Michael Leyva’s SONA-ta

The threads, fibers, and fabric of a bespoke gown came together like a symphony under the deft baton of designer Michael Leyva.

At the penultimate State of the Nation Address of President Ferdinand Marcos Jr. on July 27, Leyva “composed” more than 100 sartorial sonatas in Filipiniana-inspired gowns and barong Tagalogs, dressing legislators, dignitaries, and distinguished guests—including First Lady Liza Araneta-Marcos and her sons Simon and Vinny.

For the First Lady, Michael created a Filipiniana ensemble in soft blush, crafted from handwoven calado, piña, and crepe. It features delicate calado details, lace appliqué and an overlapping pencil skirt silhouette for a clean, modern finish. 

“The design embraces simplicity while celebrating Filipino craftsmanship, honoring our local weavers and preserving the beauty of traditional weaving techniques in a timeless, elegant way,” says Michael.

The toned-down hue and simple elegance of Mrs. Marcos’ gown was intentional.

“My inspiration was really her personality and the way she carries herself. The First Lady has always preferred understated elegance, so I wanted the gown to reflect that. We focused on clean lines, beautiful craftsmanship and letting the fabric speak for itself instead of adding too much embellishment,” he says.

How did he make each of his creations unique, and unlike any other in the Session Hall? No one, after all, likes to “twin” in a formal public setting.

For Michael, it’s the wearer, not the designer—who makes each gown unique.

“Every gown starts with the woman who’s going to wear it. I always think about her personality, and what feels most authentic to her,” he says.

For instance, Bukidnon Rep. Audrey Tan Zubiri’s ecru Maria Clara was very different from Social Secretary Bianca Zobel’s ensemble but both were equally eye-catching.

“Audrey’s look was a modern interpretation of the Maria Clara,” Michael points out. “She really embodies beauty, grace, and timeless elegance, so I wanted to create something that honored tradition while still feeling fresh and contemporary.”

“Bianca, on the other hand, has such effortless confidence and a modern sense of style. Instead of a classic gown, we went with a Filipiniana brocade floral top with draping paired with chartreuse wide-leg pants. The bold chartreuse added a lively touch, while the brocade honored Filipino craftsmanship. It was a fresh take on Filipiniana that felt confident, effortless and perfectly suited to her personality,” adds Michael.

‘Simplicity is powerful’

Creating SONA ensembles for high-profile women and men while remaining attuned to the beat of the times is a conundrum—an honor and a challenge.

“For me, simplicity is powerful,” says the design virtuoso. “A clean design allows our rich local textiles, traditional weaves and classic barong fabrics to be the focus of the designs. We also wanted to intentionally dress up our clients in short Filipiniana dresses instead of the usual long gowns.”

“I used a lot of calado, piña and crepe this year. I’ve always loved calado because it’s such a beautiful representation of Filipino artistry. It’s delicate, timeless, and every piece reflects the hard work of our local weavers. Pairing it with crepe for the base gave the gowns a clean and elegant structure while keeping them comfortable and effortless,” Michael says.

In the Philippines, calado refers to a traditional embroidery technique that creates delicate lace-like geometric or floral patterns.

Simple, however, doesn’t mean plain.

“While the overall design direction was to be understated and simple, that never meant compromising on elegance,” stresses Michael, who always honors the legacy of his Kuya Brian, one of the most promising designers of the late 2000s before he passed away, as the one who blazed the trail for him. “ At the end of the day, I’m a fashion designer, and my responsibility is to make my clients look their best. They should feel polished and respectable while remaining appropriate for the significance of the occasion. My goal was to have that balance, to create pieces that are refined without taking away the dignity of SONA.”

Just like in any musical composition, Michael Leyva’s SONA-ta was a harmonious blend of artistic expression and the notes of the times.

“This year’s SONA was a reminder that elegance doesn’t have to be loud,” he says.

Even after the applause in the halls of Congress reached a decrescendo, Michael Leyva’s SONA-ta lingered—not in sound, but in calado, piña, jusi and crepe, each ensemble a reminder that fashion, too, can strike a resonant chord in forging a national identity.

Sa ‘yo pa rin ang beat, Michael!