Shrouded in a cloud of delicate piña, a bridal gown on a mannequin is one of the focal points in the showroom. At first glance, it is deceivingly simple. But a closer look reveals intricate details—pleating, beadwork, and lace—a hint at the designer’s masterful touch.
Tweetie Gonzalez, an accessories designer, marvels at the gown’s subtle complexities. “Look at the details!” she exclaims. Beneath the ethereal overlay lies a shirt dress, a classic silhouette reimagined with callado embroidery and delicate beadwork. Lace blouse and loose pants peek through, a whisper of femininity beneath the dress’s masculine facade.
This interplay between masculine and feminine defines Jo Ann Bitagcol, the designer. “People think my style is mannish,” Jo Ann says with a smile. “It’s been my signature since I was a kid. I’ve always loved loose, comfortable clothing—the tomboy vibe.”
The launch of her Poblacion atelier coincides with the fifth anniversary of her namesake brand, Bitagcol. Jo Ann herself embodies the brand’s philosophy. She’s in a boxy white linen shirt, a unique print on its front pocket—an antique barong from scenographer Gino Gonzales’ collection. A collage of five barong adorns the back. Visible beneath the oversized shirt is a white tank top. Completing her look is Jo Ann’s signature loose shorts with a playful striped detail on the side.
“It’s sporty, something the younger generation (bagets) can relate to,” Jo Ann explains. The masculine details are balanced with leopard-printed loafers and a layering of pearl necklaces—a simple choker from Palawan, a gift from stylist Luis Espiritu, and a statement piece of a “baroque” pearl from Arao, a Filipino jewelry brand based in Hong Kong.
“A bit manly, a bit madame,” Jo Ann says with a giggle. “I’m a tomboy on the surface, but a woman underneath.”
Close friend Tweetie echoes this sentiment. “Her look is truly eclectic and androgynous,” she says, wearing a Bitagcol silk satin shirt. The fabric is printed with Jo Ann’s signature “characters”—playful figures digitally manipulated from the vintage fashion accessories Gonzales has been collecting. Painetas, purses, keys, and even a ladle are transformed into whimsical figures, each named after a beloved Filipino family member: ate, lola, tita, nanay, tatay.
Jo Ann’s designs are a testament to the beauty of balance. They embrace the fluidity of gender expression, creating garments that are both powerful and graceful, comfortable and undeniably stylish.
A fan of Jo Ann’s work, Tweetie owns a representation from each of the designer’s collections. “Each piece is a work of art,” she says. “So much thought and meticulous work goes into everything Jo Ann does, from selecting the fabrics to creating the prints herself.”
Tweetie notes that Jo Ann has a unique eye for composition, transforming everyday elements into captivating designs.
Jo Ann Bitagcol scarves
Tweetie began collecting Bitagcol pieces since the debut of the designer’s signature scarves. These scarves bore Jo Ann’s now-recognizable prints, reinterpreting the barong, maria clara, and terno, in luxurious silk satin. Tweetie has kept a barong kerchief, a full scarf with maria clara and bird details. “Jo Ann has since expanded into clothing, translating her prints into linen tops, skirts, and pants. My latest acquisitions are an apron, a malong, and wide-legged pants from her newest collection,” she says.
Jo Ann’s transition to becoming a celebrated designer is well documented, her rise from being the country’s top model chronicled by CNN Philippines 10 years ago.
It started in late 1994, when Jo Ann worked in a Marilao, Bulacan, cotton mill, cleaning raw cotton before it was spun into yarn
It started in late 1994, when Jo Ann worked in a Marilao, Bulacan, cotton mill, cleaning raw cotton before it was spun into yarn. This laborious job was her means to save up for college education. On a fateful Good Friday, Jo Ann met a friend in a Malolos panciteria to seek advice about work in Manila.
Their conversation happened in the presence of designer Peter Lim, makeup artist Jay Lozada, and director Jeffrey Jeturian. Struck by Jo Ann’s long legs and gamine look, especially an elegant neck, Lim saw a potential. He offered her a chance to break into the modeling world through Body Shots 1995, a modeling competition. Though she was a crowd favorite, the judges deemed Jo Ann, with then-frizzy hair, a bit rough around the edges. Nevertheless, the competition served as springboard for a modeling career. Her exotic beauty and natural grace captivated fashion designers. She became a star in the prestigious Fashion Watch luncheon series at Manila Hotel.
