“Under the leadership of President Ferdinand Marcos Jr., the Philippines is proud to stand among the world’s best at MIFA 2025, ready to bring our nation’s compelling stories to the global stage,” said DTI Secretary Cristina A. Roque.

“Our robust presence at MIFA 2025—bolstered by the new co-production agreement with France—underscores our unwavering commitment to expanding international partnerships, opening new markets, and driving sustained growth for Filipino creative talent,” the trade chief added.

The DTI’s curated a strong roster of Filipino studios and creators to showcase the country’s animation capabilities. This initiative is supported by private sector partners, the Creative Content Creators Association of the Philippines, Inc. and the Animation Council of the Philippines, Inc.

Meanwhile, the DTI’s Export Marketing Bureau (EMB)—with support from the Philippine Trade and Investment Center in Paris—facilitated business matching, market scoping, and strategic meetings with potential international partners.

The Philippines’ participation at MIFA 2025 was significantly enhanced by the recently signed Philippines–France Cinematographic Co-Production Agreement. Signed in May 2025 during the Cannes International Film Festival, this landmark treaty empowers Filipino and French producers to jointly create film, television, and animation projects that will be recognized as national productions in both countries.

For inquiries, please contact the DTI-EMB Services Division at mps-services@dti.gov.ph.

Chairperson of the Philippine Fashion Coalition (PFC) Carissa Cruz Evangelista met with the Export Marketing Bureau (EMB) and the Foreign Trade Service Corps Coordinating Office (FTSCCO) to discuss digital fashion and other emerging creative economy growth areas. PFC envisioned the alliance to center on international business models for benchmarking and use as strategic inputs to a roadmap establishing the physical, commercial and human resource infrastructure for digital fashion. The Coalition reached out to Special Trade Representative Dita Angara-Mathay, Commercial Counselor of the Philippine Embassy in Tokyo for support in the operationalization of said plans. The Philippine Trade and Investment Center in Tokyo (PTIC-Tokyo) will serve as the group’s pilot overseas public sector partner in digital fashion industry development.  PTIC-Tokyo invited the Game Development Association of the Philippines (GDAP) and Animation Council of the Philippines Inc., (ACPI) to join the initiative.  

The Philippine Fashion Coalition (PFC) was established in 2020 to support an all-inclusive Philippine fashion industry in the areas of textiles, arts and craft; design; and creative services.  Last year, the Coalition presented advancing trends of global fashion to the legislative branch: hyper localization, sustainability and tech-celeration.  Hyperlocalization is grounded on the overarching principles of individuality and identity, brand mindset and targeted fulfillment of demands of future consumers. Sustainability tackles issues related to responsible capitalism. E-commerce, AI, data analytics, blockchain, metaverses and digital fashion serve as the main drivers of tech-celeration.   

In pursuit of industry objectives, PTIC-Tokyo organized three events in the last quarter of 2021. The first activity held last October 13, 2021 involved presentations by PFC, SIKAP and rejoinders from GDAP and ACPI to the ASEAN Japan Centre (AJC), on the collective vision of Philippine-Japan partnership for capacity building and business development in digital fashion. The second event was an AJC briefing on the general trends driving digital fashion in Japan. The third event held last November 16, 2021, was a firm-level briefing by Japanese digital fashion expert, Mr. Masami Odani, CEO of Avail Corporation. The webinar focused on the role of digital systems and data analysis in the reduction of production cost and present-day management systems.  Mr. Odani walked the group through Japan’s forays in digital fashion, starting with the sector’s historical evolution in Japan to its contemporary state of play. He underlined the philosophical perspective underpinning the fashion industry’s sustainability using the power of digitalization and innovation. The expert proceeded with a showcase of how software and digital tools optimized fit and cut of fabrics for apparel manufacturing and design and effectively illustrated the advantages and benefits of digital fashion software. All three events were attended by the officers and representatives of SIKAP, GDAP, ACPI, PFC, fashion school deans and leaders from De La Salle College of Saint Benilde (DLSU-CSB), SOFA Design Institute in Luzon, Iloilo Science and Technology University (ISAT-U) in the Visayas, and the Philippine Women’s College, in Davao.  

DTI’s field Office in Japan Head Officer, Dita Angara-Mathay reported, “The lively exchange between Japanese presenters and Philippine participants during and after the events delved on the metaverse, the rise of a new breed of fashion designers and game developers, and how technology will the address present day limits of fashion while preserving traditional techniques of garment construction and design”. A quote from Richard Hobbs of Brand New Vision in a recent article best describes the emerging scenario. “What we have to do is create beautiful fashion and then convert it for gaming. I see gaming engines as a means to an end for fashion. Fashion doesn’t have to be part of the game, it could be using the tools the gaming industry created to create other experiences. People don’t necessarily want to wear a Balenciaga couture piece while they are running around shooting their friends. Gaming per se is one part, but gaming engines interconnected with really good avatars and really good fashion is where the future should be. We are at the very beginning of the discussion about the endless creative opportunities for designers and fashion professionals in the metaverse”. 

