to raise our flag, sharing with the world the extraordinary stories embedded in each weave—stories of identity, resilience and cultural pride,' she says.
'The Filipino indigenous communities have shown me their deep regard for spirituality through embroidery. Our mutual sharing has helped me gain valuable wisdom, one that continues to shape my creative journey and reinforce my commitment to celebrating our local crafts,' she adds.
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It was easy for the naysayers to doubt Sandico's vision of incorporating Filipino textiles into high-end fashion. Such scepticism is a curse that consistently plagues those who challenge the status quo. Their distrust and reservations were valid at the time, especially since fibre production was 'virtually nonexistent.'
Sandico says that at the early stages of her career, one major hurdle was the lack of access to spinning mills. 'I had to navigate the entire process—from spinning to dyeing to weaving and finally producing garments for further production,' she says. The designer also shares her hardship in making the market more appreciative of homegrown garments.
'Many Filipinos harboured a colonial mentality, believing that only imported goods were of the highest quality,' she says. 'This deeply ingrained perception created a sense of inferiority, making it difficult for locally crafted designs to gain the recognition and respect they deserve.' David Barradas, a longtime mentor and friend of Sandico, gave her the courage to pursue her design career during her lowest moments.
'I was on the verge of giving up, but David guided me toward better days and helped me see the possibilities ahead,' she says. Finally, in 1985, she launched Cache Apparel in The Landmark Makati and eventually used her name when she collaborated with Rustan's in 1990. '[When] I gained a loyal following and built confidence in my work, I decided to embrace my identity and rebrand. Eventually, I took an even bigger step by creating the 'DITTA' logo, which marked a defining moment for my brand. It was more than just a name; it reflected my vision and artistic essence.' Challenges and Triumphs
Even as her peers and loved ones fawn over her work and her 40 years in the business are no small potatoes, Sandico remains humble and refuses to accept honour and credit for herself. She stresses that 'success is not measured in numbers but in the transformation of lives'. As of this writing, Sandico avers that her goal is to see women she has worked with build better futures for themselves and their families.
'When a community is thriving—filled with creativity, passion and a renewed sense of purpose—financial security naturally follows,' she says. Although the impact of her designs has been amply recognised, Sandico says her mission is far from over. On her anniversary this May, she continues to forge ahead, starting with a fashion show at Manila House, where the proceeds will go to the Mangyan communities, and a book she will release detailing the depths of her journey.
'True impact goes beyond immediate financial gain; it's about creating a lasting ripple effect that uplifts the artisans and future generations. When these women take pride in their work, pass down their skills and inspire others to do the same, I know I have achieved my goal.'
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