Fabric of faith

A man carrying a statue of the Child Jesus in Cebu City. Photo by Jayr on Pexels.

If one observes how the faithful act toward holy images—that tangible representation of the divine—one sees gestures of intimacy similar to those made between lovers: holding the hand, touching the cheek, offering a gift. Dressing up the saintly figure is an act of veneration—it is a ritual in itself, a show of respect, and yes, devotion.

Ben Farrales, renowned fashion designer and founding chairman of the Congregacion del Santisimo Nombre del Niño Jesus, has a wardrobe fit for a king for his collection of statues of the Infant Jesus. The figures, beautifully wrought in wood and/or ivory, inspire awe given their age, realism, and majesty. Accordingly, the apparel ranges from laces to velvets, whites to reds to deep violet or jewel blue, many richly embroidered.

The raiment has a profound effect on the senses. The martial Santo Niño Bravo, in full body armor, sword at his side, eyes looking straight ahead, has an entirely different impact from the Divino Niño Jesus, El Inocente (dated 19th century, Italy, from the collection of Danny Dolor—Mr. Farrales has a similar figure, the Sto. Niño Desnudo, dated to 18th century Rome). Adorned only with a three-pronged crown, his eyes and reaching hands are raised heavenward—the very picture of naked entreaty.

Ben Farrales with one of the images in his collection. Photo is an image capture of the original, taken by Jonathan Cellona, which was published in the newspaper.

Mr. Farrales has been a devotee since his student days at San Beda, where he became endeared to an image sculpted in the likeness of the Santo Niño of Prague in the monastery of the Salesian Sisters in Barcelona, Spain. He’s even brought a Santo Niño, for which he made piña vestments, on pilgrimage. While he prefers to stick with traditional garb, he has no objections to less classical representations of the Santo Niño, as long as there’s respect.

“Aren’t we all, one way or the other, conscious of our religion? …To each his own. This is my way of practicing my religion... of translating my devotion to the Santo Niño. He keeps me from mischief… he makes me a better person,” the 78-year-old designer, who also published the book Santo Niño: The Holy Child Devotion in the Philippines, told BusinessWorld.

Catholicism, as it is practiced in the Philippines, embraces the imahen as a medium by which one’s faith is channeled—similar to how prayer beads are used to focus and enter into a state of meditation, so the image is used to turn one’s thoughts to God. While some are dismissive of “popular piety” or “folk religiosity,” many Filipinos find fulfillment in their devotion to specific incarnations of Christ, of the Blessed Virgin Mother, and of the saints.

Who is to say that one manner of devotion is better than another’s? As one Jesuit theologian, Fr. Jaime Bulatao, SJ, was quoted saying about his experience of Black Nazarene devotion, “it is faith that contacts Christ and faith can be shown with either handkerchiefs or with concepts.” If a handkerchief can accomplish that contact point, why not a dress?

Since 1973, sculptor Reynaldo S.P. Estonactoc and his wife Linda, a dressmaker, have worked to create, outfit, and repair religious statues, whether made of ivory, wood, or cement.

Working on the new Our Lady of the Pillar (Nuestra Señora del Pilar de Zaragoza). Photo is an image capture of the original, taken by Jonathan Cellona, which was published in the newspaper.

Their most recent project, due May, is a 25-foot Nuestra Señora del Pilar de Zaragoza monument (already amounting to P600,000) designed by landscape architect Frederick Peter C. Altavas and commissioned by Manuel Villar for the new Golden Haven Memorial Park in Zamboanga City. But perhaps their most well-known works to date are the Christ the King and Black Nazarene figures, both found in Quiapo Church.

Most of their clients are private individuals based all over the country (a few abroad) who have collections of santos or own a carosa (processional cart). Church workers are also their clients—one statue of Our Lady of Manaoag (golden vestments, with special rose embroidery in gold thread, and accoutrements) is housed at their workshop in Pag-asa, Quezon City unless needed by the priest-owner.

In the past, velvet was preferred for the gowns; now, lamè and shantung are also acceptable, being harder to dirty than velvet. At the lowest end of the scale are sateen or brocade. Gold embroidery, extensively used by the Spanish court on their dresses in the 1600s, is de rigueur for the saints—Ms. Estonactoc either uses new thread, or for “transfers,” re-embroiders antique thread on new fabric.

Linda Estonactoc holding up a dress with antique gold thread transferred from 100-year-old priest's robes. Photo is an image capture of the original, taken by Jonathan Cellona, which was published in the newspaper..

“If we are capable of restoring the figure, down to the callado embroidery, we will restore it. We’re bringing back our heritage, because the youth today are no longer familiar with it, they don’t see it anymore. So what we’re doing is slowly bringing it back,” said Ms. Estonactoc, in the vernacular.

Project costs vary, averaging from P150,000 to P250,000, as the three-layer bishop’s garb, complete with miter, for St. Peter, would be vastly different from the regalia of the Queen of Heaven, or the pink and blue shades of Mary of the Immaculate Concepcion. Highest priced is “ocho derecho”—everything from sculpturing, to dressing up from head (jusi or synthetic fibers for the crimped hairdo) to toe (leather or metal for footwear).

Their services are in demand during Lent, as well as December, January (month of the Santo Niño), and October (month of the Holy Rosary). Most commissions are made as early as October, so the statue is ready by end-March. Those who couldn’t afford otherwise used to rent the clothes, but they’ve discontinued the practice since there’s already enough work for the 15 embroiderers.

“When my husband got sick, my son and I kept the business going. Now he’s better. We got through because of prayers; it was Our Lady who helped him get better. Our work is our devotion. It’s also our business—we’re already third-generation. My three sons, my daughters-in-law, they love the work. I suppose they appreciate that this is what fed them… And they enjoy doing it,” said Ms. Estonactoc, in the vernacular.

Originally published on 30 March 2010 in BusinessWorld.