Presented with an unexpected opportunity, Jo Ann made a life-changing decision. Instead of pursuing a traditional college education, she embraced a career in fashion and the visual arts.
“It was a chance I couldn’t miss,” Jo Ann now recalls, acknowledging the serendipitous turns her life has taken. Fueled by an innate curiosity about the world behind the lens, Jo Ann, the model, transitioned into Jo Ann the photographer, soon finding work with magazines and corporate clients.
To further explore her creativity, Jo Ann enrolled at Slim’s School of Fashion and Art, diving into dressmaking courses, including advanced techniques and bespoke tailoring. However, life has a way of derailing even the best-laid plans, and Jo Ann found herself unable to complete the courses.
Undeterred, her creative spark was lit by a pivotal project. Working on the definitive book Fashionable Filipinas, Jo Ann photographed a collection of vintage barong and antique camisa tops. Inspired by these cultural treasures, she secured the permission of the book publisher, Suyen Corporation, to use some of her outtakes for fabric prints.
“The response was overwhelming,” Jo Ann recalls. “People asked for more, and I rode the wave.”
This foray into textile art marked a turning point. “Working with Filipiniana materials gave my work a deeper purpose,” she explains. “It ignited a sense of mission within me to explore and celebrate our rich cultural heritage.”
Layered bridal gown
Pina blouse with cartridge sleeves
Jo Ann readily acknowledges the influence of designer friends on her unique style. Layering, a signature element in her work, finds its roots in the designs of Joey Samson. Ivar Aseron’s use of organza to add body to a fabric finds its way as pockets on Jo Ann’s tops. Then there’s the homage to Jojie Lloren’s cartridge sleeves—as pleated bell sleeves of her pina blouses.
The global pandemic posed a challenge. While loyal clients continued to place orders, Jo Ann faced a personal heartbreak with the passing of her brother. This difficult period, however, also revealed an unexpected source of strength.
“It forced me to confront my spirituality,” she shares her reflection. There emerged a sense of grace as she navigated the transition with courage and wisdom. “It was a turning point, a chance to connect with my inner self.”
With the world reopening and business picking up, Jo Ann honed her dressmaking skills yet again. “Mastering the technical aspects is crucial,” she emphasizes. “Once I understand the process, I can break the rules. I want to learn the ‘why’ behind the ‘how,’ and then allow myself the freedom to experiment. My clothes aren’t meant to be rigidly structured; I embrace happy accidents and let the creative process unfold organically.”
Apple box with Tao Collection
This philosophy extends beyond apparel. Recently, Jo Ann incorporated her Filipiniana photo prints in functional furniture such as folding screens and apple boxes, blurring the line between art and utility. “Just like my clothes,” she explains, “furniture should be multi-functional.”
Jo Ann’s atelier in Poblacion, Makati, now runs like a well-oiled machine, with a lean but dedicated team of three seamstresses and another working in Binangonan, Rizal.
“I believe in letting the universe guide me,” she says. “I see myself as a conduit, sharing my talent with the world. There’s a sense of trust that I’m being led in the right direction, and I pour my heart into everything I create.”
Jo Ann Bitagcol: A chronological journey
1996: At 18, Jo Ann bursts onto the modeling scene as a star in the ‘Fashion Watch’ series.
Poblacion showroom display of Jo Ann Bitagcol’s early print works of maria clara tops and voodoo dolls
1999: Jo Ann tries her luck in Paris, modeling for a season and working in showrooms of emerging Asian designers. However, the fashion industry’s focus on Brazilian models proves challenging.
2000: Jo Ann returns to the Philippines, continuing to model for top designers and photographers.
2004: Inspired by her experiences in pictorials, Jo Ann enrolls at the University of the Philippines to pursue photography. She further hones her craft by apprenticing under fashion photographer Lilen Uy.
2007: Jo Ann establishes herself as an independent photographer, taking on projects for magazines and corporations.
