‘Just a blouse’ or so much more? Kebaya makers on Southeast Asia’s iconic heritage garment
Putri Nadirah Hassan and Heath Yeo are keeping kebaya traditions alive and making them resonant for new generations.
- 4 Feb 2025
Putri Nadirah Hassan and her mother Ratianah Tahir at the launch of Orkids, a series of dolls in kebayas resembling those worn by her grandmother (center); Heath Yeo at a radio appearance to promote kebaya heritage. Images courtesy of Kebaya by Ratianah and Heath Yeo
“My grandmothers wore kebayas almost daily. When I visited them at their homes, I’d always ask, ‘Where are you going?’” recalls Putri Nadirah Hassan.
Putri and her mother run Kebaya by Ratianah, on Kampong Glam’s Bussorah Street: “In our shop I meet ladies of different shapes, sizes, and personalities. But they all share a love of the kebaya.”
Putri and her mother run Kebaya by Ratianah, on Kampong Glam’s Bussorah Street: “In our shop I meet ladies of different shapes, sizes, and personalities. But they all share a love of the kebaya.”
The kebaya is an embroidered, open-front blouse that is typically fastened with jewellery and worn with a sarong — although there can be countless variations on fit, fabric, and embellishment.
In December 2024, the kebaya was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity, thanks to a joint nomination from Brunei, Indonesia, Malaysia, Singapore, and Thailand.
“It’s more than just a blouse. It means so much to different communities in Singapore, from the Malays to the Peranakans and Eurasians,” says kebaya-maker Heath Yeo, “Fashion has evolved and the kebaya may no longer be an everyday sight, but it has grown into an important symbol.”
Putri's customers prove kebayas can be worn at any age, restyled for any era, and dressed up for major life events. Images courtesy of Kebaya by Ratianah
A common thread
Heath and Putri were invited to share their knowledge as part of the UNESCO nomination and were connected as part of a new local collective called Kawan Kebaya (Friends of Kebaya). “When I met Putri, I was so pleased to see someone from the next generation continuing the tradition,” says Heath.
The appreciation was mutual. “I admired Heath’s embroidery long before meeting him. It’s so intricate and takes years of training, his skills are almost untouchable.”
Heath believes the effect of traditional sulam (embroidery in Bahasa Melayu) feels more spontaneous than that of automated embroidery. Images courtesy of Heath Yeo
They embraced the positivity of the Kawan Kebaya network.
“There was no arguing over who started or owned what,” Heath says. “Of course there are differing opinions and approaches,” says Putri, “but we agreed that we must work together to elevate the kebaya to the next level. We are all passionate about something that is greater than ourselves.”
“There was no arguing over who started or owned what,” Heath says. “Of course there are differing opinions and approaches,” says Putri, “but we agreed that we must work together to elevate the kebaya to the next level. We are all passionate about something that is greater than ourselves.”
The touch of life
For Heath, who learned the craft under a master kebaya maker and still uses treadle-powered machines, preserving traditional methods of making kebayas is essential.
“Electric machines speed up the process, which is perfect for our fast-moving times,” he says, “But knowledge of how things were done in the past should be recorded, so it can inspire future generations in new ways. If they are lost, we must start all over again from nothing.”
Heath aims to capture the lively linework of his sketches with free motion embroider. Images courtesy of Heath Yeo
Heath shares his craft through small workshops which he hopes will plant the seed for students to learn more about kebaya craft. He takes a similar approach with his custom kebaya clients: “I like to challenge them to order something they do not already have in their closet.”
Recent works from Heath include a kebaya decorated with One Hundred Children at Play, a popular motif in Chinese art featuring children lion dancing, playing with firecrackers, flying kites, and more. Another commission saw him embroider an entire Nativity scene that wrapped around a kebaya’s hem.
Heath enjoys experimenting with embroidery in his free time, too: “I love free motion embroidery because I can give things flair,” he says. “A butterfly’s feelers can curl just a bit extra, or flower petals can unfurl a more in a certain direction. Things come alive.”
Through the ages
Although some people describe kebaya culture as endangered, Putri’s interactions with her customers suggest otherwise.“Many young people are looking for something that represents their roots,” she says, “They wear their kebayas with jeans and worry they will be criticised for not styling it how it used to be worn. But I always tell them that if they are appreciative and respectful, there’s nothing wrong.”
In Orkids Town, kids can play mini-games involving teh tarik stalls and shadow puppet theatres — all while their avatars wear kebayas, of course. Image courtesy of Kebaya by Ratianah and Mini Monsters
Thanks to NHB’s Organisation Transformation Grant, Kebaya by Ratianah recently collaborated with an edutainment company to create Orkids, a series of kebaya-clad dolls who are also characters in a digital game based around Kampong Glam’s history.
Putri hopes that the dolls and game will introduce the kebaya to a whole new generation of admirers: “Hopefully this can become a core memory for girls and get them interested in their heritage,” she says.
Kebaya was inscribed onto the UNESCO Representative List of the Intangible Cultural Heritage of Humanity on 4 December 2024. It was jointly nominated by five Southeast Asian countries: Brunei Darussalam, Indonesia, Malaysia, Singapore, and Thailand, in celebration of our shared history and cultural identity.
Find out more about the inscription journey at go.gov.sg/we-heart-kebaya
.jpg?h=683&w=1024&la=en&hash=A562D3F54ACD95ECA5F9735D88B994EE)
