Trends may come and go, but identity remains; that explains why traditional wear remains an integral part of fashion. Just look at Mongolia’s Olympic uniform that took the internet by storm. With silhouettes that drew inspiration from Mongolian deels, the uniforms were worn during the Naadam—a celebration of the nomadic culture that involved games such as Mongolian wrestling, archery, and horse racing. Fashion can be a soft power—we now know more about the Mongolian culture through these uniforms. Traditional fashion, in this case, carries a sense of scarcity and respect that modern clothes will never be able to replicate.
The Revival
With globalisation breaking cultural barriers, embracing your traditions is no longer perceived as backwards or conservative. Nostalgia-driven vintage resurgences and the upsurge in practising slow living have cultivated a new generation with a growing appreciation of old-time charm; leaders of most ethnic groups have intensified their efforts in protecting relics and expanding initiatives to preserve intangible heritage, while aspiring designers are more empowered with cultural confidence to bruit about their culture. Antiquated techniques were revived assisted by new advancements, while elements of the passe were incorporated into contemporary designs and furnished with modern tailoring.
But how far can modernisation and creativity go with traditional clothing? Where’s the line between dilution and innovation? From John Galliano’s controversial fascination to Chopava Lowena’s textbook example and sending kimonos from Japan, Scotland’s kilts, or sarees from India down the runways, are perceived as attribution—for better or for worse. It was never without quandaries because as the visual history permeates—or insinuates—into the Western-dominated fashion world, the fierce collision between creativity, modernisation and traditional fashion is indelible. “Blending creativity and modernity with traditional wear is a great way to keep it relevant. But we [as designers] must be careful not to strip away the essence of these garments. The key is finding a balance between innovation and respect for tradition, ensuring that the meaning of these clothes is preserved while still evolving with the times,” comments Uzair Shoid, an emerging local designer who excels in infusing cultures into his womenswear designs.
In Malaysia, for example, getting our mitts on traditional wear—ideally with adaptations that can be incorporated into a daily rotation—is essential. Festive launches have always been a mainstay for many local brands or designers, making up a huge portion of their revenue stream. “There are people who feel that traditional attire is meant to be worn in certain settings, and modernising it for everyday wear would challenge that mindset,” Uzair shares from his observations. Modernisation for the sake of it, without context, could be a double-edged sword that deters the public from new approaches to traditional fashion.
“We need to continue [even with consumers’ scepticism] to prove that these pieces can be practical yet refined for different occasions, with the hope that people will see its potential to be more than just ceremonial wear. It’s about shifting perceptions of cultural fashion.” Practicality, affordability, and sustainability, to name a few, are some of the modern concerns that designers can pen their creativity around to be pertinent in the confluence of cultural, environmental, economic, and technological factors while not losing the identity of these pieces.
Address The Crowd
For a cultural melting pot like Malaysia’s, multicultural families or third-culture children are common. The assimilation of cultures increases the demand for garments that allow the wearers to fuse elements from different cultures together as wearers straddle between their roots. Local fashion labels such as ANAABU and BEHATI made it their job to fill the void by designing pieces that merge different cultures. The latest ‘Kongsi Masa’ collection—literally translates to shared times in Bahasa Melayu—by Ana Abu, for instance, was released to celebrate both Chinese New Year and Eid. Baju Kebaya, for example, features a high collar and knotted buttons intrinsic to traditional Chinese fashion.
Long-lost textile techniques or craft-making are innate to traditional garms, hence, they are hardly accessible, and if you get one, it will cost a small fortune. Despite being justifiable, a comparably affordable price tag would be enticing to the masses. The gap is tightened with the advancement of technology. Machine-printed fabric or batch-made pieces cater to the mainstream market with a minimum price. This has, however, disrupted the artisan industry, leaving many with no income. This fast-fashion-like process is a threat to preserving our culture as the significance of traditional clothing is diluted. While it’s not something to write home about, we cannot overlook the price point as one of the most definitive factors amongst consumers. In an age of rising overheads, it’s even more challenging for independent designers to come up with solutions that balance affordability and authenticity.
