Neil Felipp. Photographed by Zach Aldave, courtesy of Neil Felipp
In line with Neil Felipp’s entry into the Creative x Craft x Technology narrative at Révélations Paris, Esme Palaganas writes on the pursuit of craft in fashion and luxury.
How can one present the vast narrative of Filipino craft to the world? “Through the spirit of our land and seas.”
This is the answer of the Philippines’ delegation as they debut at Révélations: The International Biennial of Crafts and Creation in Paris, taking place from May 21 to 25, 2025, at the historic Grand Palais, following its restoration that began in 2021. Held every two years in Paris, Révélations is the premier international biennial organized by Ateliers d’Art de France that spotlights the best of global craftsmanship and explores the new directions of artisans.
Curated by Milo Naval, with approval from overall curator Romain Juilha, the Philippines’ debut delegation at Révélations highlights the country’s natural resources and traditions. Design Center of the Philippines Executive Director Rhea Matute shares her thoughts on the Filipino delegation’s significance at Révélations, saying, “There is a deep respect for craft excellence and its relationship to art. Révélations is not your typical commercial trade platform. Our participation is not simply meant to let the global audience recognize and acknowledge Philippine fine crafts but it is to show Philippine creators a new way of engaging with a global market and a new way of creating.”
Featuring Filipino materials and expertise in fibercraft, shellcraft, and metalcraft, the delegation includes Milo Naval, Olivia d’Aboville, Jude Tiotuico, Leeroy New, Ina Gaston of Hacienda Crafts, Maricis Brias and Jamie Brias of Tadeco, and Neil Felipp.
While Révélations serves as a platform for showcasing the best of Filipino craftsmanship, it also provides an opportunity for designers like Neil Felipp, known for his minaudières and work with Cebu artisans, to introduce a new personal narrative: one that bridges tradition and technology.
“If I weren’t a designer, I think I would go into literature,” Neil Felipp says. For him, it was the written word that provided an escape and inspiration. It’s a sentiment we’ve all heard before, flipping through a fashion magazine like Vogue often feels like an escape from reality. As Diana Vreeland once said, “The eye has to travel.” Not just across places, but through ideas. Travel offers escape; literature offers something deeper, a study of humanity. While he may not have pursued a literary career, his design work speaks volumes.
Felipp’s exploration of humanity is captured in Constellation 1.0, his first large-scale piece. It tells a story of love and loss. Inspired by a moment of love, the creative director envisioned his significant other as a constellation, a group of stars he could admire from afar (requited, as it were). He then imagined his constellation alongside another, creating a universe they could call their own.
The three-piece sculpture also marks the studio’s first integration of 3D technology with Cebu’s traditional shellcraft. What once took three months to create was now completed in two weeks.
Shaped by hand to capture the emotional arc of the piece, the process begins with molding clay forms. The clay forms are 3D scanned and scaled up by 200% for 3D printing, reinforced with a fiberglass layer. The work draws inspiration from the sea, brought to life through yellow mother-of-pearl, white mother-of-pearl, and white kabibe.
The piece is the designer’s statement on elevating Filipino artistry, which often faces questions of provenance. While “Made in Italy” or “Made in Japan” carry connotations of heritage and quality, the Philippines’ narrative remains less recognized globally, which influences perceptions around pricing.
Felipp aims to change that through his work affirming that Filipino craftsmanship stands on equal footing with the world’s best. His mission is to shift the focus from geographic origin to intrinsic value, highlighting how creations from the Global South, like those from the Philippines, are often undervalued compared to their Western counterparts. It’s a statement that Filipino artistry deserves not just recognition, but rightful placement on the global stage.
Intrigued by Felipp’s exploration of 3D technology, I asked him if, as a second-generation artisan, he ever grappled with the idea that using technology might dilute the essence of traditional craft.
The creative director was quick and firm, a reflection of his deliberate approach to design. “There was always an issue or question of a lack of ‘soul’ when it comes to using technology. I’ve noticed that if it started from my hands first, and then went through 3D technology, it didn’t feel as ‘soulless’ as it would otherwise,” he explained. This new technology had been on his mind long before the invitation to the biennale, as part of his family’s business. For Felipp, human touch remains central to the creative process. “Hands are the start of it all.”
Felipp’s perspective reflects a broader question faced by the design world: where does tradition end and innovation begin?
Through my exploration of creativity and technology, Neil Felipp’s perspective offers a reflection on how human perceptions of value are continually challenged by new tools. This question has long been debated in the fashion and design industries: ‘manus’ (hands) versus ‘machina’ (machine), a conversation that was even echoed in the 2016 MET exhibition. Does the use of technology enrich or detract from craftsmanship? Is purely handmade more valuable than tech-aided craft? As with many of these questions, the human element remains the most vital ingredient.
Whether working with traditional techniques or exploring new methods, Felipp’s deep-rooted dedication to craftsmanship, inherited from his family, is unmistakable. And as he steps beyond his Crazy Rich Asians fame (which he’s grateful for, as it brought his work to new heights), this first major work signals a new chapter.
For years, Felipp drew inspiration from literature, be it the character of Suzy Wong or the stories of Hans Christian Andersen. But today, he draws from his own experiences, shaped by love and loss. Where his work will take us next remains to be seen. One thing is certain: these are stories only Filipino hands can tell.
Esme Palaganas is a fashion strategy consultant and the co-founder of PHx Fashion Group, working in the intersection of intellectual property, creativity, culture and technology.
