Photo Credit: @Chloe, Alicia, and Puspita A. Permatasari 2023

RICHNESS

Wonders of Textile Fibers

Throughout history, India and China have played a significant role in shaping the textile heritage of Southeast Asia. Indian textiles, known for their prized silk and cotton, have left a lasting impression, while Chinese influences have introduced new weaving techniques and patterns. The timeless innovation on the use of cotton and silk in the richness of textile artistry remark the fascinating interplay of cultures along this historical trade route.

The gold and silver thread used in Praewa Thai Silk Fabric in Thailand, Indonesian Songket and Brunei’s Kain Jong Sarat represent the sophisticated blends of techniques, luxury materials and deep philosophical meanings. Singapore, as one of the most renowned and historical ports of Malaca Strait, has seen the fusion of cultural influences between Malays, Indians, and Chinese residents. This cultural melting pot has given rise to a vibrant textile art scene, featuring exquisite weaving, embroidery, lace, and beadwork. The textiles of Singapore often incorporate silk, cotton, and gold threads, reflecting the design characteristics of Indian, Chinese, and Malay decorative arts.

In Vietnam and the Philippines, the use of cotton, abaca, and ananas fibers serve as the main  In Vietnam and Philippines, the use of cotton, abaca, and ananas fibers serve as the main alternatives to silk in textile production. These fibers were abundant in both countries and were used to create various textiles and garments. Additionally, the trade routes established by Chinese merchants also facilitated the exchange of these fibers, further diversifying the textile industry in Southeast Asia. 

Songket (Gold thread weaving) Source: Indonesiakaya

RITUALS & Permanence

The breath of spiritual, order, and balance

The Philippines textile heritage is deeply spiritual, with indigenous arts such as woven textile, beadmaking, tie dye, and Piña textiles expressing legends and philosophical meanings. These arts are seen as a spiritual practice, demonstrating devotion and beliefs in nature consciousness. Hindu and Buddhist icons, as well as mythological symbols, are commonly used in textiles. The connection between spiritual and cosmic dualism is evident in the Upper and Lower worlds, represented by birds and flying creatures, respectively. The inclusion of animals and reptiles on ceremonial clothes signifies the wearer’s spiritual identity. Hmong needlework also incorporates spiritual beliefs, with some patterns made for protection against bad luck, malevolent spirits, and misfortune.

As an example, Bontok people of Northern Philippines incorporates traditional weaving technique that varies in skill level. At the age of twelve, girls start learning how to weave the simplest part of the skirt, which is the edging (langkit) part. The center panel (pa-khawa) features a band in the middle and supplementary weft (kan-ay) at its ends. One of the unique characteristics of Bontok textile is the centre panel, which has to be woven at the end, followed by other pieces of side panels (pa-ikid), which are sewn together with centre panel into one tubular garment. The symmetry of cloth construction and repeated warp-striped designs further emphasize the concept of centeredness in Bontok life. The centre is given attention in everyday and ritual contexts, reinforcing permanence, order, and balance. Based on the museum catalogue of National Museum of the Philippines (2013)  Female Bontok wear consists of a ‘Missionary’s blouse’ or plain white cotton shirt, a belt/girdle (Wakis ay kinulibangbang) made of cotton and synthetic dyes, and a wrap skirt (Lufid ay sinangadom) from Samoki, Bontoc, Mountain province. Bontoc people believe in the Supreme deity called Lumawig as well as the spirits of their ancestors who live in a mountainous world. Some similarities can be identified between Yakan and Bontoc textile motifs. Bontoc textiles feature anthropomorphic designs such as human form (tinaggú) with the supplementary weft woven grid that form sinullaman pattern in the end of the tubular skirt, which symbolizes forest.