Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for theScience of Design Otigtualpmper Received March 26,2001,Accepted April10, 2002 RETROSPECTIVE SURVEY ON MALAY TRADITIONAL CLOTHES Types of Clothesused inSocietalActivitiesby Malay Females Nazlina SHAARI", Fumio TERAUCHI"",Mitsunori KUBO"", Hiroyuki AOKI** " GraduateSchoolofScienceand 7;echnology, C7;ibaUhiversity, }kyoi-cho1-33inage-ku,Cliiba263-852ZJopan " FbcultyofEhgineering, C7iibaUitiversic}1 }byoi-cho1-33inage-ku,Chiba 263-8521 Japan Abstract: Clothing refiects the status of the wearer, From the historicalpointof view, the appearance of clothing isdealinga lotwith the textiles.Exquisiterich texturesor woven with goldand silveT threads for royalty and the rich, The functionaland long-lastingfabricswere for the working class. In the post-modem era, the traditional clothing had reformed aggressively in the Malay culture. The strong infiuenceand adaptation from Western had given them a differentkind of social documentationin dressing the traditional clothes. Presented here isthe attire that has stood the test of time- Bciju Kitrung and Boju Klebaya.Late]y,young and old femaleswear these typed of clothes as dailywear. These researches were aimed to identifythe common typed of traditionalclothes worn among the females during working. Itisalso to identifyfemalesview on clothes as p}easurablestate or desirestate. These researches were evaluated by using various analyses such as dernographicanalysis and SD methods in order to obtain the results. They are two categories of clothes being identifiedas TraditionalTyped and Neo- TraditionalTyped. It showed the glimpseof both clothes were run across social bordersof Malaysiandoing their everyday things. Resultsdemonstratedthat femaleswere tied with performing cultural identityand the transformationof clothing va]ues fortheirfashiontrends. Kleywortts: TYaditionatclothes Socialactivities 1)'aditionalmpe,IVbo-traditionatcytpe 1.Introduction The Ma)ays are the race of peoplewho inhabithe Malay Peninsula(whatistoday PeninsularMalaysia)and portions of adjacent islandsof SoutheastAsia, includingthe east coast of SumatTa,the coast of Borneo, and smaller is!ands thatliebetweenthese areas, Ethnically,the Malays are a rnixed Tace followedthe Muslim faith.Such varied backgrounds have produced mixed customs and manners, whilst their strong religious faithhas provideda unifying forcefora distinctMalay culture. Anthropologiststrace the home of the Malay race to the northwestern part of Yunnan, in China and these tribal proto-Malays,or Jakun, were a seafaring people. They were once probably a peop]e of coastal BoTneo who expanded intoSumatTaand the Malay Peninsula as a result of theirtradingand seafaring way of life. These sea-tribes, referred toby the Portuguesehistorian Godinho de Eredia as Satetes played a major part in the making of the greatMalaya [1]. The present-day Malays of the Peninsu]a and coasts of the Malay Archipelagoare describedanthropologically as deutero-Malays and are the descendants of the tribal proto Malays mixed with Indian,Thai,Arabs and Chineseand from these phase,a mix social and cultural beingdeveloped and could been seen clearly intheir art and crafi especially inclothing. The populationof Malay peop]ein Malaysiais59,9%. The rest are Chinesepeople29,9%,Indiaand others 10,2%. The figuresabove showed the percentageof Malay popu]ationwho lived in Malaysia. The Malays, long linked to the landas Bumiputragenerallywork inthe agricultural and industrialarea. The Malay is mainly a rural people, THE SCIENCEOF DESIGN BULLETIN OF JSSDVol.4S No.6 2002 125 NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design livingin viltas,es rather than towns. where Chin¢ s ¢ ,Indians, and other groupspredominate. Mostty the women are working as a house- wife and also involved in handicraftswork. The percentage of women working had increased from 42.2% to 46.t% in 1995 where they involved in many section of work. Malay women aLso involyedin agricultural sector especiat]y in rubber estates and work inthe paddy fieldarea and also in the industrialarea. With the development of new technologiesand the increasingof industrlalsector, a lotof MaLay people started working in this area. They have moyed to town area where a lotof opportunity forthem to developtheirknowledgeand living. 