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The Usual Male Headdress Was the Pudong, A Turban, Though in Panay Both Men and Women also Wore a Head Cloth or Bandana Called Saplung
Commoners wore pudong of rough abaca cloth wrapped around only a few turns so that it was more of a headband than a turban and was therefore called pudong-pudong—as the crowns and diadems on Christian images were later called.
A red pudong was called magalong, and was the insignia of braves who had killed an enemy.
The most prestigious kind of pudong, limited to the most valiant, was, like their G-strings, made of pinayusan, a gauze-thin abaca of fibers selected for their whiteness, tie-dyed a deep scarlet in patterns as fine as embroidery digitizing, and burnished to a silky sheen.
Such pudong were lengthened with each additional feat of valor: real heroes therefore let one end hang loose with affected carelessness.
Women generally wore a kerchief, called tubatub if it was pulled tight over the whole head; but they also had a broad-brimmed hat called sayap or tarindak, woven of sago-palm leaves.
Some were evidently signs of rank: when Humabon’s queen went to hear mass during Magellan’s visit, she was preceded by three girls carrying one of her hats.
A headdress from Cebu with a deep crown, used by both sexes for travel on foot or by boat, was calledsarok, which actually meant to go for water.
The weaving process uses a loom.
The lengthway threads are known as the warp, and the cross way threads are known as the weft.
The warp which must be strong needs to be presented to loom on a warp beam.
The weft passes across the loom in a shuttle, that carries the yarn on a pirn.
These pirns are automatically changed by the loom.
Thus, the yarn needs to be wrapped onto a beam, and onto pirns before weaving can commence.
Light can have a variety of effects on textiles over time.
In some cases, it may contribute to fading or discoloration, but of more concern is the damage which the fibers may suffer under prolonged exposure to non-visible light, such as ultraviolet and infrared lighting.
Ideally, textiles digitizing should be stored or displayed in as little light as possible, and preferably in total darkness. 
However, as this is impractical for display and care of the piece, knowing the limits of lighting as well as the safest amounts of lighting, become important.


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