Fashion & Memory: Jodinand Aguillon
The Glorious Dias: A Vintage Revolution
Jodinand Aguillon wearing his first barong. In the background is his mother’s collection of elephant figurines. Image courtesy of Jodinand Aguillon.
In this edition of Fashion & Memory, I interviewed Jodinand Aguillon, the visionary artist and entrepreneur behind Glorious Dias, a Manila-based vintage brand that has captured the hearts of fashion enthusiasts worldwide. Known for his treasure-hunter skills and dynamic social media presence, Aguillon has carved a unique niche in the fashion world, blending sustainability, cultural heritage, and innovative design. Recently recognised as one of Preview’s multi-talented Filipino artists of 2025, Aguillon continues to push boundaries, redefining what it means to create fashion with a purpose.
In this conversation, Aguillon traces his journey through a creative evolution, from learning how to build a collection from his mother to building a brand that celebrates Filipino identity and craftsmanship. He shares stories behind some of his most iconic pieces, his commitment to zero-waste practices and his vision for the future of Glorious Dias.
Jodinand Aguillon and his mother. Image courtesy of Jodinand Aguillon.
Jodinand Aguillon’s family photo. Image courtesy of Jodinand Aguillon.
Could you share a bit about your background and how you became interested in collecting fashion?
I was constantly digging through my parents’ closet drawers, finding old photos, postcards, letters. I was always curious about looking at trinkets. My mom was also a collector of figurines. I remember when she started me on collecting. We went to a garage sale, and she said, ‘I collect elephants. Jody, what do you want to start collecting?’ Since I wanted a dog, I started collecting figurines of dogs, and then figurines of chickens and roosters. That was me as a four-year-old kid. That was my first exercise in treasure hunting, because she gave me something to look for. That eventually transitioned into a love for all things, including knickknacks, textiles. This eventually manifested into an interest in things that were specifically Filipino, especially when living in Canada. I would be looking for anything that had any kind of Filipino flavour or memory attached to it. I would instantly gravitate towards it, because I would be so interested in seeing something travel so far and find its way to Canada. That was also symbolic of how far we had travelled.
Could you share the journey that led you to create Glorious Dias? What inspired the mission behind your brand?
My first retail job happened to be a vintage store. There was a store in Edmonton, Canada, that functioned as a tattoo piercing studio and vintage clothing store, where I eventually became a manager. That was my first foray into vintage retail, learning the business side of it, customer service, and how vintage is very personal. How do you make that one item feel like it is meant for that particular person? I then started working corporate retail for another company, where I learned how to manage inventory, set up stores, and find and train staff. I was deeply involved in that world for a long time until I met my business partner, and we opened our own vintage store. When I moved to the Philippines, I said I would not do vintage again, but the gigs that I started getting here involved costumes and styling. So I started amassing clothing, and on a whim, I did a one-week-pop up shop to move my supplies and inventory. But people thought my items were interesting and encouraged me to keep going. I joke that it is a pop up that just never popped out. With Glorious Dias, as long as it feels right and people connect to it authentically, we will keep doing what we are doing.
Behind-the-scenes photos of Jodinand Aguillo’s creative process. Photo by Tin Villanueva for CommonRoomPH. Image courtesy of Jodinand Aguillon.
Did you encounter any challenges when setting up a vintage scene in the Philippines?
I was already aware of potential hesitation, which is why I only did a one-week pop-up. Because when I would tell my relatives that I own a vintage store in Canada, they would just brush it off. They would say, ‘Yeah? Oh, you work with dead people's clothes? You work with stinky textiles?’ I don't know if this applies across Southeast Asia, but Filipinos are very superstitious. There is a belief that old clothing has something attached to it, like a ghost or energy. When we started, there was also a real ambiguity around what vintage was versus second-hand or like surplus or overruns. But now more than ever, particularly in Manila, Cebu, and other parts of the Philippines, there is a growing community embracing the idea of true vintage.
Jodinand Aguillon during his folk dancing days. Image courtesy of Jodinand Aguillon.
What role has Southeast Asian dress and fashion played in your personal and family history? Are there specific garments, textiles, or traditions that hold particular significance for you?
Growing up in Canada, my exposure to Filipino traditional dress was through folk dance. I started folk dancing at 10 years old and continued for a good decade. I was exposed to dancers wearing barongs, the girls in their butterfly sleeves, and the big, voluminous skirts. All of that was a significant entry point and remains an inspiration for how I see clothing. I say it is a double-edged sword, because I have to understand that costumes in folk dance are meant to emulate traditional garments. It is not necessarily traditional, given the types of textiles, resources, and access available. The barongs we had in Canada were made of polyester, but those were for dancing. The “real” barongs are made of pineapple fibres, and are not the ones you would wear for dancing.