2.Methodo)ogy A qualitativemethod was adapted in this researched, synthetics are derivedfrom primaryand secondary data. The holisticana]yses from the datagathered was divided intotasks: Task 1- A historicalreview of Boju Kurung and Boju Kebaya transformation involvedfrom the pastuntil the present,i.e.,16ihCenturyclothing style, types of fabrics being used, Task 2 - A formal review of the traditional clothes being identified.From the survey resource input,Btiju Karung and Boju Kbbaya were two common types of traditional clo{hes in Malay culture. These traditional clothes had been divided into Traditional typed and Neo-Traditionaltyped. Task 3- Socio-culturalreview of the social environment and common activities involvedthat change the patternstyte of wearing both traditional cLothes among the females.The data had beinggathered from 105females through interviewsand questionnaires, Task 4 - Semanticssynthetics that categorized Btiju Kurung and Bcu'ttKehaya visual appearance by SD methods expressed by females. 3. Survey of Matay Ctothes 3.1TraditionalCtothes TraditionalcLothes can be explained as clothes that had a historicalor cuLtural background from certaln group of peoplesor in the society. Each costume has different approach and meaning depending on their environment, beliefs, myth or reLigion. The inventionof taking fibersfrom plantand develop it as a yarn and weave itand become as a pieceof fabricshas been practicedthousand yearsago beforecentury. These fabricswere used as a protectionto the body towards the weather or any harmfulthings.Fabricsare not seen as mere items of c)othing only, but as essential equipment in ceremonies performed to invokedagricultural and human vaiNpasnpal,ornc":"ndCcrfint"Niltofi Ysa4taStS' ie'indep,e,,dient " :EL maww Figurel.The chronology of c]othing worn by Malay fernales 126 BULLETIN OF JSSD Vol.4S No.6 2002 THESCIENCE OFDESIGN tw -.･L･eviiii,1ii,/llil/li.il'liii/iililill ' I,l･ss･ttg.S'6 ico5rAtrivaiofChinesettathere 'lrrt?l"'ds' F.,Lbe}os i ut NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design fertility. They also offer magicai protectionto wearers at times of transition and dangen Costume or clothes communicates ordinary information about the ethnic identity,social status and gender,butmore importantLysome people belief that it expresses the relationship between the wearer to supernatural and envLronmenL Inframingthe body,clothes contributes to the symbolic transtation of materiality intocultural imagesor signifiers. Clothes,as a pervasive vehicte for the fabricationof culturally viable subjects, is in positionto increase our sensitiyity to the gap between the putativelynatural body and itsrepresented, artificiai counterparts; to the body's translation by means of mechanisms of rhetorical displacement;and to structures of visually insertedbetween the observer and the representation [2].The ambiguous alliance betweenbody and clothes couLd be seen as one of the most inveterateincarnationsof {he fusionof the natural and constructed. Traditionallyclothlng has been and will be continue to be importantto human beings clothing plays a subtte yetimportantpartof peoples]ivesfrom birthto deathreflecting tastes. dreams and histories. 3.1.1Bag'uKurung and Boju Kbbaya Among the Malay peoplethe Boju Kurung isone of the traditionatclothes thatbeingused as dailywear. The Btiju K"rung is the female garment tailored to meet the requirements of the Islamicdresscode, This clothing had being identified,that it had strongly infiuencedby the Middle Eastcostume called gatabiah.Itisdescribedas the longcollarless tunic up to ankle with an underarm panelor gussetworn overa looselongskirt called sarong. Like the Malay clothing also has the influenceof Arabic clothing where the clothes has being definedas a long collarless tunic garment. The clothes were designloosely,likethe Arabic costume becauseof the influenceof Islam in the 15thcentury which isbroughtby the Arabictraders, In its originals form, the feminine boju kurung had no opening in front and was pulledover the head likea ]oosejersey. In 1920, the tunic is shortened to the knees,The Iunic is normally tailored from ptain cotton or silk cloth and matched with a silk and gold songket sarong. The sarong was secured around the waist with multiple pleatsina style known as ikatanombak beralun, The most widely used traditiona]clothes forwornen and man in daily used or duringceremony among the Malay people are the sarong and boju.The sarvng isa broadband of cloth sewn intoa tube thatusually fa11sfrom the waist. Normally the clothes forthe female were btiju Kurung or bojuKebaya, The kebaya were adopted from the MidclleEastand the PortugueseinMa]acca ln the 16thor 17'hcentury, and poputarized by Chinese Peranakan. A two-piece costume, the bcijukurung and keha),acomprise a tunic top (btv'u)and a sarong (kainor long skirO. The long flowingtunic-coat(kebaya)or a tunic (bcijubelah)which was dividedin front,puton likea coat and fastenedwith brooches,which were the partof the wearer's jewelry, In