In modern times, it is still an aspect of various traditional clothing in Hispanic cultures and is particularly prominent as part of the costume (traje de flamenca) of flamenco dancers (bailaoras) and Gitana women.

These were carried over into the Spanish colonial period and acquired European design motifs like floral embroidery (using techniques like calado, sombrado, and deshilado).

[4][5] Capitalizing on this new demand, Chinese factories in Canton (modern Guangzhou) and Macau started producing large quantities of painted or embroidered silk in the 18th century, for the sole purpose of exporting them to the Philippines and from there to further Spanish colonies and Europe.

[4] Silk in domestic Chinese markets were usually reserved for clothing, and the designs had symbolic significance based on social status.

[6] These silk shawls became immensely popular in the Philippines and were quickly adopted into the local fashions of upper class Luzon women in the 18th and 19th centuries.

The Manila shawl was also used to decorate grand pianos in houses, as can be seen in the recently reopened Museo del Romanticismo in Madrid.

This spurred local weavers to recreate the embroideries in chinoiserie, favoring designs suited for European tastes while doing away with undesirable motifs like toads (a symbol of wealth in China) and pagodas.

Sara Baras and Maria Pages are two of the most best flamenco dancers in Spain and they are experts in twirling their shawls during the dance.

Famous Spanish singers who sing the copla, a traditional form of song, also are dressed in the Manila shawl.

Many of the cheaper modern Manila shawls are imported from China, and they may range in price from 20 to 300 euros, depending on the amount of embroidery used.