Jaggy Glarino never saw himself as a poster child for sustainable fashion. When he was selected as one of the eight finalists for the inaugural Sustasia Fashion Prize, his first reaction was pure bewilderment. “I wasn’t entirely sure why they saw me as the best fit to represent the Philippines,” the avant-garde designer admits. “My engagement with sustainability in fashion is still in its early stages—I’m only beginning to navigate its complexities.”
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It’s an unfiltered admission, and yet, that uncertainty is precisely what makes Glarino’s perspective on sustainability compelling. For him, sustainability isn’t a rigid doctrine—it’s fluid, intuitive, and personal. His design ethos is rooted in cultural identity, drawing from Filipino craftsmanship and materiality rather than following a prescribed definition of eco-conscious fashion. His work doesn’t fit neatly into conventional sustainability frameworks, but perhaps that’s the point: sustainability, at its core, should be as diverse as the cultures that shape it.
The Sustasia Fashion Prize is the first award of its kind dedicated to addressing fashion’s sustainability conundrum. Launched by sustainability leader Shaway Yeh, the prize spotlights emerging designers from across Asia who are rethinking materials, production methods, and the very framework of sustainable fashion. With finalists hailing from six countries, the competition offers access to next-generation materials—bio-based leather alternatives, plant-based fur, microbial-dyed cashmere, and more—along with mentorship from industry experts.
His selection highlights a broader, more nuanced approach to sustainability—one that isn’t defined solely by materials but by intention, craftsmanship, and the preservation of cultural identity. “Rather than adhering to existing frameworks, I weave sustainability through a culturally distinct lens,” he explains. “My work thrives on textural dialogues that reflect my heritage, and it means a great deal to know that this perspective is seen, valued, and considered internationally compelling.” In this competition, it’s also a space for unexpected voices—like his—to reshape the narrative.
Transforming Discarded Materials Through Cultural Craftsmanship
The Sustasia finalists were given access to next-generation sustainable materials—from bio-based leather alternatives to microbial-dyed cashmere. Glarino’s creative instinct led him to InRest, a Chinese textile innovator transforming discarded ghost nets into biodegradable fabric. While most would focus on the material’s high-tech, synthetic qualities, he took an entirely different approach.
“I wanted to subvert the perception of it being a synthetic material by incorporating traditional Filipino basket-weaving techniques,” he explains. “By reinterpreting it through a handcrafted lens, I was able to create something that feels raw, organic, and deeply connected to our craftsmanship.”
His methodology speaks to a larger theme in his work: other than materials, sustainability integrates process, technique, and perspective. Rather than focusing solely on technological advancements, he made use of cultural craftsmanship into his exploration of sustainable fashion. “True luxury today lies in time, craftsmanship, and intention,” he says. “It’s about slow, meticulous processes—where every stitch, every imperfection, carries the imprint of human hands.”
Sustainability as Perspective, Not Just Practice
Glarino’s path into fashion—learning from YouTube tutorials, thrifted garments, and ready-made pattern stencils—already set him apart from designers with formal training. However, the sustainability discourse came with its own set of challenges.
“The fear of not ‘cutting it’ by industry standards was very real,” he shares. “I had to confront my own insecurities about being new to sustainable design.” But through mentorship and immersion in the competition, he realized that sustainability is not an exclusive club. “The real shift in mindset came when I let go of the idea that impact is measured by scale. There is no hierarchy in sustainability—whether someone is pioneering next-gen materials or simply making mindful, small-scale choices, both are valuable.”
Sustainability is not about grand, sweeping changes made by a privileged few. Instead, participation is at stake. “The urgency of the issue does not demand perfection—it demands participation. Progress is not the result of one monumental act but the accumulation of many.”
Challenging the Myths of Sustainable Fashion
One of the biggest misconceptions about sustainable fashion, according to Glarino, is that it’s solely about materials and consumption. “People think that using eco-friendly fabrics automatically defines sustainability, but it’s much more than that,” he says. “Sustainability is as much about community and craftsmanship as it is about innovation.”
He challenges the industry to move beyond surface-level commitments and consider the entire system: production models, labor ethics, accessibility, and cultural preservation. “Everyone has a role to play, whether through material innovation, artisanal techniques, responsible business practices, or advocacy. The conversation should not be exclusive—it should be expansive.”
A New Narrative for Sustainable Fashion
Glarino’s perspective on sustainability continues to evolve. “More than anything, this recognition reinforces my belief that sustainability is not a singular path,” he says. “It can be fluid, intuitive, and deeply personal.”
Jaggy Glarino hopes that his work contributes to a broader understanding of sustainability—one that doesn’t just focus on futuristic materials or commercial viability but embraces craftsmanship, cultural identity, and the power of small but intentional choices. “Ultimately, sustainability is about creating solutions, not just discussing them,” he says. And in his case, sustainability isn’t just a concept—it’s a cultural inheritance he’s sharing with the future.
Photos courtesy of JAGGY GLARINO