patternconstruction, these two clothes had a basicpattern consist of rectangular shapes, square shapes, an opening frontor circle forthe colLar. Each part has been given a name like,pesak,kikikor pesak gantttng,back and front openlng. The two panels that attached to the both side of the dresscalled pesak and kikikwere designed inorder to make the dress more looseand easy to wear. Normally these two costume isusuatly made of cotton, siLk, brocadeor voi!e. In sixteenth century unti] the eighteenth century under the Colonial Period,the movement of wearing culture had influencethe pattern cut of Malay clothes. A new styte soon emerged in 1512-1930,where the influenceof Western culture has strongly changed the appearance of traditionalclothes that istight and following the shape of the body. The new appearance of tailoring these traditionalclothes makes the clothes became popular until now. 4.Morphology of Kitrungand Kebaya inSocieta1 Activity 4.1Ctothes RepresentStatusand Identity Boju Kurung and Boju Kebaya had been recognized as the most outstandlng material culture among the Malays.In some ways, these clothes are likerooms or containers that cover the female body and appear to communicate the genderof thatparticularperson, There are three keys in which clothing has effect as material culture in Malay society. First,as `fashion' that linkbetweenthe shapes, lookof the clothes and a temporal sequence of change in those forms,Much of the attention paidto traditionalclothes insocial and historicaldiscussion has focusedon fhshionbecauseof itspotentiatto signify social distinctionsof age, gender and status [3].Second, derive from the signifying functionof fashion,ls the capability of clothing to communicate betweenmembers of the culture through forms,colors and types of fabrics.The third key is thal a single garment may be significant becauseof the relationship betweenitsparticularmaterial form and the body form that wears it. In the olden days, Malay women were dressed only in a sarong secured around their chest, a style known as THE SCIENCE OFDESiGN BULLETINOFJSSD VoL48 No.6 2002 127 NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design bei'kembctn.The fabriccalled sarong was used {o ma.ke kemhan. The kemban can be describedas a pieceof rectangular fabricswere wrapped around from the chest partdown to the knees, Afterthe arrival of Islam broughtby the Arabic traders, the pattern of wearing cLothes had changed. Malay women began to adhere to the Islamictenets on dress.The dailyusers of clothing were the cotton sarong and the boju. Whereas for the ceremony the fabricthat was used were, rans.e of woven fabricfrom songket (cottonor silk with gold thread)or brocade.The sarr)ng isunsewn rectangular textile,approximately two and a halfmeters longand itis then wrapped around the hips. Recently. the plaincolored cotton or silk plaid and songket were used. The sarong is the oLdest style attire in the region. The sarong has been widely used in variety of ways since the slxteenth century such as a bathing cloth, head wrapping as a protectionfrom the sun, a carrying bag CtLtroshiki), a cradle and also as a shroud [4].The woven plaid fabricswere normally being used as dailywear since this kindof fabrici'smuch cooler and not heavilydesign likesongket. In the fourteenthuntil sixteenth century, the Malay traditionalclothes can be dividedinto two categories according to the hierarchy.First,the ordinary peopleand second the upper-class people. The ordinary people normally wear traditional clothes from cotton fabricsbut forthe higherlevel,the fabricsfrom songket or brocade were worn. wa,ttt,,i/astk./W,<"u";.ge/ttlas,wali/I"g/:/i." 5,ty,?a.f}y"`es Working class Ordinary people Figure 2.Statusin Malay Culture which being practicedin the 14th-16thCentury. 42.2T}rpes of Materials Normallyinthe Malay customs, the lowerclass people are not allowed to wear certain fabricsand color becauseof the diflerence appearance of status. For the lower class peopleor ordinary peoplewill only wear the sarong from natural materials such as cotton, pineapplefibers,banana fibers,organdie, batik and others. As forthe royal families normally silks fabric,chintz and brocadehad beingused as clothes. With the passage of time, cheaper importedfabrics 128BULLETiN OF JSSD VoL4B No,6 2002 THESCIENCEOF began to arrive from India and Europe. Variety of fabrics from machine woven, lightweight silk brocades,taffeta. chiffon and lacewere increasinglyimported.Lately,the changes and trends of mix materials became popular among the femalesin developingnew ideasin traditionaT clothes. The materials were setected according to functions. As forthe coLors are usually seen to