The designer steps into the world of ballet, crafting costumes for “Ang Panaginip,” Ballet Philippines’ 55th season-ending production
A silence falls over the empty stage. The air shimmers, thick with possibility. Then, a flourish of fabric—a hint of movement, a flicker of light against threads—and suddenly, a dream begins. This is Ang Panaginip, Ballet Philippines’ original Filipino ballet, and at the heart of its spectacle is Jor-El Espina, the designer who has brought the dream into movement.
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As part of his 20th year in fashion, Espina has taken on a challenge both grand and personal: crafting the costumes for Ballet Philippines’ 55th season-ending production. “It’s actually a Filipiniana,” he says, the weight of heritage evident in his voice. “And, you know, the Filipiniana is very close to my heart. This is one thing that I’m very passionate about.”
For a designer whose work has long been an ode to Filipino craftsmanship, the opportunity was more than just a milestone, but fate in motion.
Costume as Choreography
To create for ballet is to understand movement not just as a function, but as a language. Every pleat, every bead, every thread must not only catch the light but also obey the rhythm of a dancer’s body. Espina, who has been a devoted Ballet Philippines audience member since 2019, approached the task with reverence and instinct.
“Well, actually, it’s tiring,” he admits with a laugh, “but, you know, it’s tiring when you’re not doing anything. So, I want to do things right away when I think of something.” He had been dreaming of designing for ballet long before this opportunity arrived. “As a designer, gusto mo rin naman nakikita yung damit mo on stage, and when they showed me the piyesa, the libreto, I said, ‘this is something I’m interested in.’ So, I want to do this, and it’s Filipiniana, and it’s very me.”
The Many Silhouettes of a Dream
Ang Panaginip tells the story of 17 princesses, a queen, a wizard, servants, and children—each a character with a distinct presence, each requiring a costume that balances theatricality with movement. “Everything that you’ll see on stage is from me,” Espina shares.
With so many identities to define through fabric, how does one keep the costumes cohesive without dulling their individuality? “Somehow, they are cohesive in terms of silhouette, but in terms of details and fabrics, they are different from each other,” he explains. “We used a lot of handwoven materials from different regions in our country. Parang hindi na siya costume—actually, parang outfit na siya.”
And while tradition is the foundation, Espina is not one to be confined by it. “Instead of just sticking to the usual Filipiniana forms, I played with textures, colorways, and layers. It’s still traditional, but it feels youthful.”
Weaving Myth and Movement
Filipino mythology dances at the core of Ang Panaginip, a story steeped in fantasy, transformation, and identity. “Filipinos are very interested in mythical stories,” Espina reflects. “We love fantasy stories.” The ballet, in turn, allowed him to bring these myths to life, threading regional identities into the fabric of the princesses’ costumes.
“We categorized them by region. You just have to put a detail on each to make them different,” he explains. “The colorful ones, those are my favorites. Because it gives me freedom on how to layer fabrics—parang kang nagdadamit ng doll, or nagdadamit ng model in a collection.”
And then, of course, there is the queen. “As you can see, the silhouette of the queen and the princesses are still Filipiniana, but in terms of color, fabrication, textures, nagkakaiba sila,” he notes. “The queen is very rich in color, very light, very regal. While the witch—a witch doesn’t automatically have to be scary—she’s also regal, but in dark shades.”
Between the Stage and the Street
As Espina carefully drapes the final embellishments onto his creations, an idea begins to take shape. Could the artistry of ballet costumes translate into everyday wear? “Some of it works,” he muses. “Sabi ko, what if I’ll do this as retail? Maybe soon, I’ll apply it into retail—ballet costumes can be an outfit at the same time.” The production runs from February 28 – March 2, 2025 at The Theater At Solaire
That future may be closer than expected. Espina is set to open a pop-up store in Rockwell, and he’s already teasing pieces inspired by Ang Panaginip. “The layering, the textures, the Filipino details—I can see these elements translating beautifully into ready-to-wear pieces,” he says when asked if ballet will make its way into his ready-to-wear line. After all, a dream this beautiful is meant to live beyond the stage.
The production runs from February 28 – March 2, 2025 at The Theater At Solaire
Photos: BEFORE DEADLINES
