Analysis;
Craftsmanship
Respectful + Research, Honouring culture
Organic
Effort- Handwork
Teaching
Reflection;
The Dior Fall 2023 show in Mumbai, a testament to India– Craftsmanship— Education– Culture and Collaboration. As the gateway of India as its set, the event was larger than life. A true celebration of artisanal heritage and a collaborative effort to honor and preserve it. At the centre of the show stood theToran installation—a 14-meter tapestry handcrafted by over 300 Indian artisans. Based in the Chanakya Atelier and/or the Chanakya School of Craft. It took over 35000 hours and features 25 traditional Indian techniques such as Phulkari, French knotting, and Kantha.
Maria Grazia Chiuri, Dior's creative director, has acknowledged the importance of Indian craftsmanship within couture. Her collaboration with Karishma Swali, the artistic director of the Chanakya School of Craft honours traditional Indian garments as Saris, Lungis and Kurtis, reimagined by Dior; by incorporating motifs as elephants & peacocks Dior shows its appreciation for India's cultural symbols.
The designs from the collaborative process between Dior and the Indian artisans emerged organically– Natural fibers formed the base of the Toran promoting modern complications such as sustainability. The collection's silhouettes and patterns were inspired by traditional Indian attire, yet were adapted to modern aesthetics, as a result; clothes that felt both rooted and stretching, innovative.
Chanakya School of Craft plays a prominent role in preservation and education within the field of traditional Indian embroidery techniques. By training over a thousand artisans since its establishment, the school promotes valuable skills aswell as economic independence and community development.
Fall 2023 show by Dior is a celebration of Indian artisanal heritage—a clash of craftsmanship + culture & collaboration—honoring and adapting tradition.
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Dior. (2023, June 12). The making of Dior Fall 2023 in India. https://youtu.be/bwIVOc-_3go?si=m23DZfANMvonBj71
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LVMH. (2023, March 31). Dior Fall 2023, de Paris à Mumbai. https://www.lvmh.com/en/news-lvmh/dior-fall-2023-de-paris-a-mumbai
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ELLE. (2023, June/July). Maria Grazia Chiuri on Dior's Fall 2023 Mumbai Show. https://www.elle.com/fashion/a43865134/dior-collection-fall-2023-chanakya-atelier/
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Harper's Bazaar Arabia. (2023, March 31). Indian Craftsmanship Was The Focus Of Dior's Fall 2023 Show. https://www.harpersbazaararabia.com/fashion/dior-fall-2023-show-in-mumbai-2
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Art Basel. (2024, April 15). Chanakya International is elevating India's craft heritage. https://www.artbasel.com/news/chanakya-international-india-craft-heritage-art-fashion-venice-biennale-2024
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Fashion Network. (2023, March 31). Chanakya School of Craft: Empowering women through embroidery. https://ww.fashionnetwork.com/news/Chanakya-school-of-craft-empowering-women-through-embroidery%2C1502825.html
In North Sumatra one of the oldest weaving techniques is carefully kept through ancestral passage; the Batak people are renowned for their textile traditions. It is where ‘Ulos’—a traditional handwoven cloth that involves cultural and spiritual significance finds its presence.
It is woven predominantly by Batak women and used in a variety of ceremonies; birth, weddings, funerals, etc. Different patterns and or color combinations have precise definitions. Being often associated with specific clans or functions. For instance, the Ulos Ragidup is traditionally given to newlyweds as a symbol of long life and prosperity, while Ulos Sibolang relates to funerals and honoring the deceased.
The technique of Ulos weaving is intricate and time consuming;
Using backstrap looms, hand weaving threads dyed with natural colors & creating complex geometric patterns passed down from generation to generation.
The documentary ‘Rangsa Ni Tonun’ is a poetic documentary (Rangsa) reported by a Datu or Shaman. His report considers the full development from cotton harvesting to dyed yarns, describing the process of fluffing- creating rolags and spinning. Followed by the process of dying with Sigara and Starting/Warping frames. Lastly, showcasing the weaving process itself.
Like many traditional crafts, Ulos weaving techniques faces threats from modernization / mass-produced textiles, and minimal interest among younger Batak generations.
Fewer young inhabitants are learning the craft, and the economic feasibility of handwoven Ulos struggles against factory made imitations. Without wilful preservation efforts, this centuries-old tradition risks disappearing from earth's existance.
In response to the risk of disappearance, activists and local communities have launched various initiatives to preserve this tradition;
One effort is the establishment of weaving cooperatives + training centers, mainly in villages around Lake Tob. These centers serve both as educational hubs and as sources of income, older weavers pass on their skills to younger generations in a structured and sustainable format.
Besides, initiatives such as the The documentary ‘Rangsa Ni Tonun’ help raise awareness.
A renewed interest in Ulos has been established within the fashion and design industries; Indonesian designers and international artists are increasingly incorporating Ulos into their process, carrying traditional authenticity into new contexts. These modern reinterpretations not only serve to preserve but also expand the relevance beyond traditional and or local usage.