fa11intotwo main categories- light and dark. The in-between shades are referred to interms of the naturat environment, Some of the traditional colors are kutittangsator `skinof the lansium fruit'forbeige,pinang masak or `ripe areca nut' fbr brlght orange, darah ihan or `blood of the fish'fordark red, pttct{kpisangor `banana ]eafshoot' forpale green, indigo so forth.The ordinary people are not atlowed to wear yellowcolors or goldenyellow becausethiscohors being used forRoyalfamily. The patterns of the traditional fabricsalso give significance of the appearance of the Malay status. A variety of motifs and patternsare infiuence by natural environment. The simple pattern is normalty worn by ordinary peopleor middle class peoplebutforthe intricate patternsand the heavy woven fabricsdecoratedwith gold threadsisworn by the Royalfamilies[5]. ., Previous patternsand materials seems all adopterf and imitatedfrom the natures. Commonly, the flora,fauna or geometricalform were popularand being selected as fabric designs. 4.2.3CurrentMaterials The over come of synthetics fibershas changed the characteristic of ltspattern construction and the physical approach of Btu'u Kurung and Boju Kehaya clothes. The refinement and reincarnation of cheaper fabrics and attractive designsand colors from synthetics fabrichad influencethe visual appearance of bothc]othes. Sometimes the selections of improper fabricsthat apply to the traditional clothes really affect the performanceof the clothing and the uncomfbrtable feeling when wearing it. Lately,the selective materials were carefu11y chosen according to functionspurposes,A lot of materials from cotton and synthetics being used fordailypurposesand rich and expensive materials from silks, brocadeand others luxuriousmaterials were only worn duringfunctions.In these two different situations, females became more conscious about the situation thatdealingmuch with their clothes, Inthe case ofc]ass cultures thatbelngpracticedin the past decadesis becomingless important in the formationof a person'sselfiimage. The class does not significantly affect the whole host of attitudes on social issues, ya]ues and lifestyletastes, and communal DES)GN NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science ofDesign "rab1e1.Classificationof fabric types among the Matay people inlsth Century. paerqtiwh'S,//･//･,/･'iii//,;･,1{Ee!.,rics/･,NqtnCs,/.k/,i,/li///:.,//･iSE&itk,j"M'"X'･E/i'Ski"il'･11"'i',･,l'i'/1/-m･ili,,gQ!.ti, ,k,t"'l'iil-･1///'g･."',T.tt'-･iStc,ts;,/il.,.,tt' ,tij.t iats...･...TypesbSelglpt#g ',I Upperctass Middle class Lower ctass Songket Songket Tenun Tenun Designed with floraand fauna Florafauna Plaids PlaidsSimple pattern CoLorfuL,yelLow, White Indigo,green.etc Silk,B rocade Cotton Cotton, Silk Brocade lndigo, green, red, Cotton ect. (exceptyellow Other:natural or whi te) fibers SarongBcu'u Kurung Beu'u kebaya SarongBoju kurung Boju Kebaya KembanSarongBoju Kurung Boju kebaya attachment and socializing [6].Even though class culture described the structures and boundariesofcertain groupof peopte,but the influenceand variations in clothing inventionare subtle indicatorsof how people changed, think and moved nround indifferenttypes of societies and differentpositionin societies are actua]ly experience. 4.3.TraditionatC]othesin CurrentSoc;alActivity Traditional clothes had been used widely among the Malay femalesin many types of dailyactivities. Through the findings, five categories of activities were being identifiedas the highly used of traditional clothes of Boju Kurung and BtijuKlebaya. There are selected from in-doorand out-door activities that involved housework, ornce work, leisure.festivaland other cultured activities. From the observation made, about 84,7% of Malay females were wearing Boju Kurung and Boja Klebaya in different style of pattern and materials according to their taste and trend. Demographic analysis had been made and justified that each fematesat the age of 21 years old until 30 yearsold were the highly user of these traditional clothes in their dailywear fororace work (24.5%-48.5%)and forfestival activities (35.2%-45.2%).Each female'shave at least the average of5 to20 piecesof Bcu'"Kurung or Boju Kebaya. From the research, the used of traditionalclothes were not only used as casual or formalwear butalso being used as a school unifbrms, work wear and occupy intheirleisure time. Here, the traditionalclothes as artifacts `creates' behaviorthrough their capacity to imposedsocial identities. Peopteattribute to their `favorite' clothes the capacity to influencethe ways they expresses themselves and interact with others about their culture [7] 5.Common TYpes of Ii-aditionalClothesUsed in Present Days. Recently,the traditional clothes had beenappreciated by the new gencrations.Through out the research and empirica] studies, itwas foundthatthese clothes were being widely used as common wear. In other words this attire givesthe impact of the cultural representation of the Malay society itself, From the daiainputgainfrom individualinterviewsand through questionnaires,105 femaleswere participatedin Ihis evaluation. The ranged of age were from below 20, 21 Eeb,, 2e 41-50 Figure3: eelevr 2025S2exIStslots5ts,ert!"ttts-.te-..