he "high, born" appearance of the Maria Clara ensemble is attributed to the pañuelo, which owes its splendid effect to its re-articulation of the ruff of the Euro, pean baroque court dress. But if derivation from a native source were to be deter, mined, that source has to be the alampay, which was a flexible scarf for head, neck and shoulders in pre' Maria Clara days.

In its early twentieth century reincarnation, the pañuelo had two main forms: a flat triangular fichu, and a square piece folded diagonally into a neckerchief. Usually made with the same piña or jusi material of the camisa, the pañuelo was generally embroidered, at the edges or all over. Hand embroidery made the pañuelo a highly prized garment piece. The embroidery techniques employed to create its tropical, oriental, baroque and art nouveau motifs included surcido (satin stitching), sombrado (shadow applique), calado (drawn threadwork), en relieve (embossed stitching), and ojetes (cut' open,work embroidery or eyelet lacework) .

Scrolls, crests, and initials were often integrated into floral themes, with latticework, trellis and traceries worked in for sinuous effect. It was with the pañuelo that the art of colonial Philippine embroidery found perfection. The luxurious threads, techniques, textures and themes made it a spectacular textile form and an ode to the enriching potential of cross-cultural dynamics.