2014: Jo Ann collaborates with authors Mark Higgins and Gino Gonzales, photographing Filipiniana clothing for their book project, ‘Fashionable Filipinas: An Evolution of the National Dress for Women in the Philippines in Photographs, 1860 to 1960.’
2015: Gallerist Albert Avellana launches Jo Ann as a visual artist in his namesake gallery. A personal turning point leads her to define her artistic state as ‘Tripolar,’ a title reflecting emotional upheaval. This cathartic period manifests in self-portraits exploring light and shadow, installations, and even voodoo dolls adorned with cross-stitched kisses symbolizing good wishes. The collection embodies themes of healing, self-love, and forgiveness.
2016: Suyen Corporation, publisher of ‘Fashionable Filipinas,’ officially launches the book.
2019: Upon designer Joey Samson’s suggestion to make her prints available in, Jo Ann launches the Bitagcol brand. After looking for fabric printing suppliers, she debuts her Filipiniana-inspired prints on silk satin scarves in a pop-up event at S.C. Vizcarra boutique at Shangri-La Plaza Mall. The Bitagcol brand further establishes itself at the Bench Katutubo Pop-up Market, offering scarves and pillowcases featuring her unique prints. This event proves fruitful, connecting Jo Ann with a new wave of clients.
2020: The pandemic provides an unexpected opportunity for product development. A request for a dress made from scarf prints results in a new line. The Bitagcol brand expands to include face masks, aprons, robe dresses, linen zip-front dresses, and T-shirts, all adorned with Jo Ann’s signature Filipiniana prints. She continues photographing vintage barongs and handkerchiefs in Gonzales’ collection
Folding screen with collage of barong prints
2021: ‘Tripolar 2.0’ at Vinyl on Vinyl gallery showcases new works featuring barong and maria clara prints, alongside voodoo dolls adorned with Filipiniana fabrics.
2022: ‘Tripolar 3.0’ at Art Fair’s online exhibit presents human forms in canvas and piña, a powerful statement on self-love and healing.
Jo Ann also becomes the first collaborator for the Arao Alchemy Series. This project highlights the South Sea pearls and jewelry by Arao, a Filipino jewelry brand based in Hong Kong. Jo Ann’s photographs presenting antique barong and maria clara sleeves serve as backdrop for the jewelry, later reproduced on scarves.
2022: Designer Rhett Eala launches his eponymous boutique at Greenbelt 5 and invites Jo Ann to consign her work. This opens doors to a new market—mature and sophisticated clientele with higher spending power.
2023: A collaboration with Gino Gonzales results in the Tao Collection. This playful collection features vintage fashion accessories, ladles, hats, and baskets transformed into whimsical caricatures of human forms. Each piece has a name— Madame, Fashionista, and Chef.
Jojie Lloren, founder of FAB Creatives Manila school, invites Jo Ann to teach photography. Jo Ann takes advantage of the opportunity to learn new skills, attending Lloren’s classes on draping and other fashion techniques.
Jo Ann Bitagcol in her debut runway collection at Bench Fashion Week
2024: Jo Ann’s collection debuts at Bench Fashion Week’s summer edition. The 18-piece collection showcases her unique take on modern Filipiniana, with photographic prints and experimental silhouettes crafted from piña.
Longtime friends Tweetie Gonzalez in Bitagcol pina top and lace skirt, and Jo Ann Bitagcol in her Filipiniana varsity jacket, in a shoot for Mega magazine
The unisex collection draws inspiration from her wardrobe, incorporating oversized silk satin T-shirts with barong and camisa prints, apron dresses, men’s silk satin shirts adorned with Tao prints, loose checkered linen pants, and lace separates. “I have this classic robe from Jojie (Lloren) which I have kept for years. That was my inspiration for the fashion show,” she says.
Jo Ann celebrates the opening of her atelier in Poblacion which showcases her entire design range—prints of vintage Filipiniana tops and barongs, furniture, scarves, and her signature quirky Filipiniana pieces. “Loose silhouettes are my thing,” Jo Ann says. “My clothes are shapeless so all ages and body types can wear them.”