-. 'tt't/it1.1Nfii'i'/r'/L･til/l;:;･g;}x al-4o 21-30 Percentageef Boj" Kurung bein daily by different age gro-psg used 41-50 tsmISIle-pm'i Figure4 21-30 31-40 : Percentage of Bnjtt Kebaya bein dailyby difftrentage groupsg used THE SCIENCE OFDESiGN BULLETIN OF JSSD vol,4e No.6 2oo2 129 NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design yearsold -30 years old, 3l years old until 40 yearso]d,･41 years old unti] 50 and above. The result from demographictest being identifiedthat there are two types of traditional clothes beingwearing as dailywear, There are two types ofclothes thatstillremain as the most popularattire among the Malay femaleswere Btu'" Kurung and BcijuKeba}ra.These basic clothes could be foundindiffierent categories of appearances. As shown in figure3 and figure4, the daily clothing could be identifiedused by the femaleswere Boj" Kurung compared with Bciju KkbaJ,a.Ithad been recognized that mostly the females'age between21 untit 40 tend to wear bothof the traditionalclothes as their daily wear. 5.2 Traditional Typed and Neo- Traditional Typed S.2.1Boju Kictrung First:Bcu'uKurung consist of two- piece of clothes thatis the upper partis the dressand the long skirt. The Boju Kurung Lnma which are still maintained the basicsty]e of patterncut consist ofpesak, kikikand round collar with the hand stitch finishingcalLed juhittutang betutor simo around the collar. BcijuKurung had been used inall districts in Malaysia and had been givendifferentnames such as BtijuKLtrungJohor that appeared in high neck, Boj" Kurung Pahang thatare designedwith longkikikand loose blouse,Second: Boju KlirungModern that is much shorter, some of itstillloosetype of clothes with pesak and kikikcal]ed Boju KitrungKledah. Some of itwas made to foIlowthe shape of the body and appear with differenttypes of collar, Other elements of stitches such as ernbroidery and beads were being value added to give more aesthetics to the clothes. These typed of traditionalclothes were commonly used during working or other formal functionsthat the designed seems replacing the Western suits. 5.2.2 Baju Kebaya Third: BcijuKebaya labuh, which isalso maintained the typical type of patterncut. Itappears to be inlooseshape, consist ofpesak, kikikand the frontopening collar which is then fastenwith three brooches. Fourth:BcijuKkbaya Pendek whlch are influencedby the Chinese traders in 1405 who arrived in MaLacca, These typed of clothes were well known among the Chinese Peranakan (Chinesepeoplewho are married with the local Malay people).Most of the c]othes were short up to the buttocklevet,without pesak or kikikthat is more fitted fOllowing the shape of the female body and were fu11y embroidered around the collar and attached with brooches. Fifth:BojttKehaya Modern. [n the early l960's until the presentof twenty firstcentury, theie are two Iypes that are are commonly used as popular wear. The long types of modern Kebaya were designed without the pesak or kikik.Itisconsist of dartsto make the dressshapely. The collar appeared to be invariety ofshapes and fastenwith either buttonsor brooches, The short style of Klabayamodern hadbeen identifiedto be popularinthe 1960'sunti] 1990's.Thiskebaya were also designedfo1]owingthe bodyshape and the materials from lace, silk and transparent fabricssuch as silk organza, chiffon, voile, kasa rubia became a trend among the females.Some reforrnations were made especiaLly at the collar and also the sleeves. These value added gives the strong impact and siLhouettes of traditional clothes being tikedamong the femalesnowadays. 