After the events, a few exciting initiatives are being explored. These include SIKAP and PFC plans to develop models for skins and accessories for avatars using the work of local designers and local brands. There are also discussions with a gaming and development stakeholders on a tripartite collaboration on the use of digital tools and dedicated softwares to optimize design, fit and fabric.  In Tokyo, DTI’s field office has touched base with service providers on the non-commercial use of patented software tools by facilities such as SOFA ISAT-U and Davao Fashion, for their respective capacity building programs.  

To further push the imminent intersection of gaming and fashion design sectors in the same market space,  PTIC-Tokyo who completed a year’s work on a development kit loan project to Philippine industry, STR Dita Angara-Mathay invited GDAP and PFC to come together in the formal and physical turnover of six development kits from one of the world’s most prestigious video game console developers in the Penthouse of the DTI International Building last January 31, 2022.  GDAP was represented by Chairperson Alvin Juban and President James Lo, while PFC was represented by Co-founders Carissa Cruz Evangelista and Jackie Aquino.  While thanking PTIC-Tokyo for its hard work on the development kit project, Alvin Juban said, “The development kits are very important in our organization’s pursuit to create better games for a bigger global market. These kits will allow us to expand our offerings from just mobile to consoles.”  

Carissa Cruz Evangelista added, “We are so grateful to DTI led by Secretary Ramon Lopez, PTIC-Tokyo, the ASEAN Japan Centre and the Philippine industry and academe groups that got together for this undertaking. We thank the Japanese companies that have shown interest in collaborating with our groups on opportunities for digital fashion and the creative economy. Our creative talents are our country’s greatest resource and need government’s full support. As the world learns, transacts, communicates, and evolves in the digital space, the Philippines must not be left behind. We need to move forward in finding our niche in emerging markets, especially those that will not only generate jobs and income but add to the prestige of our country”.  

James Lo, President of GDAP shared his thoughts on synergies between gaming and fashion design, “There are many avenues for various industries to be involved in the video game space, especially now, with the rise in prominence of eSports, cryptocurrency, and various metaverses. The space is no longer just for gamers anymore, it’s for everyone. This of course includes the fashion industry as fashion has always been a core feature in games as it establishes the visual identities of its characters. I expect to see more and more Filipino fashion and culture in Filipino-made games and beyond. The technology of today has made it easier for all types of creatives outside of the game industry, to not only bring their concepts and ideas to life in the digital space but to also profit from them. The gates to digital opportunities are wide open. All we need to do now is step through it”.  

The Philippine Fashion industry contributes 1.4% to the nation’s economy in terms of export. The Philippine animation and gaming industry revenue is projected to reach $123.6 million in 2022, (growing at 14% CAGR from 2016). The global animation market is projected to reach $381 billion by 2022, growing at a CAGR of 12.1% from 2017 to 2025. The global gaming industry grew rapidly in 2020 and is on track to reach $219 billion by 2024.  

Globally, the creative economy accounts for just over 6.1% of global GDP, generating a revenue of $2.25 trillion annually. The digital fashion sector is a rising star in the creative economy. As Japan rises from its hiatus during covid, the Philippines may benefit from synergies between local stakeholders and global players such as Sega, Square Enix, Nintendo and Bandai Namco, as the Philippines has a plethora of creative talents in the fashion design, animation and the gaming space.  

Believing in the power and result of collaboration,  the Philippines under the initiative of the Department of Trade and Industry (DTI),  co-hosted a webinar last July 22 with Indonesia’s Ministry of Tourism and Creative Economy to explore post-pandemic promotion and cooperation in the creative economy sectors between the two countries.

Director for Indonesia’s Interagency Relations of the Ministry of Tourism and Culture Baparekraf K. Candra Negara said the creative economy is a major contributor to the Indonesian economy. Based on 2017 data, 17.68 million or 14.61 percent of Indonesians work in the creative economy sector with an export value of USD19.84 billion in the same year. The four subsectors that absorb the most labor are fashion, culinary, craft, and publishing.

“The increasing cooperation in the promotion of the creative economy sector will not only grow the sector but also increase the opportunity for tourist visits,” said K. Candra Negara.

Meanwhile, Jeremiah Reyes, Jakarta-based Philippine Commercial Attachè echoed this by highlighting the need to enter into a Memorandum of Understanding (MOU) with Indonesia on potential cooperation on the creative economy. “We have been in talks with Indonesia’s Ministry of Tourism and Creative Economy Director for Inter-Institutional Relations since 2018.”

The Creative Economy Council of the Philippines (CECP) President and Founder Paolo Mercado presented the creative economy roadmap proposed by CECP, envisioning the Philippines as the leading creative economy in ASEAN by 2030. This roadmap included plans on policy and industries, identifying zones and cities, and developing education.

“One of the strengths of the Philippine creative economy is human resources. Indonesia is a potential country to work together within increasing the capacity of human resources in the creative economy sector,” Mercado said.

Animation Council of the Philippines, Inc. (ACPI) President Juan Miguel del Rosario discussed how the Philippines is fast becoming a global hub of animation outsourcing with sizeable entertainment industry and a large skilled talent pool, driving more animation outsourcing jobs to the country than ever before.

Advertising, film, animation, game development, and design make up the five main sectors that drive the Philippines’ creative economy. Specific segments that are being considered for promotion in Indonesia include game development, animation, fashion design, and culinary arts, as well as Creative Education and the Creative Service Partnership.