“I try to find a balance by selectively incorporating these techniques into key elements of the design, rather than using them for everything,” shares Uzair. Patching traditional fabric onto a bigger piece of textile or using decorative elements on a smaller scale, such as motif embroidery and weaved hemlines, are some of the examples designers opted to work within the budget. As a designer in Malaysia with comparably limited fashion sources, Uzair revealed that experimenting with more accessible materials or streamlining certain processes are effective ways to produce affordable pieces. “Working with local artisans and building long-term partnerships help lower the costs while honouring the craftsmanship,” said the designer, who partnered with local jewellery maker Wasis Studio for his show at Kuala Lumpur Fashion Week 2024.
Practicality is another challenge. The composition of these garments was not made or designed to fit into the routine of urban dwellers with modern tasks and errands to fulfil. In fact, when modern Western fashion replaced these clothes decades ago, its appeal was in convenience, comfort, durability, and adaptability. Traditional clothes are often accoutred with complex fastenings or layers that are less relevant for wearers of this age. As a consequence, customary attire was reserved for special occasions like celebrations, formal settings or weddings—they are crafts meant for collectors, and less for daily wear and tear. The purpose is limited.
Minor touches such as hidden zippers or additional buttons have been useful in making these pieces more wearable. Sarong skirts, for example, commonly consist of a piece of batik fabric allowing wearers to tie it as they wish. On the flip side of the coin, its versatility is also an inconvenience for those who have not mastered the skill of tying. Some traditional pieces were designed to exhibit the artistry, and for daily wear, it can be redundant. As a contemporary designer who promised to deliver “hassle-free essentials”, Shao Fen found her approach to honouring her Chinese roots. The significance of traditional clothing can be conveyed in many ways: “It’s beyond decorative details at times, say for example looking at the characteristics of the fabrics.” The designer who aces in minimal design suggests that other elements, however trifling it may seem, can translate the significance of a traditional piece precisely, too.
For other designers, keeping the silhouettes while swapping the heavier and denser traditional fabrications was part of the creative decisions made to accommodate factors such as cost, logistics and geographical limitations. Lightweight and breathable selections, for instance, are more favoured by Malaysian designers as it is more practical for the wearers. Durable options such as denim are also popular for their ability to withstand regular wear and tear and its strong cultural association with rebellion, youth and nonconformity—a symbolisation that offsets the traditional tone of a classic piece.
The Bottom Line
“The bottom line will be if a garment can still be recognised as traditional wear by the audience. The are boundaries that shouldn’t be crossed,” Shao Fen asserted. While it’s in the designers’ hands to inject meaning or context into a piece, the audience will ultimately be the judge of whether or not a piece passes as a traditional garment. “Consumers are generally more accepting of a variety of designs—they are equally as excited to explore or try something [as much as the designer does]. I think symbolism still matters. Red, for example, will never cease being an auspicious colour, and it will retain its high demand,” Shao Fen continues.
Fashion, ultimately, is about pushing boundaries and traditional fashion needs to be executed with one more aspect to take into consideration: respect for the culture. Our conversations with Uzair Shoid and Shao Fen have attested that the appreciation for traditional fashion can be fastened with creativity, with or without drastic modifications of the pieces. “I think Thebe Magugu is a great example. Cultural references can be found in not just the designs but also in world-building—the curation, the website design, and every other aspect of the brand,” Shao Fen shares, explaining that embracing the culture should not be a rigid restriction but rather a mainsail of a brand and that requires deep understanding.
“My main focus is to understand the cultural roots of a garment I work with. I need to ensure I respect their history and symbolism.” Uzair insisted that, however back-breaking the process is, if a brand or a designer decides to drop the anchor on traditional fashion, this is the least they should do. For a society that revels in traditional cultures, the current outlook of the local fashion scene is considerably positive in welcoming more to dip their feet into this and contribute their creativity to the domain.
This story first appeared on GRAZIA Malaysia April 2025 Issue.
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