In conclusion, the Batak community and its ‘Ulos’ weaving is a living tradition that goes beyond technical aspects, carrying deep spiritual and cultural significance. Preservation depends not only on what is, but to adapt for future relevance.
Through education and innovation, the Batak people can ensure that their heritage continues to exist.
Analysis;
Multicultural influences
Chinese origins
Nyonyas + Babas
Sareng
Kebaya
Embroidery
Modernity
Adaptive
Reflection;
Peranakan, a newly emerged culture that was created through multicultural influences– through adapting and evolving. Rooted in China, the Peranakan descent from Chinese immigrants who settled in the Malay Archipelago. Mostly in Malaysia, Singapore and Indonesia. These Chinese immigrants married local inhabitants, creating the Peranakan culture. Later, more multicultural influences found the Peranakan through European colonisation, adding to the Peranakan identity. This identity is mostly visible by expression through their clothing– telling their story of adaptability.
Traditional garments are worn by both Nyonyas (women) and Babas (men).
Nyonas wear visually captivating outfits, made up of the Kebaya; a delicate, transparent blouse is fitted to the body, that is paired with a Sarong—a long, wraparound skirt crafted from Batik or print fabric
Both are of Malay origin, but these garments were embraced and creatively adapted by the Peranakan community. The Peranakan community claims they adopt different forms and origins of beauty, this to express their multicultural identity. So has the Kebaya adopted intricate embroidery. Often embroidered with classical motifs such as the phoenix and butterflies, drawn from Chinese symbolism– they convey deeper meanings relating to rank, wealth and honour.
Traditional Nyonya Kebayas are often fastened with a set of three Kerongsang brooches and paired with handmade Kasut Manek or beaded slippers that require months of detailed effort. The attention to detail embedded within their culture, reflects a moral value: Beauty lies not only in appearance, but in the investment of time– effort and care.
Baba men wore easier garments– consisting of a Chinese style shirt with trousers or, on more formal occasions, a Sarong paired with a Western style jacket.
A remarkable feature of the Peranaken culture is their mobility to adapt. Despite being a minority, Peranakans have preserved their traditions whilst creating prosperity through embracing modernity. This is especially found in the evolution of Peranakan clothing. Contemporary designers are reinterpreting the Kebaya and Sarong through different cuts and renewed ways of styling. They retain the spirit of tradition—such as the intricate embroidery and symbolic motifs—but present it in forms that appeal to younger generations and international audiences.
–New Nyonya focused garments now include sleeveless Kebayas with renewed jackets and Sarongs paired with Western blouses.
Fashion also plays a prominent role in cultural storytelling and identity within Peranakan culture. Wearing a Kebaya and/or Sarong is not just an act of dressing, it is a celebration of ancestry, an homage to foremothers and forefathers who bridged cultures with dignity and creativity. In a world where homogenization threatens local traditions, Peranakan clothing stands as a proud example of how multiculturality can prosper.
In conclusion, Peranakan clothing goes deeper than surface level, finding meaning in tradition rather than decoration. Embracing their multiculturality— forming a visual language that speaks of migration, fusion that became an enduring legacy. From its Chinese origins to Malay elements, from the beauty worn by Nyonyas to simplicity embraced by Babas– and from tradition to modern adaptations:
Peranakan fashion reflects a culture that is both deeply rooted and wonderfully adaptive. Their clothing offers a glimpse into the past + serves to inspire when tradition and innovation come together, they thrive.
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Tan, C. B. (2004). Chinese Peranakan heritage in Southeast Asia. In G. Wang (Ed.), Nation-building: Five Southeast Asian histories (pp. 114–135). ISEAS–Yusof Ishak Institute.
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Wee, T. H. (2009). Peranakan beaded slippers: Cross-cultural artistry. Singapore: Editions Didier Millet.
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Chong, T. (2012). Heritage and cultural preservation in Singapore: The case of the Peranakans. Sojourn: Journal of Social Issues in Southeast Asia, 27(2), 273–301.
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Yong, S. (2021). Reimagining tradition: Modern Peranakan fashion in Singapore. Fashion Theory, 25(5), 567–586.
https://doi.org/10.1080/1362704X.2021.1911502 -
Singapore Tourism Board. (2023). Peranakan culture: A living legacy.
https://www.visitsingapore.com/editorials/peranakan-culture-a-living-legacy/
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Asian Civilization Museum. (2019). #UnderstandEverything -Peranakan bead embroidery.
https://youtu.be/UukNBGb3HGU?si=x_4oLjzO8nygtsCd
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Albert Min Pingguo. (2016). The Paranakan Culture.
https://youtu.be/YUQWUlRuCLw?si=BkITsYdVggqby-Ps
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CNA Insider. (2016). The Kebaya Maker from Singapore | CNA Insider
https://youtu.be/U8Dn0xj1kow?si=0Z8SeD2bLzBO3ST5