5.3 Clothesreformation inMalay society 5.3.1Culturalpreservation Through out the research, ithas been found that both traditionalclothes of Boj" K"rung and Boju Kebaya were beingused as a part of representing cultural identityof the Malay people,About 105 fema]es being interviewedand 85,3% of them clarified that these clothes were partof preserving cultural identityfor young and ord Malay generation.Yet these traditionalclothes had been identified as natignal dresscodes inMalaysia. Ithas become a trend inclothing even though Western apparet were much more fashionable,sty]ish and easy to buyeverywhere. In representing cultural identity,the growingconcern on the cLothes, own adaptation and innevationto rnake these clothes fu]lyused and appreciated by all generations.The consumption of culturaL goods,such as making traditional clothes as fashionableclothing, performs an increasingly importantrole inthe construction of personalidentityand also emphasizes the diversityof lifestylesintopeople in contemporary societies [8], In figure 5, the graph shows the average of females' consideration of bothtraditionalclothes as a partof cultural representationmaterial. 6.Postmodern appeal ef Malay clothes: NeoTraditional Currentappearance of Boju Klirung and Boju Kebaya coupled with the traditionalappeal ishamming home and work wear images.As the result of cross-fertilization and authentic work wear among the Malay peop]e expand a 130BULLET)N OF JSSD VoL48 No.6 2002 THE sclENcE eFDESIGN NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design broad image to the culture. Bcu'ttKurttngand Bcu'ttKeha.va had been growingdrasticallyand became a popular fashion among the Malay femalesand other races too. Ithad been identifiedas "TraditionaL" ctothes but with the touch of "New" taste,On the other hand, women's of Ma]ay concluded that these clothes as a functionof reproductive strategy indemonstratingculture identity. The appearance of machine-made clothing, ctothes were generallyincluded among a person's most valuable possesstons.The tradttionat c]othes in Matay societies began to resembLe from shapeless garment were repLaced by tai]ored, fittedgarment whose form were generally influenced by fashionsoriginating by the upper classes from the Western[9]. In postmodern appeal, the featuresof the traditionaL clothes rapidLy changed with the evolution of fashiontrend and the emergence of new materials, The BcijuKurung and Boju Kebaya had been givenvalue added to certain partof thepatternsuch as coliar, sleeve and the long skirt inorder to make the wearer appear tobe more stylish and fo11owing the trend. Expressingwarmth qf human beingswith crcij?- work foshion-recently, the materials added by handwQrk with accessories exhibiting decorativeeffects such as embroidery, beads,spangles and lace were used forthese traditional clothes, Stylesin the 1980's and 1990's were strongly influencedby the Western patternthat appeared to be more femininenessimage as they have flowlng drapes and elegance. Materials from silky lusterand silky polyester fabricswere popularamong the young fetha]esages 21-48 years old who favorthe casual image of traditionalclothes but with elegance appearance. Recently,Boju Kurung and BcijuKebaya were popular arnong the working class femalesas ithad been considered and fitthe purposeand functionafter work, These clothes were suitable to use after work especially fdr working females who still feel comfortable forleisureactivities. It seem that these two Tab]e 2.Classificationof clothing period used by females Hrntjst1 '1cav SAO1staTicRetiod 1su,ICVIADC) ±ridR"il. t･ t. 17th-1su1An ,A: clothes were a trend among the Matay femalesand also non-Malays. 7.Females view on Wearing TraditionalClothes The theme of `Human OrientedDesign' had been strongly influencedthe appearance of clothes. The c]othes or garment are not on]y the product to protecthuman body, butas a `specialization' needs for a comfort productto wear [10]. In 1960'sand t980most of the traditionat ctothes were appeared to be more fitand fbt]owing the body.In those years,the femaleswere aggressively adopt the Western ]ook in clothing which they found more outstanding and sexy. Itisbelievedto be influenceby the reincarnation of Western Corset trend among the fashiondesigners and youngsters.In the 20thCenturyuntil the presentyears,the choices of wearing attitude had changed among the Malay females.The clothes designed "back to the roots" were become popu]arsince this give betterimage of feminine among the Malay females.The creativity of mixed and matched the materials and value added the clothes. makes it appear to be simpLe butelegance that can be seen as casual or forma]dress [11].More choices of materials from soft to crispy typed had changed the patterncut of the traditional clothes and the wearing styles. Females tend to develop their own concept in findingthe clothes styles that give bettercomforts duringthe day and appearances. Based on the subject ratings, the individualpreferencesinthe aspect of "comfort" and "pleasure" state being concerned since they found that these traditionat pattern- cut were comfortable to be used as dailywear inMalaysia climate. From the overall interviewtheir requirement is that the clothes should be comfortable in theirdailywork, easy to move and easy to take care. Ithad been agree that the femaleswere highlydesiredthe clothes that had lesstime taken when dealswith taking care of the materials, Overall results gainedfromthe interviews,67.8% are concern about 1 ofcahas km uu-sknt u-rrtm u-tu-stutt 'uITtm1 dee/es,･e S.b..t."t..eoooooo oee-fuoeooo o [tailyFkTrrel l 'eept p.mA FdstiulCMhrdLcisurefererrrrtid ftskptA ee sk wwpmagmazzfe'-pm･-en5% ./."X.B)ts 'ww.infidnS"Uwh.....t.ta...aj.