For many of us, Farah Mohan requires little introduction. The founder of Novak Batik has been going around town hosting workshops and joining exhibitions showcasing her prowess to the general public. This time around, you will get to see the iconic Lacoste mascot bedecked in the artist’s contemporary batik creation, and it will be available at the store at The Exchange TRX until 4 April 2025.
The collection itself sees the French lifestyle brand taking a step into the world of artificial intelligence (AI) for the visual campaign, marking its lockstep with current times. In this case, we see images of that juxtaposes the captivating colours of the desert alongside sporty-chic tennis paraphernalia—a dissonant mental image, but one that actually works elegantly when paired together. Featuring a curation of Lacoste’s Spring Summer 2025 collection, the commonality that you’ll find within the Ramadan collection are the warm colour palette, comfort-forward silhouettes, and of course, all the details that makes a Lacoste piece.
The Lacoste Crocodile Wears Batik by Farah Mohan
Launched in tandem with the release of Lacoste’s Ramadan 2025 campaign, this special installation is an amalgamation of the beauty of batik, the spirit of Ramadan, and the brand’s modern fashion codes. The result is a stunning exhibit that not only resonate with the local shoppers, but also one that has the potential to put the art form in front of a wider audience.
Her latest work with Lacoste definitely put her capabilities as an artist to the test, and we’re glad to report that it’s a huge success. Keep reading as we speak to the artist herself about the installation.
What was your reaction when you were approached for the collaboration?
Honestly, I felt truly honoured. Out of all the talented artists in Malaysia, Lacoste chose me, and that really meant a lot. It was a moment where I felt seen, not just for my craft but also for the way I’ve been exploring batik beyond the usual format. It’s not every day that a global brand reaches out to collaborate on something so meaningful, so I was both excited and grateful.
What has your experience been like working with installations?
This isn’t my first time working on a batik installation. The first was for Kwai Chai Hong during their Mid-Autumn Festival back in 2020, where I was asked to canting and paint on an almost a human-sized bunny lantern wrapped in white fabric. That experience really opened my mind. It made me realise that batik can go beyond textiles and fashion, and be transformed into sculptural and spatial art. Since then, I’ve been experimenting with batik on different surfaces, exploring how it can live in spaces beyond clothing. I believe that journey is one of the reasons Lacoste approached me, they saw that I’m passionate about expanding what batik can be.
Would you be keen on exploring another installation format in the future?
Absolutely! I’m very excited to explore more batik installations in the future, perhaps on an even larger scale. I’ve always been curious about how batik can exist as part of a space and as art that people can walk around, interact with, and experience in new ways. I would love to keep pushing those boundaries and see where batik can go next.
Do you think it’s important for global brands such as Lacoste to work with local artists?
Definitely. When global brands collaborate with local artists, they bring a sense of authenticity and connection to the community. It’s a way for brands to show that they are not just entering a market, but that they respect and value the local culture. For artists like us, it’s also an opportunity to share our stories, our crafts, and to show that our heritage has a place on the global stage. I think collaborations like this create a meaningful bridge between global and local.
I believe no matter how far we progress, we always go back to our roots and those roots are often tied to traditional crafts. In a world where almost everything can be done by machines now, traditional crafts bring back a sense of humanity and imperfection, which is beautiful. It’s that “slowness” and “realness” that people crave these days, especially when everything else feels so fast and perfect.
Which aspect of the production that you paid most attention to?
Definitely the colour palette. Since the piece would be in a window display, I knew it had to be eye-catching and something that would stop people in their tracks. So I played with colours to grab attention at first glance, and then draw them closer to appreciate the batik details.
The colour palette was suggested by Lacoste, inspired by their latest sports campaign. My role was to interpret and translate those colours into a batik piece that still felt fluid and organic. Although I didn’t choose the colours myself, I worked on creating a flow and harmony within the palette, so that it could speak both to Lacoste’s vision and to the essence of batik, which is all about movement, flow, and life.
When it comes to Batik installation such as the Lacoste one, what’s the most crucial part of the work that you can’t risk?
Honestly the biggest risks aren’t even about the batik process itself, it’s the installation logistics. Two things I never take lightly are the space measurements and the transportation. If the measurements are off, the piece might not fit, or it could look awkward in the space. And even if everything is perfect, if the artwork gets damaged during transport, all that effort could be wasted. So I always double, even triple-check the measurements, and plan carefully for how the piece will be delivered safely.
How does this collaboration differ from your other ones?
This is definitely the biggest art piece I’ve ever worked on. Initially, Lacoste wanted a smaller version, but me being me, I love a challenge so I proposed a version three times bigger! Even though I only had a week for production, I trusted in my ability to pull it off. It was very much a “go big or go home” moment and I’m glad I went big!
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