One of the primary catalysts for this aesthetic is the centuries-long Spanish colonial rule. The Spanish influence exposed Filipinos to a diverse range of elaborate and intricate architectural styles, most notably reflected in the construction of Catholic churches throughout the archipelago. These structures often showcase a blend of styles, moving from the restrained elegance of Romanesque to the ornate, dramatic flair of Baroque architecture, with its detailed carvings, opulent altarpieces, and sweeping frescoes. Furthermore, the introduction of Roman Catholicism brought with it a calendar rich with religious holidays and community festivals, or fiestas. Filipinos embraced these events, adding a distinctively colorful, vibrant, and exuberant local twist to the decor, parades, and celebrations. Historian Xiao Chua posits that the inherent artistry and the grandeur of Catholic elements, the lavish vestments, the gilded religious images (santos), and the richly decorated churches, significantly influenced and contributed to the development of Filipino Maximalism as a core aesthetic value.

Beyond historical influences, the maximalist tendency can also be strongly attributed to the concept of horror vacui, a Latin phrase meaning the “fear of empty spaces.” This is an aesthetic principle where an entire surface is filled with detail, leaving virtually no area empty. Architect Patricia Anne Grafil connects this principle directly to Filipino cultural practices, specifically noting the compulsion to actively fill up any vacant spaces within their homes. This practice extends beyond mere decoration; it is deeply tied to sentimentality and memory. Filipinos exhibit a profound love for collecting and accumulating multiple keepsakes, mementos, and various decorative items. These objects, often displayed prominently and in abundance, serve as tangible anchors, preserving and calling back to cherished memories, significant life events, and meaningful relationships, transforming living spaces into rich, layered narratives of personal history and cultural identity. The resulting visual density is thus less about clutter and more about a purposeful, emotional saturation of the environment.