･pm. tww. .tumu, lt.,..ntimF.h･,-..,,･,･--･･m,FeA pt .mmaw'ew .･'-' 51,em ,rksil' -, ..,en-,ptcve.za.m.."auinww"ww"di' "' ' 5i3?k W .ma...wwsume/pm,tntt".pt.mi .t Att/r.･/pm. - ･ 76s)S A･su eesc.m.mprif#ue#Wnwtnv ."' 'en37ts ft O Nbtatatl I... wwlpm,mupm-t.et . .tnYtt4as% ts,1.or)G Nbtes: Vleryqften whSometimesAopen THE SCIENCEOF DESIGN BULLETIN OF JSSD VoL4B No.6 2002 131 NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design Belew 20 21-30 o%20% Percentage 40% 60%ee%100% 1234567 Feelingot Wearing comfertabtesmsrmcrve easycere su1colh gen ±le sott neet +ight p ! /lts(x K x ta j // v 'i a... Age 31-4e 4i.50 Ceot Considerationof Climate Dny Sweating lndoor Natural e"I & 'i' 9.I(\]<ssM -) tt.t.ttte 50 & above ewKurungew Kebaya Leisure Commen Situationlnterasting Involved WendngFanTva1Norme+ r" -+ .tN tttttlttttttttttttttttttt/t. BijuKebaya BajuKurung Figure 5:Average percentageof traditional ctothes as part of cu]tural preservationobseryed by ferrvales Figure 6.Attributesof clothing appearance forboth clothes inSD scale clothes that could givethem comfort. They want to feel comfortable in theirdailywork, easy to move and easy to take care. Ithad been agree that the femaleswere highly desiredthe clothes that hadlesstime taken when dealswith taking care of the materiats. Ithadbeen agreed that the femaleswere highlydesired the clothes thathad resstime taken when dealswith taking care of the materials. Means that,inMalaysia condition the femalesprefersfabricsthatischeap, easy to take care after many times ofcleaning and durable.Recently, femaleswere buying mix materials such as mixed polyester as itappears to be matched fortheirphysicaland physlological needs. Most of fabricsfrom cotton and silks also became popular among the females.Their choices were based on their individuals'preferences of purposesand funetions.It is found based on their personalphysicaland physiological desire in clothing a part of their second skin that communicate with the environment. It seems that recently the development of traditional clothes had influencedthe wearing attitude among the females to be matched fortheir physicaland physiological needs, The use of preferences as a criterion of clothes performance had been based on `attitude molded by fashion'or based on physiologicalfactors.It issugges{ed herethat preferencescould be regarded as choices based upen practice or an individualrationale of the needs in clothing performance.The domain involvementof climate and working situation makes the Malay femalesputmuch effort and consideration on materials and patterncut of their clothes thatcould give comfort and good appearance [121, The `comfortable' state in relation to the individual's preferencesisbased on their surrounding environment [13]. Itissometimes dithcultto trace a proper requirement for these traditionalclothes, as itisvery subjective evaluation when dealingwith females'physiologicalneeds. Each subjects had differentviesy when dealingwith clothes, as it isappear to be second skin to human. Nearly all these research had been specifically questionsthe traditional clothes preferences indallytyped and formaltyped used for their social activities based on their experience wearing 132BULLETtN OF JSSD Vol.4S No,6 2e02 THEsclENcEoFDESIGN NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design thesetraditional clothes. However, the results from these evaluations showed a clear preferenceforthe traditionalclothing. Based on the `pleasurable state' and `desired state' the assurnption isboth clothes form and climate would stimulate the measurement for the individualneeds, Itisstressed out to identifyclear]y on Sheproper considerations that were involved in traditional clothing. In Figure 6, itshows the attributes found the overall individualappreciations in Malay traditional clothes. This may explained the desireneeds of femalesin traditional clothes, Ithad been stress herethat the states of soft, easy care, easy move and `light' (weight)of fabricsor garment were needed inthisevaluation. Ranking values could be seen clearly in both traditional clothes. The highervalues were appearing much on Boju Kitrung compared with Boju Kbbaya.The overa}1 