Glorious Dias is known for its approach to reworking vintage fashion. What drew you to this form of creative expression and how do you see it intersecting with sustainability and cultural heritage?
I believe sustainability practices are inherently Filipino. I feel those practices are in our DNA. Our instinct is to repurpose things or make do. It is about being resourceful, using natural materials, seeing a leaf as something to wrap, weave, or cook with, rather than just a leaf. This mindset extends to our textiles as well. The transformation of a pineapple plant into a gorgeous textile is a perfect example. I also grew up seeing groups of moms utilise lace curtains to recreate the look of more fine and elaborate designs from the Philippines. These practices were subtly ingrained in me from a young age and were always part of my surroundings.
Leslie Espinosa wearing the lace jersey. Photo by Meinard Navato. Image courtesy of Jodinand Aguillon.
How do you select pieces for your brand? Are there particular criteria, materials, or historical elements you look for? Are there certain items you choose not to work with? What challenges come with sourcing and reinterpreting vintage garments?
When it comes to picking vintage, I love colours and patterns. When it comes to picking the right textiles to rework, that is where I get more excited, as I have greater creative freedom. For example, when I found Japanese ramie indigo-dyed mosquito nets and decided to turn them into polo shirts. I will ask myself, ‘Why chop it up if it has no meaning? Don’t cut it up just to make a cute top. Try to give it meaning or find meaning for doing this.’ For example, barangay basketball courts in the Philippines can host many different types of events, from pageants to basketball games. Toxic masculinity is traditionally attached to these jersey mesh basketball uniforms. So I wanted to make a version out of lace, because there is a duality to these courts; you either become a basketball player or join a beauty pageant. It is a binary experience of aspirations. Juxtaposing this ultra-jock uniform with something delicate and beautiful, a textile not meant for wrestling or rough play, gives meaning to what we do.
Have you observed younger generations, whether in the Philippines or in diaspora communities, embracing traditional dress or finding new ways to incorporate cultural heritage into their fashion choices? What shifts are you seeing in attitudes toward Southeast Asian fashion?
Over the past decade, there has been an increase in the Philippines of people embracing Filipino silhouettes and textiles, and locally made brands. Since the pandemic, I have noticed an upswing in local markets focused on weavers and locally woven textiles. We have been seeing a lot of these silhouettes being “reinterpreted.” However, I believe Filipino dress is ahead of its time. Why are you going to reinvent the wheel when it is already so beautiful and ahead of the curve?
“Our clothing is a form of our soft power.”
Fashion is often a powerful tool for storytelling and cultural preservation. How do you see Southeast Asian fashion, both historical and contemporary, playing a role in these narratives?
Visually, our clothing is iconic… it is an identifier. In terms of storytelling and serves as an entry point. For example, when the diaspora visit my store, they are so proud and happy to take home a piece and say ‘Yeah this is Filipino-made’ or ‘Oh, did you know that this is a vintage barong?’ It is a way to connect to where you are from and where you are now. How you dress, whether it is traditional or not, carries cultural significance, conduct, and history. Our clothing is a form of our soft power. I like to explore the intelligence and intricacies of our textiles, embroidery, and weaving. These are practices that need to be preserved, but fundamentally, we must prioritise preservation.
Zero-waste circle skirt. Image courtesy of Jodinand Aguillon.
What is next for you and Glorious Dias? Are there any upcoming projects, collaborations, or creative directions you’re excited about?
We have been focusing on zero waste, or as close to zero as possible, by releasing styles that are minimally invasive, with the fewest cuts to the original form and least waste produced. So I am obsessively hunting for circular textiles, as they allow us to create camisole dresses and circle skirts with minimal waste. It is almost guilt-free rework, because, as a reworker, I often feel guilty about the scraps. I am also excited to see our practice of reimagining what exists as something new and how that might translate into home decor. Repurposing is in our DNA or lifestyle. We see value in things others might overlook. But finding the right things to fit together takes time.
Discover more about Jodinand Aguillon’s work by visiting Glorious Dias on Instagram or GloriousDias.com.
About the Writer
Faith Cooper is the creator of the Asian Fashion Archive. She graduated from FIT, studying art and fashion history. Under the Fulbright programme, she is researching Taiwanese fashion and cultural identity at Fu Jen Catholic University in Taiwan. To learn more or connect with Faith, please visit her website.