Do we really know the story behind Malay textiles? Here are expert insights from collector and Asian art history expert, John Ang
When it comes to cultural Malay fashion, chances are, the first few that immediately come to mind are the baju kurung, songket, batik, kebaya, sarong and baju Melayu. Though we know that the techniques and textiles used to create these clothes vary depending on which Malaysian state one
is from, the story of how they came to be is still a mystery. With the help of avid textile collector and Asian art history expert John Ang, Tatler uncovers the hidden world within Malay textile art.
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In the mid-19th century, John Ang’s great-great-grandfather, Tan Hiok Nee, began trading textiles in Telok Blangah after a brief stint of tin mining in Pahang. According to Ang, he worked closely with the first sultan of Johor Bahru in the mid-1800s, who at the time was known as Temenggong Abu Bakar as he hadn’t become Maharaja till 1868. Having obtained several surat sungai according to the Kangchu system, Tan established gambier and pepper plantations along the Johor River. When Johor Bahru was finally established in the late 1860s and Tan was appointed as a Mejar Cina, the sultan popularised the baju Telok Blangah, a long-sleeved shirt that didn’t have the raised cekak musang collar and instead had an opening hemmed with tulang belut (a stiff stitching called the eel’s spine technique); Tan had supplied the fabrics to create the shirt.
Nearly two centuries later, Ang, a teenager in the ’60s, described his first encounter with textiles an exciting experience, attributing his love for the medium to his interest in Southeast Asian history and his attraction to strong, dynamic visuals.
He explains that fabrics are able to tell stories that linked the past to the present. Penetrating all social classes, it was used to shield people from the elements or establish their station in society. Eons ago, distribution of textiles had spread far and wide but collectors such as Ang are able to trace their origins, influences in design and how they eventually evolved.
“When I saw Indonesian textiles for the first time, they were these ship cloths from Lampung that were over three metres long! It was thrilling. And that was when I started collecting Indonesian textiles; I don’t do it now as there are so many people who have researched about it already. But for Malay textiles, I realised there wasn’t a lot of information about them. That’s why I decided to make it my main focus instead.”
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Considering how scattered the information was, collecting the textiles was no easy feat, as was sharing his newfound knowledge. “What I didn’t realise at the time was how hard this was going to be,” says Ang. “The most difficult thing was getting people to take you seriously and be open to listening to what you have to say about their own culture. Because whatever you discover, there will always be people who refute it, even if it is true. Which is why I now have a lot of Malay friends who help me verify my finds and I’d share what I’ve learned with others. So even if it’ll take a while, I still get my point across, and they get interested in learning, [albeit] in their own way—that to me is better than them not willing to listen at all.”