results gainedfrom 105 femaleswere resulted thatBojuKLtrungwere highly worn among all ages. Next category of Feelingof Wearing- the highly desired weTe the lightweightyped of clothes. Itmeans that the materials llsed inboth traditionalclothes should be lightin weight and not gaudy or heavy typed, In Climate categories- the preferences were tota)lydifferentin both c)othes that explains their entire needs were depends on their dailysurrounding environment. All subjects were foundlessconsider about climate. In Situationcategory- it isdescribedas pleasurablestate by individualswhere these two c]othes were used indifferenttyped of activities. Ithad been identifiedthat Boju Klebaya had been used in many situations forformal typed of activities,Overallp]easure states were expressed in differentsituations selected by females.Boju Kltrunghad found to be used in almost every situation selected by subjects. 8.Conclllsion Changes of clothing and the discoursessurrounding clothing indicateshifts in social relationships between differentsocial groups thatrepresent themselves indifferent ways in pub]ic space [14].In Malay culture, clothing was used as a form of social approach in representing culture identityand social values. The indicationsof cultural practicesthat includeboth knowledge of cultuTe and the sense of physiologicaldesire state that represent in both traditional clothes elucidate the significant of cutture sensibility among the Malay females, Thus the strong infiuenceof work place environment that reformed the traditional clothes as a uniform oT dresscode distributethe identityof Malay culture to other ethnic groups too. The main findingsin this research can be summarized as follows: 1. The fernalesused a lotof Bay-uKiirungas their dailywear according to the pattern style which is much more loose. 2, BojuKbbaya explains thatitappears to be popular used as formal wear. 3. rtaditionalclothes were worn as a part of preservingthe culture and social values, 4. The types of traditional clothes were strongly demand on comfortable and pleasurestate. Throughout this research it may explained that each femaleswere strongly desirea wearable productthat¢ ould give them pleasureand comfort with physicaland visual expressions. The most probableinterpretation of the finding that softer fabricsand appropriate patterncut for the traditionalclothes was preferred. In traditionalclothes, there are two types of situation could be categorized as dailytyped and formaltyped. For these differentsituation, the appearance forthese traditional clothing were changed in terms of fabricsused pattern applications. Simple and loose styles of traditionalclothes beingused as dailyand more elegant and couture typed of patternwere cbosen forformal, The understanding gainedfrom these effbrts should ultimately facilitatethe developmentof betterrequirement forthe clothes and itsvisual representations, Reference: 1.Chin,Lucas.SZirawakCulturatLegacy:A Living IYadition,SocietyAtelierSarawak,1991:113-117. 2.Barthes,R. IheFbshioningSystem,Berkeleyand bos Ange!es:Universityof CaliforniaPress,1990:10-15. 3. Barthes,R. Ihe FZishioningSystem,Berkeleyand tos Angeles:Universityof California Press,1990:25. 4.Dormer,Peter,71teCultureofCrdi,ManchesterUni. Press,UK, 1997:34, 5.PerbadananKemajuan KraftanganMalaysia,A Malaysian 7buch- ll]xtileforthe IVbw Miltineum, Perbadanan Kemajuan Kraftangan Malaysia, 1999: 81-85. 6,Lennon, S,J.EfilectsofClothingAttractiveness on Perceptions.Home Economics ResearchJournal,1990: 18,303-310. 7, Kaiser,S.B.,Nagasawa, R.H.,& Hutton, S.S.fushion, Postmodernistand Personat .,ippearance:Symbotic interactionlsformulation,Symboliclnteraction,1995: THE SCIENCE OFDESIGN BULLETIN OF JSSD VoL48 No,6 2002i33 NII-Electronic
Japanese Society for the Science of Design NII-Electronic Library Service JapaneseSociety for the Science of Design 14(2),165-185, 8.A. Dickson.SociallyResponsibleBehavior.Journalof FbshionMbrketingand Mbnagement, 1996:NQ)],1, No.1, .50-59. 9.Damhorst,Mary Lynn,theMeaning ofDress,Fairchild Publication,USA, 1998:10-12. 10.Cava]laro,Dani and WaTwick,Alexander.fushioning ･ theFrame: Boundaries Dress and the Bocly,Biddles Ltd.UK, 1998: 23-25, 11.Dant,Tim,MbterialCuttureinthe SbciatJibrtd: lhluesActivitiesand Lijlestyles. Open Uni. Press,UK, 1999:32. 12,Haye,Amy d.l.DefiningDress,ManchesterUniv. Press,1999:6. 13.Adam, PaulS.A Model forProtectiveClothingEffects on PerfOrmance, internationalJburnalofCtothing Scienceand fechnotogy;1994:Nbl2,No.2,6, 14.E.Braddock,Sarahand O'Mahony Marie. 1lechno llrxtites-Revolutionary thbrics forFbshion and Design,Thames and Hudson, UK, 1999:7-13. 134BULLETINOFJSSD VoL48 No.6 2002 THESCIENCE OFDESIGN