Bakong (Hanguana malayana), pronounced by stressing the first syllable, is a wild plant that can grow up to three meters across a wide range of wetlandsand terrestrial habitats in Southeast Asia. In the Philippines, the fiber is in the nascent stages of development and can be used to make clothing, accessories, furniture, paper and other objects.
The plant is abundant in Sta. Teresita, Cagayan, and is also present in other parts of the country, such as Mindoro, Palawan, Lanao del Sur, Agusan del Sur, and Surigao.
“When we talk to our partners about bakong, we say that it’s an aquatic plant that grows in places like the perimeter of the Laguna de Cagayan,” begins Rhea Matute, executive director of the Design Center of the Philippines (DCP).
“Basically, DCP has always been that kind of a go-to agency of the agricultural wasteland portfolio. So, DTI, or a local government unit, comes to the DCP to determine how to develop what they have in excess, such as the material available in their area.
So, for the Laguna de Cagayan lake, in 2013, the local government of Santa Teresita approached us to look at bakong. At the same time, the Department of Environment and Natural Resources (DENR) was doing an activity involving biodiversity and the Santa Teresita community.”
Since then, bakong fibers have been studied and found to be strong and versatile. The Department of Science and Technology (DOST), working with the DCP, has advanced research of the material.
From artisanal crafts to innovative applications, including using biocomposites that could potentially replace petroleum-based plastics, future goals for bakong include scaling production sustainably and establishing responsible harvesting practices.
Matute says that studies for broader resource mapping and feasibility for industrial production, alongside educational initiatives for local farmers, are in the lineup for bakong.
“Unlike the work that we’ve done with pineapple, which we’ve had an ESG (environmental, social, and governance) study on and a mapping of the resources that’s available for it—we understand the capacity and the supply of pineapple that is harvested all throughout the year—for bakong, we’re still in the process of doing a study on exactly how much bakong exists in the Philippines,” explains Matute.
In 2023, the bakong team at the DCP conducted a biodiversity pre-assessment study, where the plant’s growth was measured and monitored for around 70 days.
They found that the potential annual supply of bakong (from the Laguna de Cagayan lake in Sta. Teresita, Cagayan) is about 250 metric tons and around 14 metric tons of fibers can be replenished annually from the current harvesting site.
“Disliked,” “maligned” — these are words that were previously associated with the plant, as described in a Business World report from 2023, before its development into “pulp, yarn, and, eventually, bioplastics and textile.”
The product was launched in 2022 at the Sustainable Solutions Exchange by the Center for International Trade Expositions and Missions. The multiple private sector collaborators were able to make, collectively, around 30 products from bakong fiber.
The Bakong Circular Design Challenge (CDC) in 2021, organized by the DCP in collaboration with creative director and circularity expert Carlo Delantar, tapped into the potential of bakong as an alternative material for new product development.
One of the winners, Brakong, a lightweight external breast prosthesis for mastectomy patients, won the Philippine leg of the 2022 James Dyson Award and was shortlisted in the Top 20 globally.
The DCP aims to position bakong as a sustainable material for artisanal and industrial applications that drive innovation and solution-based designs.
Rappler talked to some designers who have used bakong.
Bea and Marga Valdes, Valdes Designs
Rappler: Why did you decide to make clothes in bakong?
Bea and Marga Valdes: As advocates of the circular economy, we chose to work with bakong because of its deep connection to our values of sustainability and craftsmanship. As presented by the DCP, the web of its ecosystem aligns with our long-term commitment to slow design and safeguarding the environment and continues to reaffirm our support for local heritage craft.
The material, sourced from native plants, embodies critical issues that need heightened awareness, such as environmental stewardship and preserving our cultural heritage. By designing with bakong, we can explore new textures while contributing to the promotion of Filipino traditions and environmentally- sound practices.
One of our core ideas is the powerful notion that craft endures. Leaning into these words means that we design in skill and material resilience, champion evolution, and create pieces that speak to future generations.
What is different about bakong, for you?
BMV: For us, bakong stands out due to its inherent connection to the land and its sustainable nature. It can offer a unique balance of sustainability and design, allowing us to craft pieces that honor both tradition and innovation. It is a fabric with a natural story and a human face, derived from indigenous plants and woven through traditional methods. Unlike synthetic materials, bakong carries the energy of the environment and the hands that create it, making each piece deeply rooted in nature and heritage.
How does your design philosophy work with bakong?
BMV: One of our key ideas is, ‘The material is our muse.’ We constantly refer to unique properties of each piece we use. We lift them up from their current context and elevate them. Our design philosophy emphasizes our commitment to slow design, craftsmanship, and circularity—all of which resonate deeply with the bakong project of the DCP.
We aim to highlight the material’s natural beauty and imperfections, embracing its irregularities as part of its unique charm. Working with bakong allows us to uphold our focus on ethical and mindful design while exploring innovative applications of traditional materials.
What else can you say about bakong?
BMV: Bakong is more than just a material—it’s a symbol of Filipino craftsmanship and the future of sustainable design. As a design studio, we are excited to be part of a movement elevating local creativity by contributing to the global conversation on ethical fashion. We would like to think we stand at the intersection of where one’s aesthetics and ethics unite.”
The bag and the pants are made primarily out of bakong while the top features bakong and a mix of other fibers.
Reese Fernandez-Ruiz, Rags2Riches
Rappler: Tell us about your journey in bakong.
Reese Fernandez-Ruiz: The DCP and Carlo Delantar invited us to participate in the program, and we happily agreed because the bakong project resonated with us and our values as well.
R2R is a fashion and design house that empowers community artisans from the Philippines. We have been creating bags and (recently) clothes out of recycled textiles and other indigenous materials for over a decade. Adding bakong to our materials list was interesting to us as it aligns with our sustainability initiatives and goals as well.
What is different about bakong, for you?
RFR: We are used to creating products out of upcycled materials such as waste textiles, plastic tarps, and scrap leather. However, working with organic materials is also of interest to us. As practitioners of circularity, we are exploring different streams of circularity, including regenerative and biodegradable materials. We are still in the early stages of exploration, but having bakong as a possible material has been inspiring.
What are your favorite items that you have made using bakong?
RFR: We created a small collection of multi-way bags using bakong. They are unique, culturally relevant, and functional.
Why be a proponent of bakong? Do you encourage it?
RFR: Bakong is just one of the many possible materials we can use as alternatives to toxic ones. The bakong project is a great example of what can be done using natural materials, guided by some of the country’s best design minds.
The bags feature a mix of woven panels, patterned bakong panels, and leather parts.
Stanley Ruiz, Estudio Ruiz Design Consultancy
How did you manipulate bakong to make your ‘Contrapunto’ lighting?
Stanley Ruiz: Bakong fiber was processed and turned into pellets, which, in combination with PLA (a plant-based material), were then used to make the composite bins by injection molding.
Why did you use bakong?
SR: We were searching for an alternative material that can be potentially commercialized.
Anything for us to note about the ‘Contrapunto’ collection?
SR: Contrapunto is a collection of objects developed through improvisation. Contrapunto or counterpoint is defined as “a musical form involving the simultaneous sound of two or more melodies” and “a decorative musical accompaniment (often improvised) added above a basic melody.”
In this work, I’m treating the found components (the injection-molded bins) as the melody, laying the foundation for the pieces. I then added wood components as support structure, serving as the counterpoint.
The housing for the lights make use of bakong composite plastics.
Fortunato dela Pena, Jr., associate professor Industrial Design Program, Department of Visual Communication; faculty coordinator, UP CFA Fablab, UP College of Fine Arts
Why did you decide to make items in bakong?
Fortunato dela Pena, Jr.: I saw it as an excellent opportunity to explore bakong as a new material by designing its possible applications for furniture. One of the challenges was to conceptualize composite plastic crates around bakong. Partnering with a social enterprise, Balaikamay, focused on using sustainable materials gave it more meaning in the sense that these designs contributed to sustainability.
What do you like about bakong?
FPJ: The bakong composite plastic we used has a unique character. Its durable and wood-like texture makes it versatile for various applications, whether it be decorative or functional. I’m interested in exploring its potential in sheet form, similar to paper or paperboard for making things. In my context, this could be useful for prototyping using rapid prototyping machines like laser cutters or CNC routers to craft prototypes or designs.
What makes bakong different?
FPJ: I find the bakong composite plastic developed by DCP and Sentinel Plastics quite nice because it has that natural aesthetic—it feels warm and has a nice texture and color. At the same time, it has the strength of an industrial material by combining it with plastic. Hopefully, the material will be continually developed to enhance and ensure its sustainability.
How does your design philosophy work with bakong?
FPJ: Optimal use of materials, flat-pack design, and functionality have always been part of my work. I strive to intertwine form with these attributes to create balanced designs.
One of the aspects I appreciated most about this project was collaborating with a social enterprise that brought the idea to life through their craftsmanship and sustainable materials. It brought together the right stakeholders, making the project even more meaningful to me.
Why be a proponent of bakong? Do you encourage it?
FPJ: Sustainability is no longer just an option—it’s a necessity. We all need to take a more active role in preserving the environment, and one way to do that is by exploring innovative, eco-friendly materials and how we use things. I also believe designers should focus on creating products that will remain relevant and resilient over time—something built to last for generations.
The trays are made of composite bakong plastics.
– Rappler.com
